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Nigeria's stunning new Museum of West African Art (Mowaa) has found itself in the middle of regional political struggles during the time it was expected to – but was unable – to open its doors to the visitors for the very first time.

The Major Initiative

The 15-acre facility sits in the core of the Edo state capital, capital of the southern region of Edo – and contains an archaeological dig and facilities created by celebrated dual heritage architect Sir David Adjaye, best known for the Smithsonian African American Museum that was inaugurated in Washington in 2016.

It has been five years in the development – and is planned to celebrate both the history and the current era of artistic expression in the locale known for the historic artworks, historical pieces looted from the king's palace by UK forces in the 1800s.

Setup and Prospects

It is remarkable – and before the planned opening, Mowaa was buzzing with workers committed to show it is a venue that can match renowned art institutions in the Europe and America.

Inside art restorers precisely unwrapped cultural items from safety materials, checking each artifact and taking thorough notes before positioning them on display surfaces and plinths.

Experts calibrated environmental controls. In the scientific facility, officers adjusted instruments meant to conserve centuries-old items.

Funding and Economic Goals

The project has been the brainchild of investor Phillip Ihenacho – currently Mowaa's chief executive.

"I want us to have a significant economic impact on local residents around here," he stated to media outlets, mentioning that he hoped to make Benin City "a tourism center."

Mowaa, a non-profit local organization, aims at creating in excess of 30,000 employment opportunities and adding more than $80m each year to the area arts sector through alliances and activities.

Investment and Administrative Problems

It has required $25m to reach this point – money collected from various supporters, featuring the French and German governments, the British Museum and the local administration.

But at present the state authorities has withdrawn support from under it – terminating the utilization of the property on which the building was erected.

An official representative clarified this was because in the initial documents it had identified as the Edo-named institution – and it had later dropped "the regional name" from its designation.

Unrest and Official Response

This announcement came after protests on Sunday, when protesters entered the facility calling for it be designated the Museum of the Benin Kingdom.

A disruptive crowd confronted overseas dignitaries at the museum prior to the inauguration – requiring them to be quickly removed under security protection.

President Bola Tinubu has even become involved to attempt to settle the dispute, creating a presidential committee to address the controversy.

Governance Issues

But how has this evolved into so controversial – and such a PR disaster?

A great deal of it stems from internal conflicts at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose governance ended the previous year – who was a primary advocate of the museum.

And it appears the administration of the recently elected official, a strong supporter of the area king, known as the traditional leader, may seek increased control in the venture. The demonstrators on Sunday, for case, were demanding that the museum be placed under the authority of the royal leader.

The Cultural Artifacts Debate

This brings into focus the contentious issue of the historical artworks, one of the continent's most renowned artistic heritage.

Because even if the facility does finally welcome visitors, these bronzes will be conspicuously absent.

They are metal, ivory and wooden artworks that once decorated the monarch's home of the historical empire before colonial troops stole them in the colonial era during a colonial invasion.

Today, many continue to be scattered across museums in the West -- including the UK institution, Berlin's Humboldt Forum and the New York institution.

Repatriation Campaigns

Their repatriation has become one of the most contested discussions in the international art community. Roughly 150 have now come back – and more are expected to return.

When ideas for the museum in Benin City were originally proposed in the pre-pandemic era, the key players on Nigeria's art scene expected it would become their ideal location – a modern facility to show them off to the world.

But the waters were muddied two years ago after the central administration stated that the royal leader would be the rightful owner of any returned bronzes – and the palace campaigned for a institution under the royal family's direct control, opposing the desires of the former governor.

Strategic Positioning

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