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Nigeria's remarkable new West African Art Museum (Mowaa) has landed in the crosshairs of local power politics during the time it was scheduled to – but was unable – to open its doors to the public for the first time.

The Major Initiative

The 15-acre complex stands in the heart of the Edo state capital, capital of the southern state of Edo – and contains an historical dig and buildings designed by high-profile dual heritage architect Sir David Adjaye, most famous for the Smithsonian African American Museum that was inaugurated in the US capital in 2016.

It has been half a decade in the development – and is designed to celebrate both the history and the current era of artistic expression in the region renowned for the historic artworks, artworks 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 buzzing with staff committed to prove it is a institution that can rival established museums and galleries in the Europe and America.

Inside art restorers carefully opened art pieces from protective packaging, inspecting each item and taking meticulous documentation before positioning them on walls and plinths.

Experts adjusted climate control systems. In the materials science laboratory, staff members set up devices meant to conserve historical artefacts.

Funding and Economic Goals

The venture has been the idea of businessman Phillip Ihenacho – now Mowaa's chief executive.

"I hope us to have a substantial economic benefit on local residents around here," he stated to media outlets, adding that he aspired to make Benin City "a tourism center."

Mowaa, a non-profit national foundation, envisions itself creating in excess of 30,000 work positions and providing over $80m each year to the area arts sector through collaborations and events.

Investment and Administrative Problems

It has required $25m to achieve this stage – money gathered from various supporters, such as the international partners, the British Museum and the local administration.

But at present the regional administration has pulled the rug from below it – terminating the use of the land on which the museum was built.

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

Demonstrations and Government Action

This statement followed demonstrations on recently, when people stormed the campus calling for it be named the Benin Royal Museum.

A boisterous crowd harassed overseas dignitaries at the museum before the inauguration – forcing them to be escorted out under official guard.

President Bola Tinubu has also become involved to try and resolve the tensions, setting up a high-level committee to do some damage control.

Governance Issues

But in what way has this turned into so controversial – and such a reputation problem?

A great deal of it comes down to internecine rivalries at a local state level, as it was the ex-administrator Godwin Obaseki – whose term in office concluded recently – who was a primary advocate of the museum.

And it appears the government of the recently elected official, a close ally of the regional monarch, known as the royal figure, may want more of a stake in the venture. The activists on the weekend, for example, were insisting that the institution be put under the authority of the current Oba.

The Cultural Artifacts Debate

This brings into focus the contentious issue of the Benin Bronzes, one of the continent's most celebrated historical legacy.

Because though the institution does finally open, these objects will be conspicuously absent.

They are metal, ivory and timber sculptures that once adorned the monarch's home of the Benin Kingdom before UK forces looted them in the late nineteenth century during a military operation.

Nowadays, thousands continue to be spread across institutions in Europe and North America -- featuring the British Museum, German museum and the New York institution.

Return Initiatives

Their homecoming has become one of the most debated discussions in the worldwide cultural sector. Roughly 150 have currently made their way home – and further are scheduled to be repatriated.

When proposals for the museum in Benin City were first announced in the pre-pandemic era, the key players on the national arts community expected it would become their ideal location – a modern complex to show them off to the global audience.

But the issues became confused two years ago after the national authorities announced that the traditional ruler would be the rightful owner of repatriated artifacts – and the monarch's court pushed for a museum under the royal family's direct control, opposing the desires of the former governor.

Political Navigation

This placed Mowaa in a difficult situation: expressing a clear stance on return while staying tactful on guardianship – and highlighting its larger purpose, which led to|c