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Nigeria's remarkable new Museum of West African Art (Mowaa) has ended up in the middle of local power politics during the period it was scheduled to – but did not manage – to begin operations to the general public for the very first time.

The Grand Vision

The six-hectare complex is located in the core of Benin's urban center, main city of the southern region of Edo – and includes an archaeological dig and structures designed by celebrated dual heritage architect Sir David Adjaye, best known for the Smithsonian African American Museum that was inaugurated in Washington DC in 2016.

It has been five years in the development – and is envisioned to showcase both the heritage and the modern times of artistic expression in the region renowned for the Benin Bronzes, historical pieces looted from the king's palace by UK forces in the 1800s.

Readiness and Potential

It is impressive – and prior to the anticipated opening, Mowaa was buzzing with staff committed to demonstrate it is a institution that can compete with renowned art institutions in the Western world.

Inside conservators meticulously opened art pieces from protective packaging, inspecting each item and taking meticulous notes before positioning them on walls and stands.

Specialists calibrated environmental controls. In the materials science laboratory, officers set up devices designed to preserve ancient objects.

Financial Backing and Economic Vision

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

"I hope us to have a significant financial effect on area populations in the vicinity," he explained to journalists, adding that he wanted to make this urban center "an arts hub."

Mowaa, a non-profit national foundation, envisions itself establishing more than 30,000 direct and indirect jobs and providing more than $80m annually to the regional creative economy through alliances and events.

Investment and Administrative Problems

It has needed $25m to get here – funds collected from various supporters, including the European governments, the UK museum and the regional authorities.

But at present the state authorities has withdrawn support from under it – canceling the use of the land on which the facility was constructed.

An government communicator clarified this was because in the initial documents it had referred to itself as the Edo-named institution – and it had subsequently dropped "Edo" from its title.

Demonstrations and Government Action

This statement followed demonstrations on recently, when people entered the facility demanding it be designated the Museum of the Benin Kingdom.

A rowdy group insulted foreign guests at the museum before the inauguration – requiring them to be hurried away under official guard.

National leader Bola Tinubu has even stepped in to try and resolve the conflict, creating a presidential committee to do some damage control.

Governance Issues

But why has this become so divisive – and such a public relations crisis?

Much of it stems from internecine rivalries at a local state level, as it was Edo's previous governor Godwin Obaseki – whose administration ended recently – who was a major backer of the initiative.

And it looks like the government of the current leader, a key associate of the local traditional ruler, called the royal figure, may want increased control in the initiative. The protesters on that day, for case, were insisting that the museum be put under the supervision of the current Oba.

The Benin Bronzes Controversy

This emphasizes the controversial matter of the historical artworks, one of the region's most renowned artistic heritage.

Because although the institution does finally begin operations, these bronzes will be clearly not present.

They are brass, ivory and wooden sculptures that once adorned the king's residence of the Benin Kingdom before colonial troops took them in the late nineteenth century during a punitive expedition.

Today, many remain distributed across museums in Europe and North America -- including the UK institution, Berlin's Humboldt Forum and the New York institution.

Return Initiatives

Their repatriation has become one of the most disputed debates in the international art community. Approximately 150 have now made their way home – and more are due to follow.

When proposals for the institution in Benin City were originally proposed in recent years, the movers and shakers on Nigeria's art scene anticipated it would become their natural home – a modern complex to exhibit them to the international community.

But the situation became complicated some time back after the central administration announced that the royal leader would be the proper guardian of repatriated artifacts – and the royal household advocated for a museum under the royal family's direct control, against the desires of the former governor.

Diplomatic Challenges

This placed Mowaa in a challenging circumstance: expressing a clear stance on restitution while being careful on ownership – and stressing its broader vision, which led to|c