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Nigeria's stunning new West African Art Museum (Mowaa) has ended up in the crosshairs of local power politics during the time it was supposed to – but was unable – to begin operations to the general public for the very first time.

The Grand Vision

The large-scale facility sits in the center of Benin City, capital of the southern state of Edo – and contains an excavation site and buildings created by high-profile Ghanaian-British architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that opened in Washington in 2016.

It has been half a decade in the creation – and is envisioned to honor both the past and the modern times of cultural innovation in the region famous for the Benin Bronzes, cultural objects taken from the city's royal palace by British troops in the 1800s.

Readiness and Potential

It is remarkable – and prior to the planned opening, Mowaa was energetic with employees committed to prove it is a venue that can rival well-known art institutions in the West.

Inside art restorers meticulously opened artworks from safety materials, inspecting each item and taking meticulous records before placing them on walls and bases.

Specialists fine-tuned environmental controls. In the research lab, staff members set up instruments designed to conserve historical artefacts.

Funding and Economic Goals

The project has been the idea of businessman Phillip Ihenacho – presently Mowaa's chief executive.

"I want us to have a significant economic impact on communities in this region," he explained to journalists, adding that he hoped to make this urban center "a cultural destination."

Mowaa, a not-for-profit national foundation, aims at creating over 30,000 work positions and contributing above $80m each year to the local cultural industry through partnerships and events.

Funding Sources and Political Challenges

It has needed $25m to reach this point – funds raised from multiple supporters, including the international partners, the British Museum and the Edo state government.

But at present the local government has pulled the rug from below it – canceling the use of the land on which the building was erected.

An official representative explained this was because in the initial documents it had called itself EMOWAA – and it had later dropped "the state identifier" from its name.

Protests and Political Intervention

This announcement came after protests on the weekend, when people stormed the campus insisting it be designated the Museum of the Benin Kingdom.

A boisterous assembly confronted international visitors at the venue ahead of the launch – requiring them to be quickly removed under police escort.

President Bola Tinubu has also become involved to attempt to settle the conflict, establishing a special task force to do some damage control.

Administrative Challenges

But in what way has this turned into so divisive – and such a public relations crisis?

A great deal of it results from local power struggles at a regional government level, as it was the former state leader Godwin Obaseki – whose governance ended the previous year – who was a major backer of the project.

And it looks like the government of the new governor, a key associate of the local traditional ruler, called the royal figure, may seek increased control in the initiative. The demonstrators on Sunday, for instance, were demanding that the institution be positioned under the authority of the current Oba.

The Historical Objects Discussion

This highlights the disputed topic of the historical artworks, one of the region's most renowned cultural treasures.

Because though the facility does finally welcome visitors, these bronzes will be clearly not present.

They are brass, elephant tusk and wooden carvings that once adorned the king's residence of the historical empire before British soldiers took them in 1897 during a military operation.

Nowadays, numerous stay spread across institutions in the West -- featuring the UK institution, German museum and the Metropolitan Museum of Art.

Restitution Efforts

Their return has become one of the most debated discussions in the global art world. Approximately 150 have now been returned – and more are due to follow.

When plans for the institution in the urban center were first announced in the pre-pandemic era, the influential figures on the national arts community hoped it would become their perfect venue – a modern complex to display them to the world.

But the situation became complicated recently after the federal government declared that the royal leader would be the rightful owner of returned objects – and the palace pushed for a facility under the royal family's direct control, against the preferences of Obaseki.

Strategic Positioning

This left Mowaa in a delicate position: maintaining a definite position on restitution while remaining diplomatic on ownership – and highlighting its wider mission, which led to|c