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The nation's impressive new Art Museum of West Africa (Mowaa) has found itself in the middle of local power politics during the period it was supposed to – but did not manage – to welcome visitors to the public for the first time.

The Grand Vision

The 15-acre facility sits in the heart of the Edo state capital, main city of the southern region of Edo – and contains an archaeological dig and buildings planned by celebrated British-Ghanaian architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that opened in Washington in 2016.

It has been half a decade in the development – and is planned to showcase both the heritage and the current era of artistic expression in the locale known for the Benin Bronzes, historical pieces looted from the city's royal palace by UK forces in the 19th Century.

Readiness and Potential

It is notable – and before the planned opening, Mowaa was active with staff resolved to prove it is a venue that can match established museums and galleries in the Western world.

Within conservators meticulously unwrapped cultural items from secure wrapping, examining each piece and taking thorough notes before arranging them on walls and bases.

Specialists fine-tuned environmental controls. In the materials science laboratory, officers set up instruments meant to preserve historical artefacts.

Funding and Economic Goals

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

"I want us to have a significant economic impact on local residents in the vicinity," he told journalists, adding that he hoped to make Benin City "a cultural destination."

Mowaa, a non-profit Nigerian institution, aims at creating more than 30,000 direct and indirect jobs and adding more than $80m each year to the regional creative economy through alliances and programming.

Financial Support and Government Issues

It has required $25m to reach this point – capital raised from different supporters, featuring the international partners, the London institution and the Edo state government.

But currently the state authorities has withdrawn support from under it – terminating the occupancy of the property on which the facility was constructed.

An government communicator clarified this was because in the original paperwork it had identified as the Edo-named institution – and it had subsequently eliminated "the state identifier" from its designation.

Protests and Political Intervention

This declaration followed protests on Sunday, when protesters entered the facility calling for it be called the Museum of the Benin Kingdom.

A disruptive assembly harassed international visitors at the facility before the opening – compelling them to be quickly removed under security protection.

Head of state Bola Tinubu has even intervened to attempt to settle the conflict, setting up a special task force to address the controversy.

Governance Issues

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

A great deal of it stems from internal conflicts at a local state level, as it was the ex-administrator Godwin Obaseki – whose governance ended the previous year – who was a primary advocate of the project.

And it looks like the leadership of the new governor, a key associate of the area king, known as the Oba, may seek greater involvement in the project. The activists on that day, for instance, were calling for that the museum be placed under the supervision of the current Oba.

The Cultural Artifacts Debate

This highlights the controversial matter of the Benin Bronzes, one of the region's most famous historical legacy.

Because even if the museum does finally open, these bronzes will be clearly not present.

They are brass, elephant tusk and timber artworks that once embellished the royal palace of the historical empire before UK forces took them in 1897 during a military operation.

Nowadays, thousands remain scattered across galleries in Western nations -- such as the London museum, Berlin's Humboldt Forum and the New York institution.

Restitution Efforts

Their homecoming has become one of the most contested conversations in the international art community. Roughly 150 have currently been returned – and additional are scheduled to be repatriated.

When plans for the facility in the city were first announced in 2019, the movers and shakers on Nigeria's art scene expected it would become their ideal location – a modern facility to exhibit them to the international community.

But the situation became complicated two years ago after the national authorities declared that the traditional ruler would be the proper guardian of any returned bronzes – and the monarch's court advocated for a facility under the monarch's supervision, opposing the wishes of the ex-leader.

Diplomatic Challenges

This left Mowaa in a difficult situation: asserting a specific viewpoint on return while being careful on guardianship – and emphasising its wider mission, which led to|c