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The nation's impressive new Art Museum of West Africa (Mowaa) has ended up in the middle of regional political struggles during the period it was expected to – but failed – to open its doors to the visitors for the first time.

The Ambitious Project

The 15-acre campus is located in the heart of the Edo state capital, administrative center of the southern state of Edo – and includes an excavation site and buildings created by high-profile British-Ghanaian architect Sir David Adjaye, best known for the National Museum of African American History and Culture that opened in Washington DC in 2016.

It has been 60 months in the creation – and is planned to showcase both the history and the modern times of artistic expression in the area known for the historic artworks, cultural objects taken from the king's palace by British soldiers in the 1800s.

Setup and Prospects

It is remarkable – and prior to the anticipated opening, Mowaa was active with workers committed to show it is a venue that can match established art institutions in the West.

Inside preservation experts meticulously revealed art pieces from secure wrapping, inspecting each piece and taking thorough documentation before placing them on display surfaces and bases.

Experts fine-tuned environmental controls. In the scientific facility, staff members set up instruments designed to maintain historical artefacts.

Financial Backing and Economic Vision

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

"I aim us to have a significant financial effect on local residents in the vicinity," he told the press, mentioning that he wanted to make the city "an arts hub."

Mowaa, a non-profit Nigerian institution, sees itself generating more than 30,000 employment opportunities and providing over $80m each year to the local cultural industry through collaborations and activities.

Financial Support and Government Issues

It has taken $25m to achieve this stage – money collected from various supporters, featuring the French and German governments, the London institution and the local administration.

But now the local government has withdrawn support from beneath it – canceling the occupancy of the site on which the facility was constructed.

An government communicator stated this was because in the original paperwork it had identified as EMOWAA – and it had since removed "the regional name" from its designation.

Demonstrations and Government Action

This announcement followed demonstrations on the weekend, when activists stormed the facility calling for it be called the Benin Royal Museum.

A boisterous crowd confronted overseas dignitaries at the facility ahead of the inauguration – requiring them to be hurried away under police escort.

Head of state Bola Tinubu has also intervened to attempt to settle the tensions, creating a presidential committee to manage the situation.

Political Complexities

But why has this turned into so politicised – and such a public relations crisis?

Much of it stems from local power struggles at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished last year – who was a key supporter of the project.

And it looks like the leadership of the current leader, a key associate of the local traditional ruler, called the royal figure, may desire increased control in the venture. The protesters on Sunday, for case, were insisting that the facility be placed under the control of the royal leader.

The Cultural Artifacts Debate

This emphasizes the disputed topic of the cultural artifacts, one of Africa's most famous historical legacy.

Because although the facility does finally welcome visitors, these objects will be conspicuously absent.

They are brass, elephant tusk and timber artworks that once decorated the royal palace of the Benin Kingdom before UK forces took them in 1897 during a military operation.

Today, thousands remain scattered across museums in Europe and North America -- such as the UK institution, European center and the Metropolitan Museum of Art.

Restitution Efforts

Their repatriation has become one of the most contested debates in the international art community. Approximately 150 have presently come back – and additional are expected to return.

When proposals for the facility in Benin City were initially revealed in the pre-pandemic era, the key players on the national arts community expected it would become their ideal location – a state-of-the-art campus to exhibit them to the international community.

But the waters were muddied recently after the federal government announced that the traditional ruler would be the rightful owner of any returned bronzes – and the royal household pushed for a institution under the royal family's direct control, contrary to the wishes of the ex-leader.

Diplomatic Challenges

This left Mowaa in a challenging circumstance: expressing a definite position on repatriation while being careful on guardianship – and stressing its wider mission, which led to|c