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The nation's impressive new West African Art Museum (Mowaa) has ended up in the center of local power politics during the week it was supposed to – but was unable – to welcome visitors to the public for the very first time.

The Ambitious Project

The 15-acre complex sits in the core of Benin City, capital of the southern region of Edo – and features an historical dig and buildings planned by celebrated dual heritage architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that opened in Washington in 2016.

It has been 60 months in the making – and is designed to celebrate both the history and the present of creativity in the region known for the Benin Bronzes, historical pieces stolen from the city's royal palace by British soldiers in the nineteenth century.

Setup and Prospects

It is remarkable – and before the planned opening, Mowaa was buzzing with staff committed to demonstrate it is a place that can match renowned museums and galleries in the West.

Within conservators meticulously revealed art pieces from secure wrapping, examining each piece and taking detailed documentation before positioning them on exhibition areas and stands.

Specialists adjusted climate control systems. In the scientific facility, officers adjusted equipment designed to preserve historical items.

Funding and Economic Goals

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

"I want us to have a substantial economic impact on area populations around here," he explained to media outlets, noting that he aspired to make the city "a cultural destination."

Mowaa, a charitable national foundation, sees itself establishing over 30,000 direct and indirect jobs and providing more than $80m each year to the area arts sector through collaborations and programming.

Funding Sources and Political Challenges

It has required $25m to achieve this stage – money gathered from multiple supporters, featuring the European governments, the British Museum and the regional authorities.

But currently the local government has pulled the rug from below it – revoking the utilization of the property on which the facility was constructed.

An Edo state spokesperson clarified this was because in the early agreements it had called itself Edo Museum of West African Art – and it had subsequently eliminated "the state identifier" from its name.

Demonstrations and Government Action

This declaration came after protests on Sunday, when activists stormed the complex demanding it be named the Royal Benin Museum.

A rowdy assembly insulted foreign guests at the museum ahead of the launch – requiring them to be escorted out under official guard.

President Bola Tinubu has even become involved to try and resolve the conflict, establishing a high-level committee to address the controversy.

Governance Issues

But in what way has this become so divisive – and such a PR disaster?

A great deal of it stems from internecine rivalries at a regional government level, as it was the former state leader Godwin Obaseki – whose administration finished the previous year – who was a key supporter of the initiative.

And it looks like the government of the new governor, a strong supporter of the local traditional ruler, known as the traditional leader, may desire increased control in the initiative. The activists on the weekend, for case, were insisting that the institution be put under the supervision of Oba Ewuare II.

The Cultural Artifacts Debate

This brings into focus the disputed topic of the historical artworks, one of Africa's most celebrated cultural treasures.

Because although the institution does eventually welcome visitors, these bronzes will be clearly not present.

They are metal, ivory and timber sculptures that once decorated the monarch's home of the historical empire before colonial troops looted them in the colonial era during a military operation.

Nowadays, numerous remain spread across institutions in the West -- including the London museum, Berlin's Humboldt Forum and the New York institution.

Restitution Efforts

Their return has become one of the most contested discussions in the international art community. Roughly 150 have presently made their way home – and more are expected to return.

When proposals for the facility in the urban center were initially revealed in recent years, the influential figures on the country's cultural sector expected it would become their perfect venue – a state-of-the-art campus to exhibit them to the world.

But the situation became complicated recently after the central administration declared that the royal leader would be the legal custodian of returned objects – and the royal household campaigned for a facility under the monarch's supervision, opposing the wishes of Obaseki.

Strategic Positioning

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