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Nigeria's remarkable new West African Art Museum (Mowaa) has ended up in the crosshairs of local power politics during the time it was supposed to – but was unable – to open its doors to the visitors for the initial occasion.

The Grand Vision

The 15-acre complex is located in the center of the Edo state capital, main city of the southern state of Edo – and features an historical dig and structures created by renowned dual heritage architect Sir David Adjaye, most famous for the Smithsonian African American Museum that opened in the US capital in 2016.

It has been 60 months in the making – and is planned to celebrate both the heritage and the modern times of artistic expression in the locale famous for the Benin Bronzes, historical pieces taken from the city's royal palace by UK forces in the 19th Century.

Setup and Prospects

It is impressive – and before the anticipated opening, Mowaa was buzzing with workers committed to show it is a venue that can match well-known museums and galleries in the Europe and America.

Inside art restorers precisely revealed art pieces from secure wrapping, examining each piece and taking detailed documentation before positioning them on display surfaces and bases.

Experts fine-tuned environmental controls. In the research lab, officers calibrated devices meant to conserve ancient artefacts.

Funding and Economic Goals

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

"I want us to have a substantial financial effect on local residents around here," he told media outlets, noting that he aspired to make Benin City "an arts hub."

Mowaa, a charitable local organization, envisions itself creating in excess of 30,000 employment opportunities and contributing over $80m per year to the regional creative economy through partnerships and events.

Investment and Administrative Problems

It has required $25m to achieve this stage – funds collected from multiple contributors, including the French and German governments, the London institution and the local administration.

But currently the local government has pulled the rug from under it – revoking the use of the site on which the facility was constructed.

An official representative clarified this was because in the initial documents it had identified as the Edo-named institution – and it had subsequently removed "the regional name" from its name.

Protests and Political Intervention

This statement was preceded by protests on recently, when activists entered the complex calling for it be named the Museum of the Benin Kingdom.

A rowdy assembly confronted overseas dignitaries at the facility ahead of the opening – requiring them to be escorted out under police escort.

President Bola Tinubu has even stepped in to try and resolve the conflict, setting up a special task force to do some damage control.

Governance Issues

But in what way has this evolved into so politicised – and such a PR disaster?

Much of it results from internecine rivalries at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished the previous year – who was a major backer of the initiative.

And it looks like the leadership of the current leader, a close ally of the area king, referred to as the royal figure, may desire more of a stake in the project. The activists on that day, for case, were demanding that the museum be put under the supervision of Oba Ewuare II.

The Benin Bronzes Controversy

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

Because although the facility does finally open, these bronzes will be clearly not present.

They are metal, elephant tusk and wooden artworks that once decorated the monarch's home of the ancient kingdom before colonial troops stole them in the late nineteenth century during a colonial invasion.

Nowadays, many stay distributed across museums in Western nations -- including the British Museum, German museum and the Metropolitan Museum of Art.

Restitution Efforts

Their homecoming has become one of the most contested conversations in the global art world. About 150 have now made their way home – and additional are due to follow.

When ideas for the institution in the urban center were first announced in recent years, the influential figures on Nigeria's art scene expected it would become their ideal location – a modern campus to exhibit them to the international community.

But the situation became complicated two years ago after the national authorities declared that the royal leader would be the rightful owner of returned objects – and the palace pushed for a institution under the royal family's direct control, against the preferences of the former governor.

Diplomatic Challenges

This placed Mowaa in a delicate position: expressing a definite position on return while being careful on custodianship – and highlighting its larger purpose, which led to|c