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The nation's stunning new West African Art Museum (Mowaa) has found itself in the middle of local power politics during the time it was scheduled to – but did not manage – to begin operations to the visitors for the initial occasion.

The Grand Vision

The six-hectare complex stands in the heart of Benin's urban center, administrative center of the southern area of Edo – and includes an excavation site and buildings designed by high-profile dual heritage architect Sir David Adjaye, particularly noted for the Washington African American Museum that opened in the US capital in 2016.

It has been five years in the development – and is designed to celebrate both the past and the current era of artistic expression in the region famous for the Benin Bronzes, artworks looted from the royal palace by British troops in the 1800s.

Preparation and Promise

It is remarkable – and before the planned opening, Mowaa was energetic with employees determined to show it is a venue that can compete with well-known museums and galleries in the West.

Internally conservators carefully unwrapped artworks from protective packaging, checking each piece and taking thorough notes before placing them on exhibition areas and plinths.

Specialists adjusted temperature regulation systems. In the materials science laboratory, staff members calibrated devices designed to maintain centuries-old artefacts.

Financial Backing and Economic Vision

The project has been the concept of entrepreneur Phillip Ihenacho – currently Mowaa's managing director.

"I aim us to have a substantial economic impact on local residents around here," he stated to the press, mentioning that he wanted to make this urban center "a tourism center."

Mowaa, a not-for-profit Nigerian institution, sees itself establishing in excess of 30,000 direct and indirect jobs and providing above $80m annually to the area arts sector through alliances and activities.

Funding Sources and Political Challenges

It has taken $25m to achieve this stage – money raised from multiple donors, such as the European governments, the London institution and the Edo state government.

But currently the local government has revoked permission from below it – revoking the use of the land on which the building was erected.

An government communicator stated this was because in the original paperwork it had referred to itself as the Edo-named institution – and it had subsequently dropped "the regional name" from its title.

Unrest and Official Response

This statement followed rallies on the weekend, when protesters entered the facility demanding it be designated the Royal Benin Museum.

A boisterous assembly confronted overseas dignitaries at the facility before the opening – compelling them to be hurried away under security protection.

President Bola Tinubu has even intervened to work to address the dispute, creating a special task force to address the controversy.

Administrative Challenges

But how has this evolved into so controversial – and such a reputation problem?

Much of it stems from internecine rivalries at a local state level, as it was the ex-administrator Godwin Obaseki – whose administration concluded last year – who was a primary advocate of the museum.

And it appears the administration of the recently elected official, a close ally of the area king, called the traditional leader, may want more of a stake in the initiative. The protesters on Sunday, for example, were calling for that the museum be put under the supervision of the royal leader.

The Cultural Artifacts Debate

This brings into focus the controversial matter of the Benin Bronzes, one of the continent's most celebrated artistic heritage.

Because although the institution does finally open, these objects will be noticeably missing.

They are metal, ivory and wooden artworks that once decorated the king's residence of the Benin Kingdom before colonial troops looted them in 1897 during a punitive expedition.

Nowadays, many continue to be spread across institutions in the West -- featuring the UK institution, Berlin's Humboldt Forum and the New York institution.

Restitution Efforts

Their return has become one of the most disputed debates in the global art world. Roughly 150 have now made their way home – and further are due to follow.

When plans for the museum in the urban center were first announced in the pre-pandemic era, the key players on Nigeria's art scene expected it would become their natural home – a state-of-the-art campus to show them off to the world.

But the issues became confused two years ago after the federal government declared that the traditional ruler would be the legal custodian of any returned bronzes – and the monarch's court pushed for a facility under the king's authority, against the desires of Obaseki.

Strategic Positioning

This placed Mowaa in a delicate position: maintaining a specific viewpoint on restitution while staying tactful on custodianship – and highlighting its larger purpose, which led to|c