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The nation's remarkable new West African Art Museum (Mowaa) has landed in the middle of area political conflicts during the time it was supposed to – but failed – to begin operations to the general public for the very first time.

The Grand Vision

The large-scale campus is located in the heart of Benin's urban center, administrative center of the southern region of Edo – and contains an archaeological dig and facilities planned by celebrated British-Ghanaian architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that opened in the US capital in 2016.

It has been five years in the making – and is designed to celebrate both the heritage and the modern times of cultural innovation in the locale famous for the historic artworks, cultural objects looted from the king's palace by UK forces in the 19th Century.

Readiness and Potential

It is impressive – and prior to the planned opening, Mowaa was buzzing with workers determined to show it is a institution that can rival established cultural centers in the West.

Inside art restorers carefully opened artworks from protective packaging, checking each item and taking thorough documentation before arranging them on walls and plinths.

Specialists fine-tuned environmental controls. In the materials science laboratory, personnel set up devices intended to conserve centuries-old artefacts.

Funding and Economic Goals

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

"I aim us to have a significant economic impact on local residents around here," he explained to journalists, adding that he aspired to make this urban center "an arts hub."

Mowaa, a not-for-profit national foundation, aims at creating more than 30,000 direct and indirect jobs and adding more than $80m each year to the area arts sector through collaborations and activities.

Financial Support and Government Issues

It has required $25m to achieve this stage – capital raised from different supporters, such as the European governments, the British Museum and the regional authorities.

But now the regional administration has pulled the rug from below it – canceling the occupancy of the site on which the building was erected.

An official representative clarified this was because in the early agreements it had referred to itself as the Edo-named institution – and it had later eliminated "the regional name" from its name.

Protests and Political Intervention

This statement was preceded by rallies on the weekend, when protesters stormed the complex demanding it be called the Royal Benin Museum.

A boisterous crowd confronted overseas dignitaries at the museum prior to the inauguration – forcing them to be quickly removed under police escort.

President Bola Tinubu has additionally intervened to work to address the tensions, establishing a special task force to do some damage control.

Administrative Challenges

But in what way has this turned into so controversial – and such a PR disaster?

Much of it results from local power struggles at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose governance concluded last year – who was a key supporter of the museum.

And it seems the leadership of the new governor, a strong supporter of the regional monarch, known as the Oba, may seek increased control in the venture. The protesters on the weekend, for instance, were demanding that the museum be positioned under the authority of Oba Ewuare II.

The Cultural Artifacts Debate

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

Because although the facility does ultimately open, these objects will be clearly not present.

They are brass, elephant tusk and wooden artworks that once adorned the royal palace of the historical empire before colonial troops looted them in 1897 during a military operation.

Today, thousands remain spread across institutions in the West -- featuring the London museum, Berlin's Humboldt Forum and the American museum.

Repatriation Campaigns

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

When plans for the museum in the city were first announced in the pre-pandemic era, the key players on Nigeria's art scene hoped it would become their perfect venue – a modern campus to display them to the world.

But the issues became confused two years ago after the federal government stated that the royal leader would be the legal custodian of repatriated artifacts – and the royal household advocated for a institution under the royal family's direct control, opposing the preferences of Obaseki.

Strategic Positioning

This left Mowaa in a challenging circumstance: asserting a clear stance on repatriation while remaining diplomatic on custodianship – and highlighting its wider mission, which led to|c