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Nigeria's stunning new Museum of West African Art (Mowaa) has found itself in the crosshairs of local power politics during the period it was supposed to – but did not manage – to begin operations to the public for the initial occasion.

The Grand Vision

The large-scale facility stands in the core of Benin City, main city of the southern region of Edo – and features an historical dig and buildings created by celebrated 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 half a decade in the development – and is designed to celebrate both the history and the modern times of cultural innovation in the locale renowned for the historic artworks, historical pieces looted from the royal palace by UK forces in the 1800s.

Preparation and Promise

It is notable – and prior to the planned opening, Mowaa was buzzing with staff determined to prove it is a institution that can compete with well-known cultural centers in the West.

Internally conservators carefully unwrapped artworks from protective packaging, examining each item and taking detailed notes before positioning them on walls and stands.

Experts calibrated temperature regulation systems. In the materials science laboratory, officers set up devices intended to conserve ancient items.

Investment and Economic Plans

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

"I aim us to have a significant economic benefit on area populations in the vicinity," he told the press, mentioning that he wanted to make this urban center "a tourism center."

Mowaa, a non-profit national foundation, envisions itself creating over 30,000 work positions and adding more than $80m annually to the regional creative economy through partnerships and activities.

Funding Sources and Political Challenges

It has required $25m to achieve this stage – funds collected from different supporters, including the French and German governments, the UK museum and the local administration.

But now the regional administration has withdrawn support from under it – revoking the occupancy of the land on which the facility was constructed.

An Edo state spokesperson explained this was because in the early agreements it had called itself EMOWAA – and it had since dropped "the regional name" from its designation.

Unrest and Official Response

This announcement followed protests on the weekend, when people stormed the campus insisting it be named the Royal Benin Museum.

A boisterous crowd confronted foreign guests at the facility before the launch – requiring them to be hurried away under official guard.

Head of state Bola Tinubu has even become involved to attempt to settle the conflict, creating a high-level committee to do some damage control.

Political Complexities

But why has this evolved into so divisive – and such a reputation problem?

A great deal of it results from local power struggles at a regional government level, as it was the former state leader Godwin Obaseki – whose governance ended the previous year – who was a major backer of the initiative.

And it appears the leadership of the new governor, a key associate of the regional monarch, referred to as the traditional leader, may seek more of a stake in the venture. The protesters on Sunday, for case, were calling for that the facility be placed under the authority of Oba Ewuare II.

The Cultural Artifacts Debate

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

Because although the institution does finally begin operations, these bronzes will be conspicuously absent.

They are metal, ivory and wooden carvings that once adorned the royal palace of the Benin Kingdom before British soldiers looted them in 1897 during a colonial invasion.

Nowadays, thousands continue to be distributed across galleries in the West -- featuring the British Museum, European center and the New York institution.

Repatriation Campaigns

Their repatriation has become one of the most debated debates in the international art community. Roughly 150 have now been returned – and additional are expected to return.

When plans for the museum in the city were first announced in 2019, the influential figures on the country's cultural sector anticipated it would become their ideal location – a modern complex to exhibit them to the world.

But the waters were muddied two years ago after the central administration declared 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 Obaseki.

Diplomatic Challenges

This left Mowaa in a difficult situation: asserting a definite position on repatriation while being careful on ownership – and stressing its wider mission, which led to|c