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The nation's stunning new Museum of West African Art (Mowaa) has ended up in the middle of regional political struggles during the time it was scheduled to – but was unable – to open its doors to the general public for the first time.

The Ambitious Project

The large-scale campus sits in the core of Benin City, main city of the southern state of Edo – and features an archaeological dig and buildings designed by high-profile dual heritage architect Sir David Adjaye, best known for the Washington African American Museum that opened in Washington DC in 2016.

It has been half a decade in the creation – and is designed to celebrate both the history and the modern times of artistic expression in the area famous for the Benin Bronzes, historical pieces taken from the royal palace by British troops in the 19th Century.

Readiness and Potential

It is notable – and prior to the planned opening, Mowaa was buzzing with staff resolved to prove it is a place that can rival well-known museums and galleries in the West.

Inside conservators meticulously unwrapped cultural items from protective packaging, checking each piece and taking thorough notes before positioning them on exhibition areas and plinths.

Technicians adjusted environmental controls. In the scientific facility, personnel set up instruments designed to preserve ancient items.

Investment and Economic Plans

The initiative has been the brainchild of entrepreneur Phillip Ihenacho – currently Mowaa's executive director.

"I aim us to have a major financial effect on communities around here," he told the press, noting that he wanted to make Benin City "an arts hub."

Mowaa, a charitable Nigerian institution, envisions itself creating over 30,000 employment opportunities and providing more than $80m each year to the regional creative economy through collaborations and programming.

Investment and Administrative Problems

It has needed $25m to reach this point – capital collected from different contributors, including the international partners, the London institution and the local administration.

But at present the local government has revoked permission from under it – revoking the utilization of the land on which the museum was built.

An official representative clarified this was because in the initial documents it had called itself EMOWAA – and it had later eliminated "the state identifier" from its designation.

Protests and Political Intervention

This declaration came after demonstrations on recently, when protesters stormed the facility calling for it be designated the Benin Royal Museum.

A rowdy crowd harassed foreign guests at the facility prior to the inauguration – compelling them to be quickly removed under official guard.

Head of state Bola Tinubu has additionally intervened to work to address the tensions, establishing a special task force to address the controversy.

Governance Issues

But in what way has this become so politicised – and such a reputation problem?

A great deal of it stems from local power struggles at a regional government level, as it was the former state leader Godwin Obaseki – whose governance ended last year – who was a key supporter of the project.

And it seems the leadership of the recently elected official, a close ally of the area king, referred to as the royal figure, may seek increased control in the venture. The protesters on Sunday, for case, were demanding that the institution be placed under the control of the royal leader.

The Historical Objects Discussion

This emphasizes the controversial matter of the cultural artifacts, one of the region's most famous cultural treasures.

Because although the museum does eventually welcome visitors, these objects will be noticeably missing.

They are brass, ivory and wooden carvings that once decorated the king's residence of the historical empire before UK forces took them in 1897 during a military operation.

Nowadays, thousands continue to be distributed across galleries in the West -- such as the British Museum, Berlin's Humboldt Forum and the American museum.

Restitution Efforts

Their repatriation has become one of the most debated debates in the global art world. Roughly 150 have currently come back – and further are scheduled to be repatriated.

When proposals for the museum in the city were first announced in the pre-pandemic era, the movers and shakers on the national arts community anticipated it would become their ideal location – a modern complex to display them to the world.

But the situation became complicated some time back after the national authorities announced that the royal leader would be the legal custodian of any returned bronzes – and the monarch's court pushed for a institution under the monarch's supervision, contrary to the desires of the ex-leader.

Diplomatic Challenges

This left Mowaa in a delicate position: asserting a specific viewpoint on repatriation while being careful on ownership – and emphasising its wider mission, which led to|c