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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 supposed to – but failed – to begin operations to the public for the very first time.

The Grand Vision

The six-hectare campus is located in the heart of the Edo state capital, capital of the southern region of Edo – and includes an historical dig and buildings planned 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 creation – and is planned to showcase both the history and the modern times of cultural innovation in the region famous for the Benin Bronzes, historical pieces taken from the king's palace by UK forces in the 1800s.

Preparation and Promise

It is impressive – and before the planned opening, Mowaa was active with employees determined to show it is a venue that can match well-known art institutions in the West.

Internally art restorers precisely revealed art pieces from protective packaging, examining each piece and taking meticulous documentation before placing them on walls and stands.

Specialists fine-tuned climate control systems. In the scientific facility, officers calibrated equipment intended to maintain historical artefacts.

Investment and Economic Plans

The project has been the brainchild of investor Phillip Ihenacho – presently Mowaa's managing director.

"I want us to have a significant financial effect on communities in this region," he explained to journalists, adding that he aspired to make this urban center "a tourism center."

Mowaa, a non-profit local organization, envisions itself establishing more than 30,000 work positions and adding above $80m each year to the local cultural industry through alliances and activities.

Funding Sources and Political Challenges

It has taken $25m to get here – funds collected from various contributors, featuring the French and German governments, the British Museum and the regional authorities.

But now the local government has revoked permission from under it – terminating the use of the property on which the facility was constructed.

An official representative explained this was because in the early agreements it had referred to itself as the Edo-named institution – and it had later eliminated "the state identifier" from its title.

Demonstrations and Government Action

This declaration came after rallies on Sunday, when protesters entered the facility demanding it be called the Museum of the Benin Kingdom.

A boisterous crowd insulted foreign guests at the facility before the inauguration – compelling them to be hurried away under security protection.

Head of state Bola Tinubu has even stepped in to work to address the dispute, creating a special task force to address the controversy.

Political Complexities

But in what way has this turned into so politicised – and such a PR disaster?

A great deal of it stems from local power struggles at a local state level, as it was the ex-administrator Godwin Obaseki – whose term in office ended last year – who was a key supporter of the project.

And it looks like the government of the current leader, a close ally of the local traditional ruler, called the Oba, may seek more of a stake in the project. The protesters on the weekend, for example, were insisting that the institution be positioned under the authority of the current Oba.

The Benin Bronzes Controversy

This highlights the controversial matter of the Benin Bronzes, one of the continent's most famous artistic heritage.

Because even if the facility does finally welcome visitors, these objects will be noticeably missing.

They are metal, elephant tusk and wooden carvings that once embellished the royal palace of the ancient kingdom before British soldiers looted them in the late nineteenth century during a military operation.

Today, many stay spread across institutions in the West -- such as the UK institution, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Return Initiatives

Their homecoming has become one of the most disputed conversations in the worldwide cultural sector. About 150 have presently made their way home – and more are scheduled to be repatriated.

When ideas for the facility in Benin City were originally proposed in the pre-pandemic era, the movers and shakers on the country's cultural sector hoped it would become their natural home – a state-of-the-art complex to show them off to the international community.

But the waters were muddied two years ago after the federal government stated that the royal leader would be the proper guardian of repatriated artifacts – and the palace advocated for a facility under the king's authority, contrary to the desires of the former governor.

Diplomatic Challenges

This placed Mowaa in a delicate position: maintaining a definite position on return while remaining diplomatic on ownership – and stressing its larger purpose, which led to|c