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Nigeria's impressive new West African Art Museum (Mowaa) has found itself in the center of regional political struggles during the week it was scheduled to – but was unable – to welcome visitors to the general public for the initial occasion.

The Major Initiative

The large-scale campus stands in the center of Benin's urban center, administrative center of the southern region of Edo – and features an archaeological dig and structures created by high-profile British-Ghanaian architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that opened in Washington DC in 2016.

It has been five years in the development – and is planned to celebrate both the history and the modern times of cultural innovation in the area renowned for the historic artworks, historical pieces taken from the city's royal palace by British troops in the 19th Century.

Setup and Prospects

It is notable – and prior to the scheduled opening, Mowaa was buzzing with workers committed to show it is a venue that can match well-known museums and galleries in the West.

Inside art restorers meticulously unwrapped art pieces from protective packaging, checking each item and taking thorough documentation before placing them on display surfaces and plinths.

Experts adjusted environmental controls. In the materials science laboratory, officers adjusted instruments meant to maintain ancient objects.

Funding and Economic Goals

The initiative has been the idea of entrepreneur Phillip Ihenacho – presently Mowaa's chief executive.

"I aim us to have a substantial financial effect on communities in this region," he explained to the press, adding that he wanted to make Benin City "a cultural destination."

Mowaa, a not-for-profit local organization, aims at establishing more than 30,000 work positions and contributing over $80m per year to the regional creative economy through alliances and programming.

Funding Sources and Political Challenges

It has required $25m to achieve this stage – capital raised from different donors, including the European governments, the London institution and the local administration.

But now the regional administration has revoked permission from under it – revoking the use of the site on which the building was erected.

An government communicator clarified this was because in the original paperwork it had identified as EMOWAA – and it had since dropped "the state identifier" from its title.

Protests and Political Intervention

This announcement followed rallies on Sunday, when protesters stormed the facility demanding it be designated the Museum of the Benin Kingdom.

A rowdy crowd confronted foreign guests at the facility before the launch – requiring them to be escorted out under official guard.

National leader Bola Tinubu has even intervened to try and resolve the conflict, creating a high-level committee to do some damage control.

Administrative Challenges

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

The majority of it stems from internecine rivalries at a local state level, as it was the ex-administrator Godwin Obaseki – whose term in office concluded last year – who was a key supporter of the museum.

And it appears the government of the current leader, a strong supporter of the area king, referred to as the traditional leader, may seek more of a stake in the project. The demonstrators on Sunday, for example, were insisting that the museum be put under the supervision of Oba Ewuare II.

The Benin Bronzes Controversy

This highlights the disputed topic of the historical artworks, one of Africa's most celebrated historical legacy.

Because though the museum does eventually begin operations, these objects will be conspicuously absent.

They are metal, ivory and wooden sculptures that once embellished the monarch's home of the Benin Kingdom before colonial troops stole them in 1897 during a military operation.

Nowadays, numerous remain scattered across institutions in the West -- including the London museum, European center and the New York institution.

Return Initiatives

Their return has become one of the most contested debates in the worldwide cultural sector. Roughly 150 have now been returned – and additional are expected to return.

When proposals for the museum in the city were first announced in the pre-pandemic era, the key players on the country's cultural sector expected it would become their natural home – a state-of-the-art complex to show them off to the global audience.

But the waters were muddied some time back after the federal government stated that the traditional ruler would be the rightful owner of repatriated artifacts – and the royal household pushed for a institution under the royal family's direct control, opposing the desires of the ex-leader.

Political Navigation

This left Mowaa in a delicate position: asserting a definite position on repatriation while being careful on custodianship – and highlighting its wider mission, which led to|c