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Nigeria's impressive new Museum of West African Art (Mowaa) has landed in the center of local power politics during the week it was supposed to – but failed – to begin operations to the public for the first time.

The Ambitious Project

The 15-acre campus sits in the center of Benin's urban center, main city of the southern region of Edo – and contains an archaeological dig and structures designed by high-profile dual heritage architect Sir David Adjaye, most famous for the Smithsonian African American Museum that opened in the US capital in 2016.

It has been 60 months in the making – and is envisioned to honor both the heritage and the present of creativity in the region famous for the Benin Bronzes, cultural objects looted from the city's royal palace by British soldiers in the 1800s.

Setup and Prospects

It is notable – and prior to the scheduled opening, Mowaa was energetic with staff committed to demonstrate it is a place that can rival well-known art institutions in the Western world.

Within art restorers carefully revealed cultural items from secure wrapping, examining each item and taking meticulous notes before placing them on display surfaces and bases.

Technicians calibrated environmental controls. In the materials science laboratory, personnel set up equipment meant to maintain historical objects.

Investment and Economic Plans

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

"I aim us to have a major economic impact on local residents in this region," he stated to journalists, adding that he wanted to make this urban center "a cultural destination."

Mowaa, a non-profit Nigerian institution, sees itself creating more than 30,000 employment opportunities and contributing above $80m annually to the local cultural industry through partnerships and programming.

Investment and Administrative Problems

It has taken $25m to reach this point – funds raised from different donors, such as the European governments, the UK museum and the regional authorities.

But at present the regional administration has pulled the rug from beneath it – canceling the occupancy of the property on which the facility was constructed.

An government communicator clarified this was because in the initial documents it had called itself the Edo-named institution – and it had subsequently eliminated "the regional name" from its designation.

Unrest and Official Response

This declaration was preceded by rallies on Sunday, when activists entered the campus calling for it be designated the Royal Benin Museum.

A boisterous assembly confronted overseas dignitaries at the venue prior to the inauguration – forcing them to be hurried away under official guard.

President Bola Tinubu has also stepped in to attempt to settle the dispute, creating a special task force to do some damage control.

Political Complexities

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

The majority of it comes down to local power struggles at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose administration concluded last year – who was a key supporter of the project.

And it looks like the administration of the new governor, a close ally of the local traditional ruler, referred to as the traditional leader, may desire increased control in the initiative. The activists on the weekend, for example, were insisting that the facility be placed under the authority of the royal leader.

The Cultural Artifacts Debate

This highlights the contentious issue of the Benin Bronzes, one of Africa's most celebrated historical legacy.

Because though the museum does eventually begin operations, these artifacts will be noticeably missing.

They are metal, ivory and timber artworks that once adorned the king's residence of the Benin Kingdom before colonial troops looted them in 1897 during a military operation.

Nowadays, thousands remain spread across museums in the West -- such as the UK institution, European center and the Metropolitan Museum of Art.

Restitution Efforts

Their homecoming has become one of the most contested conversations in the worldwide cultural sector. Roughly 150 have now come back – and additional are scheduled to be repatriated.

When plans for the institution in the city were first announced in 2019, the influential figures on Nigeria's art scene expected it would become their perfect venue – a modern campus to show them off to the global audience.

But the situation became complicated some time back after the national authorities announced that the Oba would be the rightful owner of repatriated artifacts – and the monarch's court pushed for a facility under the royal family's direct control, against the desires of the former governor.

Strategic Positioning

This placed Mowaa in a challenging circumstance: asserting a specific viewpoint on restitution while being careful on custodianship – and stressing its larger purpose, which led to|c