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The nation's remarkable new Museum of West African Art (Mowaa) has ended up in the crosshairs of regional political struggles during the period it was scheduled to – but was unable – to begin operations to the visitors for the first time.

The Grand Vision

The six-hectare facility stands in the core of Benin's urban center, capital of the southern area of Edo – and features an archaeological dig and structures designed by high-profile dual heritage architect Sir David Adjaye, best known for the Washington African American Museum that began operations in the US capital in 2016.

It has been half a decade in the development – and is planned to celebrate both the past and the modern times of artistic expression in the region famous for the Benin Bronzes, historical pieces looted from the city's royal palace by UK forces in the 1800s.

Preparation and Promise

It is impressive – and before the anticipated opening, Mowaa was energetic with workers resolved to prove it is a venue that can compete with established cultural centers in the West.

Internally preservation experts precisely opened art pieces from safety materials, checking each piece and taking detailed records before arranging them on display surfaces and stands.

Experts fine-tuned environmental controls. In the materials science laboratory, staff members set up equipment designed to maintain historical objects.

Financial Backing and Economic Vision

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

"I want us to have a substantial financial effect on communities in the vicinity," he explained to the press, mentioning that he hoped to make this urban center "a cultural destination."

Mowaa, a not-for-profit local organization, envisions itself creating over 30,000 work positions and providing over $80m each year to the regional creative economy through collaborations and events.

Investment and Administrative Problems

It has needed $25m to achieve this stage – funds gathered from various supporters, including the international partners, the London institution and the regional authorities.

But now the local government has revoked permission from below it – revoking the occupancy of the land on which the museum was built.

An Edo state spokesperson clarified this was because in the original paperwork it had identified as the Edo-named institution – and it had since eliminated "Edo" from its name.

Unrest and Official Response

This statement followed demonstrations on the weekend, when activists stormed the complex calling for it be designated the Benin Royal Museum.

A disruptive assembly confronted overseas dignitaries at the facility before the launch – forcing them to be quickly removed under security protection.

President Bola Tinubu has also stepped in to attempt to settle the dispute, establishing a special task force to manage the situation.

Political Complexities

But how has this evolved into so controversial – and such a public relations crisis?

A great deal of it results from local power struggles at a area administrative level, as it was the former state leader Godwin Obaseki – whose governance ended last year – who was a major backer of the initiative.

And it looks like the government of the current leader, a key associate of the area king, called the royal figure, may seek increased control in the project. The demonstrators on that day, for instance, were demanding that the museum be put under the authority of the current Oba.

The Cultural Artifacts Debate

This brings into focus the contentious issue of the historical artworks, one of the continent's most famous historical legacy.

Because even if the facility does ultimately welcome visitors, these bronzes will be conspicuously absent.

They are brass, ivory and wooden artworks that once embellished the king's residence of the Benin Kingdom before British soldiers looted them in the late nineteenth century during a punitive expedition.

Nowadays, many stay scattered across museums in the West -- including the UK institution, Berlin's Humboldt Forum and the New York institution.

Repatriation Campaigns

Their repatriation has become one of the most debated discussions in the worldwide cultural sector. Roughly 150 have currently made their way home – and more are due to follow.

When proposals for the facility in the city were first announced in the pre-pandemic era, the influential figures on Nigeria's art scene expected it would become their perfect venue – a state-of-the-art campus to show them off to the world.

But the situation became complicated two years ago after the central administration declared that the Oba would be the rightful owner of any returned bronzes – and the palace campaigned for a museum under the monarch's supervision, opposing the desires of the ex-leader.

Diplomatic Challenges

This left Mowaa in a challenging circumstance: asserting a clear stance on repatriation while staying tactful on ownership – and highlighting its broader vision, which led to|c