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Nigeria's stunning new Art Museum of West Africa (Mowaa) has landed in the middle of local power politics during the period it was scheduled to – but was unable – to begin operations to the public for the first time.

The Ambitious Project

The 15-acre campus stands in the center of Benin's urban center, administrative center of the southern area of Edo – and features an archaeological dig and facilities created by high-profile Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that began operations in Washington DC in 2016.

It has been five years in the development – and is designed to celebrate both the history and the modern times of creativity in the region famous for the historic artworks, cultural objects taken from the city's royal palace by British troops in the nineteenth century.

Preparation and Promise

It is notable – and prior to the anticipated opening, Mowaa was energetic with staff determined to demonstrate it is a institution that can rival established art institutions in the Western world.

Internally conservators precisely revealed art pieces from safety materials, examining each artifact and taking thorough notes before positioning them on exhibition areas and plinths.

Experts fine-tuned climate control systems. In the research lab, staff members set up equipment designed to conserve centuries-old artefacts.

Financial Backing and Economic Vision

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

"I aim us to have a significant economic impact on communities in this region," he told media outlets, adding that he aspired to make this urban center "a tourism center."

Mowaa, a charitable Nigerian institution, aims at creating over 30,000 work positions and contributing more than $80m annually to the regional creative economy through alliances and programming.

Funding Sources and Political Challenges

It has needed $25m to get here – capital collected from different donors, such as the European governments, the UK museum and the Edo state government.

But at present the local government has revoked permission from under it – canceling the occupancy of the property on which the facility was constructed.

An Edo state spokesperson clarified this was because in the original paperwork it had referred to itself as Edo Museum of West African Art – and it had since removed "Edo" from its designation.

Protests and Political Intervention

This statement was preceded by protests on the weekend, when activists stormed the complex demanding it be named the Museum of the Benin Kingdom.

A rowdy assembly confronted overseas dignitaries at the museum prior to the inauguration – compelling them to be escorted out under security protection.

Head of state Bola Tinubu has also intervened to work to address the tensions, setting up a special task force to manage the situation.

Administrative Challenges

But how has this evolved into so politicised – and such a reputation problem?

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

And it seems the administration of the recently elected official, a key associate of the regional monarch, known as the Oba, may seek increased control in the project. The demonstrators on the weekend, for example, were insisting that the facility be put under the authority of Oba Ewuare II.

The Cultural Artifacts Debate

This brings into focus the controversial matter of the Benin Bronzes, one of the continent's most famous historical legacy.

Because though the facility does eventually welcome visitors, these objects will be noticeably missing.

They are metal, elephant tusk and timber artworks that once decorated the royal palace of the ancient kingdom before British soldiers stole them in the colonial era during a colonial invasion.

Currently, many remain spread across institutions in the West -- such as the London museum, German museum and the New York institution.

Repatriation Campaigns

Their return has become one of the most disputed debates in the global art world. Roughly 150 have presently been returned – and more are scheduled to be repatriated.

When ideas for the museum in the urban center were first announced in the pre-pandemic era, the key players on the national arts community anticipated it would become their perfect venue – a state-of-the-art facility to exhibit them to the world.

But the waters were muddied two years ago after the national authorities stated that the traditional ruler would be the legal custodian of returned objects – and the monarch's court campaigned for a institution under the royal family's direct control, opposing the wishes of Obaseki.

Political Navigation

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