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The nation's remarkable new Museum of West African Art (Mowaa) has landed in the center of area political conflicts during the time it was expected to – but was unable – to open its doors to the visitors for the initial occasion.

The Ambitious Project

The 15-acre campus sits in the core of Benin's urban center, administrative center of the southern region of Edo – and includes an excavation site and buildings planned by renowned Ghanaian-British architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that was inaugurated in Washington DC in 2016.

It has been 60 months in the development – and is designed to showcase both the heritage and the modern times of artistic expression in the locale renowned for the historic artworks, artworks taken from the city's royal palace by UK forces in the nineteenth century.

Preparation and Promise

It is impressive – and ahead of the planned opening, Mowaa was buzzing with staff determined to show it is a venue that can compete with established art institutions in the Europe and America.

Internally preservation experts meticulously revealed art pieces from secure wrapping, inspecting each artifact and taking detailed notes before placing them on exhibition areas and stands.

Specialists adjusted temperature regulation systems. In the materials science laboratory, staff members adjusted instruments meant to maintain centuries-old items.

Financial Backing and Economic Vision

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

"I aim us to have a significant economic benefit on communities in the vicinity," he stated to journalists, adding that he aspired to make the city "an arts hub."

Mowaa, a charitable national foundation, envisions itself creating more than 30,000 work positions and providing over $80m annually to the area arts sector through alliances and activities.

Investment and Administrative Problems

It has required $25m to achieve this stage – money collected from different contributors, including the international partners, the UK museum and the Edo state government.

But currently the state authorities has pulled the rug from beneath it – canceling the utilization of the land on which the building was erected.

An Edo state spokesperson explained this was because in the initial documents it had identified as Edo Museum of West African Art – and it had since dropped "the regional name" from its name.

Protests and Political Intervention

This statement came after protests on Sunday, when protesters invaded the campus calling for it be designated the Royal Benin Museum.

A boisterous group insulted international visitors at the facility before the opening – requiring them to be escorted out under police escort.

Head of state Bola Tinubu has even become involved to try and resolve the conflict, creating a special task force to address the controversy.

Administrative Challenges

But how has this evolved into so politicised – and such a PR disaster?

Much of it comes down to local power struggles at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office ended last year – who was a primary advocate of the project.

And it seems the leadership of the recently elected official, a strong supporter of the area king, called the traditional leader, may desire increased control in the venture. The protesters on the weekend, for instance, were insisting that the facility be placed under the authority of the royal leader.

The Benin Bronzes Controversy

This brings into focus the contentious issue of the historical artworks, one of the region's most famous cultural treasures.

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

They are metal, ivory and wooden sculptures that once adorned the royal palace of the ancient kingdom before British soldiers looted them in 1897 during a punitive expedition.

Today, thousands continue to be distributed across museums in the West -- featuring the British Museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Return Initiatives

Their repatriation has become one of the most debated conversations in the international art community. About 150 have now made their way home – and additional are scheduled to be repatriated.

When ideas for the facility in the urban center were originally proposed in the pre-pandemic era, the key players on Nigeria's art scene hoped it would become their perfect venue – a modern campus to show them off to the global audience.

But the waters were muddied recently after the federal government declared that the Oba would be the legal custodian of repatriated artifacts – and the royal household pushed for a institution under the royal family's direct control, opposing the preferences of the former governor.

Political Navigation

This left Mowaa in a challenging circumstance: maintaining a specific viewpoint on return while being careful on guardianship – and emphasising its wider mission, which led to|c