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Nigeria's remarkable new Museum of West African Art (Mowaa) has found itself in the middle of regional political struggles during the week it was expected to – but did not manage – to open its doors to the general public for the very first time.

The Ambitious Project

The large-scale campus is located in the core of Benin's urban center, main city of the southern state of Edo – and features an excavation site and structures planned by high-profile British-Ghanaian architect Sir David Adjaye, best known for the National Museum of African American History and Culture that began operations in Washington in 2016.

It has been five years in the development – and is envisioned to showcase both the past and the present of creativity in the locale renowned for the historic artworks, historical pieces taken from the king's palace by British troops in the 19th Century.

Setup and Prospects

It is impressive – and ahead of the scheduled opening, Mowaa was energetic with staff determined to prove it is a venue that can rival well-known cultural centers in the Western world.

Inside art restorers carefully revealed cultural items from protective packaging, inspecting each piece and taking thorough notes before arranging them on exhibition areas and plinths.

Technicians calibrated climate control systems. In the scientific facility, staff members adjusted instruments meant to conserve centuries-old artefacts.

Investment and Economic Plans

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

"I want us to have a substantial economic impact on area populations around here," he explained to the press, mentioning that he aspired to make this urban center "an arts hub."

Mowaa, a not-for-profit local organization, aims at creating in excess of 30,000 direct and indirect jobs and providing more than $80m each year to the area arts sector through collaborations and events.

Financial Support and Government Issues

It has taken $25m to get here – funds gathered from multiple donors, featuring the international partners, the London institution and the regional authorities.

But currently the regional administration has withdrawn support from below it – terminating the utilization of the site on which the building was erected.

An Edo state spokesperson stated this was because in the initial documents it had identified as Edo Museum of West African Art – and it had since eliminated "the regional name" from its title.

Protests and Political Intervention

This announcement came after protests on Sunday, when activists entered the facility demanding it be named the Royal Benin Museum.

A disruptive group insulted international visitors at the venue before the launch – forcing them to be escorted out under security protection.

National leader Bola Tinubu has even intervened to work to address the dispute, establishing a high-level committee to do some damage control.

Governance Issues

But why has this become so divisive – and such a public relations crisis?

Much of it results from internal conflicts at a local state level, as it was the ex-administrator Godwin Obaseki – whose term in office ended recently – who was a key supporter of the project.

And it seems the leadership of the current leader, a key associate of the regional monarch, called the royal figure, may want more of a stake in the initiative. The protesters on Sunday, for example, were calling for that the museum be placed under the supervision of Oba Ewuare II.

The Benin Bronzes Controversy

This emphasizes the contentious issue of the historical artworks, one of the continent's most renowned historical legacy.

Because although the institution does finally open, these objects will be clearly not present.

They are metal, ivory and timber sculptures that once adorned the royal palace of the ancient kingdom before UK forces took them in the late nineteenth century during a punitive expedition.

Today, numerous continue to be spread across galleries in the West -- featuring the London museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Repatriation Campaigns

Their return has become one of the most disputed conversations in the international art community. Approximately 150 have now been returned – and additional are expected to return.

When plans for the museum in the urban center were initially revealed in 2019, the key players on Nigeria's art scene hoped it would become their natural home – a state-of-the-art campus to show them off to the international community.

But the situation became complicated two years ago after the central administration announced that the Oba would be the proper guardian of any returned bronzes – and the royal household pushed for a facility under the monarch's supervision, opposing the desires of the ex-leader.

Diplomatic Challenges

This left Mowaa in a challenging circumstance: asserting a clear stance on repatriation while being careful on custodianship – and stressing its wider mission, which led to|c