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Nigeria's impressive new West African Art Museum (Mowaa) has landed in the middle of local power politics during the period it was supposed to – but was unable – to open its doors to the general public for the first time.

The Ambitious Project

The 15-acre complex sits in the heart of Benin City, capital of the southern area of Edo – and contains an historical dig and buildings planned by renowned British-Ghanaian architect Sir David Adjaye, particularly noted for the Washington African American Museum that began operations in Washington DC in 2016.

It has been half a decade in the making – and is designed to showcase both the history and the current era of cultural innovation in the area famous for the historic artworks, cultural objects stolen from the royal palace by UK forces in the 19th Century.

Readiness and Potential

It is impressive – and ahead of the anticipated opening, Mowaa was energetic with employees determined to demonstrate it is a venue that can match established art institutions in the West.

Internally art restorers precisely revealed artworks from safety materials, checking each piece and taking thorough documentation before positioning them on exhibition areas and stands.

Specialists fine-tuned temperature regulation systems. In the research lab, personnel adjusted instruments intended to preserve historical items.

Investment and Economic Plans

The project has been the brainchild of businessman Phillip Ihenacho – now Mowaa's executive director.

"I hope us to have a significant financial effect on local residents in this region," he told media outlets, noting that he wanted to make Benin City "an arts hub."

Mowaa, a not-for-profit national foundation, aims at generating in excess of 30,000 work positions and adding above $80m each year to the regional creative economy through collaborations and events.

Investment and Administrative Problems

It has required $25m to achieve this stage – money collected from different contributors, such as the international partners, the British Museum and the regional authorities.

But now the regional administration has revoked permission from under it – canceling the occupancy of the property on which the museum was built.

An Edo state spokesperson clarified this was because in the initial documents it had referred to itself as EMOWAA – and it had later eliminated "the regional name" from its name.

Demonstrations and Government Action

This statement followed demonstrations on the weekend, when protesters stormed the facility insisting it be designated the Benin Royal Museum.

A rowdy group harassed foreign guests at the venue prior to the inauguration – forcing them to be escorted out under police escort.

Head of state Bola Tinubu has also stepped in to attempt to settle the tensions, establishing a presidential committee to address the controversy.

Administrative Challenges

But in what way has this become so divisive – and such a PR disaster?

Much of it stems from internal conflicts at a area administrative level, as it was the former state leader Godwin Obaseki – whose term in office concluded last year – who was a major backer of the museum.

And it looks like the administration of the recently elected official, a key associate of the local traditional ruler, referred to as the royal figure, may seek greater involvement in the venture. The activists on the weekend, for example, were insisting that the institution be put under the authority of the royal leader.

The Historical Objects Discussion

This brings into focus the disputed topic of the cultural artifacts, one of the continent's most famous artistic heritage.

Because though the museum does ultimately open, these artifacts will be noticeably missing.

They are metal, elephant tusk and timber carvings that once adorned the royal palace of the historical empire before British soldiers looted them in the colonial era during a colonial invasion.

Currently, thousands continue to be scattered across institutions in Western nations -- including the British Museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Restitution Efforts

Their repatriation has become one of the most disputed conversations in the global art world. Roughly 150 have now been returned – and additional are due to follow.

When proposals for the museum in the city were originally proposed in the pre-pandemic era, the influential figures on the national arts community expected it would become their ideal location – a state-of-the-art complex to display them to the world.

But the waters were muddied two years ago after the federal government stated that the traditional ruler would be the legal custodian of any returned bronzes – and the palace pushed for a museum under the monarch's supervision, contrary to the desires of the ex-leader.

Diplomatic Challenges

This left Mowaa in a challenging circumstance: asserting a clear stance on repatriation while staying tactful on custodianship – and stressing its broader vision, which led to|c