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The nation's stunning new Museum of West African Art (Mowaa) has found itself in the center of regional political struggles during the period it was supposed to – but did not manage – to open its doors to the visitors for the very first time.

The Ambitious Project

The 15-acre campus is located in the center of the Edo state capital, main city of the southern area of Edo – and contains an historical dig and structures created by high-profile British-Ghanaian architect Sir David Adjaye, best known for the National Museum of African American History and Culture that began operations in Washington in 2016.

It has been five years in the making – and is planned to celebrate both the past and the present of artistic expression in the locale renowned for the cultural artifacts, cultural objects taken from the royal palace by British troops in the 1800s.

Setup and Prospects

It is remarkable – and before the scheduled opening, Mowaa was buzzing with workers resolved to prove it is a institution that can compete with renowned art institutions in the Europe and America.

Inside conservators carefully revealed art pieces from safety materials, checking each item and taking thorough records before arranging them on exhibition areas and stands.

Experts adjusted temperature regulation systems. In the research lab, personnel calibrated instruments designed to preserve historical objects.

Financial Backing and Economic Vision

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

"I want us to have a substantial economic impact on area populations around here," he explained to media outlets, adding that he aspired to make Benin City "an arts hub."

Mowaa, a non-profit local organization, envisions itself establishing in excess of 30,000 work positions and adding over $80m per year to the regional creative economy through partnerships and activities.

Financial Support and Government Issues

It has taken $25m to reach this point – money raised from different contributors, including the European governments, the London institution and the regional authorities.

But now the regional administration has pulled the rug from beneath it – terminating the use of the site on which the building was erected.

An Edo state spokesperson clarified this was because in the initial documents it had referred to itself as the Edo-named institution – and it had later eliminated "the state identifier" from its name.

Protests and Political Intervention

This declaration followed demonstrations on the weekend, when activists invaded the campus insisting it be designated the Museum of the Benin Kingdom.

A disruptive crowd confronted foreign guests at the facility before the inauguration – forcing them to be escorted out under security protection.

National leader Bola Tinubu has even become involved to try and resolve the dispute, creating a high-level committee to manage the situation.

Political Complexities

But why has this become so controversial – and such a PR disaster?

The majority of it results from internecine rivalries at a local state level, as it was the ex-administrator Godwin Obaseki – whose term in office finished last year – who was a major backer of the project.

And it looks like the government of the recently elected official, a strong supporter of the local traditional ruler, called the royal figure, may want more of a stake in the initiative. The demonstrators on Sunday, for case, were insisting that the institution be put under the authority of the royal leader.

The Benin Bronzes Controversy

This highlights the contentious issue of the Benin Bronzes, one of Africa's most renowned historical legacy.

Because though the institution does ultimately begin operations, these artifacts will be conspicuously absent.

They are metal, elephant tusk and timber sculptures that once decorated the monarch's home of the Benin Kingdom before colonial troops stole them in 1897 during a colonial invasion.

Currently, many continue to be scattered across institutions in the West -- including the British Museum, German museum and the New York institution.

Restitution Efforts

Their return has become one of the most contested conversations in the global art world. Approximately 150 have presently come back – and additional are due to follow.

When proposals for the museum in the urban center were first announced in 2019, the key players on the country's cultural sector anticipated it would become their natural home – a state-of-the-art facility to exhibit them to the international community.

But the issues became confused two years ago after the national authorities declared that the traditional ruler would be the legal custodian of any returned bronzes – and the royal household advocated for a facility under the king's authority, against the desires of the ex-leader.

Diplomatic Challenges

This left Mowaa in a delicate position: maintaining a specific viewpoint on restitution while remaining diplomatic on custodianship – and emphasising its larger purpose, which led to|c