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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 scheduled to – but was unable – to open its doors to the general public for the very first time.

The Ambitious Project

The 15-acre complex is located in the heart of Benin's urban center, administrative center of the southern area of Edo – and includes an archaeological dig and buildings planned by renowned Ghanaian-British architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that began operations in Washington in 2016.

It has been half a decade in the development – and is planned to honor both the heritage and the modern times of cultural innovation in the locale famous for the historic artworks, cultural objects stolen from the king's palace by British troops in the 1800s.

Setup and Prospects

It is remarkable – and before the planned opening, Mowaa was active with staff committed to prove it is a venue that can rival renowned cultural centers in the Europe and America.

Inside conservators carefully unwrapped art pieces from secure wrapping, inspecting each artifact and taking meticulous documentation before arranging them on walls and stands.

Specialists adjusted environmental controls. In the research lab, personnel adjusted instruments intended to conserve centuries-old objects.

Funding and Economic Goals

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

"I aim us to have a significant economic impact on area populations around here," he told media outlets, noting that he wanted to make the city "a tourism center."

Mowaa, a non-profit national foundation, envisions itself establishing more than 30,000 employment opportunities and adding more than $80m per year to the area arts sector through collaborations and events.

Investment and Administrative Problems

It has needed $25m to get here – funds raised from multiple contributors, featuring the French and German governments, the British Museum and the local administration.

But at present the regional administration has pulled the rug from below it – terminating the occupancy of the land on which the facility was constructed.

An government communicator stated this was because in the early agreements it had referred to itself as Edo Museum of West African Art – and it had subsequently removed "the state identifier" from its name.

Protests and Political Intervention

This statement was preceded by rallies on recently, when activists stormed the complex demanding it be named the Royal Benin Museum.

A rowdy group confronted international visitors at the venue before the opening – compelling them to be quickly removed under official guard.

National leader Bola Tinubu has even become involved to work to address the conflict, setting up a high-level committee to do some damage control.

Political Complexities

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

A great deal of it results from internal conflicts at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office ended recently – who was a major backer of the museum.

And it seems the administration of the recently elected official, a key associate of the regional monarch, known as the traditional leader, may want increased control in the venture. The demonstrators on Sunday, for case, were calling for that the facility be placed under the supervision of Oba Ewuare II.

The Benin Bronzes Controversy

This brings into focus the disputed topic of the Benin Bronzes, one of Africa's most famous artistic heritage.

Because even if the museum does finally welcome visitors, these bronzes will be conspicuously absent.

They are brass, ivory and wooden sculptures that once decorated the royal palace of the Benin Kingdom before colonial troops took them in the late nineteenth century during a punitive expedition.

Nowadays, many stay distributed across institutions in Western nations -- featuring the UK institution, European center and the New York institution.

Repatriation Campaigns

Their repatriation has become one of the most debated debates in the international art community. About 150 have now been returned – and more are scheduled to be repatriated.

When proposals for the museum in the urban center were initially revealed in 2019, the key players on Nigeria's art scene anticipated it would become their natural home – a state-of-the-art facility to show them off to the international community.

But the issues became confused some time back after the federal government announced that the Oba would be the proper guardian of returned objects – and the royal household campaigned for a museum under the king's authority, against the desires of the ex-leader.

Strategic Positioning

This placed Mowaa in a challenging circumstance: asserting a specific viewpoint on return while staying tactful on custodianship – and emphasising its larger purpose, which led to|c