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Nigeria's remarkable new West African Art Museum (Mowaa) has landed in the center of local power politics during the period it was scheduled to – but did not manage – to open its doors to the public for the initial occasion.

The Ambitious Project

The six-hectare facility sits in the center of Benin City, main city of the southern region of Edo – and contains an excavation site and buildings designed by renowned British-Ghanaian architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that began operations in Washington DC in 2016.

It has been half a decade in the development – and is envisioned to celebrate both the past and the modern times of creativity in the region famous for the cultural artifacts, cultural objects looted from the king's palace by British soldiers in the 1800s.

Setup and Prospects

It is notable – and ahead of the scheduled opening, Mowaa was buzzing with employees determined to prove it is a venue that can rival renowned cultural centers in the West.

Within conservators carefully opened artworks from secure wrapping, inspecting each artifact and taking detailed documentation before positioning them on exhibition areas and plinths.

Technicians calibrated environmental controls. In the materials science laboratory, personnel calibrated devices meant to conserve historical objects.

Investment and Economic Plans

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

"I hope us to have a major economic benefit on area populations in this region," he explained to the press, mentioning that he aspired to make this urban center "a cultural destination."

Mowaa, a not-for-profit national foundation, envisions itself creating in excess of 30,000 employment opportunities and contributing over $80m annually to the local cultural industry through collaborations and programming.

Financial Support and Government Issues

It has needed $25m to get here – funds collected from various contributors, featuring the French and German governments, the UK museum and the local administration.

But currently the regional administration has revoked permission from beneath it – terminating the use of the land on which the facility was constructed.

An government communicator explained this was because in the original paperwork it had referred to itself as EMOWAA – and it had later eliminated "the regional name" from its title.

Unrest and Official Response

This announcement followed protests on recently, when protesters entered the facility demanding it be designated the Museum of the Benin Kingdom.

A disruptive assembly confronted international visitors at the facility ahead of the inauguration – forcing them to be quickly removed under police escort.

President Bola Tinubu has even stepped in to attempt to settle the dispute, setting up a high-level committee to manage the situation.

Administrative Challenges

But why has this turned into so controversial – and such a PR disaster?

A great deal of it comes down to local power struggles at a local state level, as it was the former state leader Godwin Obaseki – whose administration concluded last year – who was a key supporter of the project.

And it seems the administration of the recently elected official, a close ally of the local traditional ruler, called the Oba, may desire more of a stake in the project. The protesters on Sunday, for example, were calling for that the museum be put under the control of the current Oba.

The Benin Bronzes Controversy

This highlights the disputed topic of the Benin Bronzes, one of Africa's most celebrated cultural treasures.

Because although the facility does ultimately begin operations, these bronzes will be conspicuously absent.

They are brass, elephant tusk and timber carvings that once adorned the royal palace of the ancient kingdom before colonial troops looted them in 1897 during a military operation.

Currently, thousands stay spread across institutions in Europe and North America -- featuring the British Museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Return Initiatives

Their repatriation has become one of the most disputed discussions in the global art world. Approximately 150 have now come back – and additional are scheduled to be repatriated.

When plans for the facility in Benin City were originally proposed in 2019, the key players on Nigeria's art scene hoped it would become their natural home – a modern complex to show them off to the international community.

But the waters were muddied recently after the national authorities stated that the Oba would be the proper guardian of repatriated artifacts – and the royal household advocated for a museum under the king's authority, opposing the preferences of Obaseki.

Diplomatic Challenges

This left Mowaa in a delicate position: asserting a specific viewpoint on return while being careful on custodianship – and highlighting its larger purpose, which led to|c