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The nation's impressive new Museum of West African Art (Mowaa) has ended up in the middle of regional political struggles during the period it was supposed to – but did not manage – to open its doors to the visitors for the initial occasion.

The Grand Vision

The large-scale facility stands in the heart of Benin City, administrative center of the southern area of Edo – and contains an archaeological dig and facilities designed by celebrated British-Ghanaian architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that opened in Washington DC in 2016.

It has been half a decade in the creation – and is designed to celebrate both the heritage and the present of cultural innovation in the region renowned for the Benin Bronzes, historical pieces stolen from the king's palace by British troops in the nineteenth century.

Preparation and Promise

It is impressive – and ahead of the planned opening, Mowaa was active with workers committed to show it is a institution that can compete with established cultural centers in the Western world.

Internally art restorers carefully opened artworks from secure wrapping, checking each item and taking detailed notes before positioning them on display surfaces and stands.

Technicians calibrated environmental controls. In the research lab, personnel set up devices intended to preserve centuries-old objects.

Investment and Economic Plans

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

"I want us to have a significant financial effect on local residents around here," he explained to journalists, mentioning that he hoped to make Benin City "an arts hub."

Mowaa, a charitable local organization, sees itself generating in excess of 30,000 direct and indirect jobs and adding above $80m each year to the area arts sector through collaborations and programming.

Investment and Administrative Problems

It has needed $25m to reach this point – money collected from various donors, featuring the international partners, the UK museum and the regional authorities.

But at present the regional administration has pulled the rug from under it – canceling the occupancy of the property on which the building was erected.

An government communicator clarified this was because in the original paperwork it had called itself the Edo-named institution – and it had since eliminated "the regional name" from its name.

Demonstrations and Government Action

This announcement was preceded by rallies on recently, when people invaded the campus calling for it be designated the Museum of the Benin Kingdom.

A boisterous group insulted international visitors at the museum before the launch – compelling them to be hurried away under police escort.

National leader Bola Tinubu has even stepped in to work to address the conflict, establishing a special task force to manage the situation.

Administrative Challenges

But in what way has this become so controversial – and such a reputation problem?

A great deal of it comes down to internal conflicts at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office ended last year – who was a major backer of the museum.

And it seems the administration of the new governor, a strong supporter of the local traditional ruler, called the Oba, may desire more of a stake in the venture. The demonstrators on the weekend, for example, were demanding that the facility be positioned under the supervision of the royal leader.

The Cultural Artifacts Debate

This brings into focus the disputed topic of the Benin Bronzes, one of the region's most famous historical legacy.

Because though the facility does finally begin operations, these bronzes will be conspicuously absent.

They are brass, elephant tusk and timber artworks that once embellished the royal palace of the historical empire before colonial troops looted them in the colonial era during a colonial invasion.

Today, numerous continue to be distributed across institutions in Europe and North America -- including the UK institution, European center and the American museum.

Repatriation Campaigns

Their repatriation has become one of the most contested discussions in the global art world. Roughly 150 have currently come back – and additional are due to follow.

When ideas for the facility in the city were first announced in the pre-pandemic era, the key players on Nigeria's art scene anticipated it would become their natural home – a state-of-the-art complex to show them off to the world.

But the issues became confused recently after the federal government announced that the traditional ruler would be the rightful owner of repatriated artifacts – and the monarch's court campaigned for a museum under the royal family's direct control, against the desires of the former governor.

Strategic Positioning

This left Mowaa in a delicate position: maintaining a specific viewpoint on repatriation while staying tactful on guardianship – and stressing its larger purpose, which led to|c