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The nation's remarkable new Art Museum of West Africa (Mowaa) has ended up in the crosshairs of regional political struggles during the week it was expected to – but failed – to open its doors to the public for the initial occasion.

The Major Initiative

The 15-acre campus is located in the heart of Benin City, capital of the southern state of Edo – and includes an excavation site and structures created by renowned dual heritage architect Sir David Adjaye, best known for the Smithsonian African American Museum that opened in Washington DC in 2016.

It has been five years in the creation – and is envisioned to showcase both the past and the modern times of creativity in the area renowned for the Benin Bronzes, cultural objects taken from the city's royal palace by British troops in the 1800s.

Readiness and Potential

It is notable – and ahead of the planned opening, Mowaa was buzzing with workers resolved to demonstrate it is a venue that can compete with well-known cultural centers in the West.

Within preservation experts precisely opened art pieces from protective packaging, checking each item and taking detailed notes before placing them on walls and plinths.

Experts calibrated climate control systems. In the scientific facility, staff members adjusted instruments designed to conserve centuries-old items.

Financial Backing and Economic Vision

The project has been the concept of entrepreneur Phillip Ihenacho – presently Mowaa's executive director.

"I hope us to have a major financial effect on local residents around here," he stated to journalists, mentioning that he hoped to make Benin City "a cultural destination."

Mowaa, a not-for-profit local organization, sees itself generating in excess of 30,000 work positions and adding above $80m per year to the local cultural industry through alliances and activities.

Financial Support and Government Issues

It has needed $25m to achieve this stage – funds gathered from various donors, including the French and German governments, the UK museum and the local administration.

But now the state authorities has pulled the rug from beneath it – revoking the use of the site on which the museum was built.

An government communicator stated this was because in the original paperwork it had referred to itself as the Edo-named institution – and it had subsequently removed "the regional name" from its name.

Unrest and Official Response

This declaration was preceded by rallies on the weekend, when people stormed the campus insisting it be designated the Royal Benin Museum.

A boisterous group harassed overseas dignitaries at the museum before the launch – requiring them to be hurried away under official guard.

National leader Bola Tinubu has additionally intervened to try and resolve the conflict, establishing a presidential committee to do some damage control.

Administrative Challenges

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

Much of it comes down to internal conflicts at a local state level, as it was the ex-administrator Godwin Obaseki – whose governance concluded the previous year – who was a primary advocate of the project.

And it looks like the government of the new governor, a strong supporter of the local traditional ruler, referred to as the traditional leader, may desire increased control in the initiative. The activists on that day, for example, were insisting that the facility be placed under the control of the current Oba.

The Cultural Artifacts Debate

This brings into focus the contentious issue of the cultural artifacts, one of the region's most renowned artistic heritage.

Because though the facility does finally open, these artifacts will be noticeably missing.

They are metal, elephant tusk and timber artworks that once adorned the king's residence of the Benin Kingdom before UK forces looted them in the colonial era during a military operation.

Currently, many stay scattered across galleries in the West -- such as the London museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Restitution Efforts

Their homecoming has become one of the most contested conversations in the international art community. About 150 have currently come back – and further are scheduled to be repatriated.

When plans for the facility in the urban center were first announced in the pre-pandemic era, the influential figures on Nigeria's art scene hoped it would become their perfect venue – a modern facility to display them to the global audience.

But the issues became confused recently after the national authorities stated that the royal leader would be the legal custodian of any returned bronzes – and the royal household pushed for a facility under the monarch's supervision, against the wishes of Obaseki.

Strategic Positioning

This placed Mowaa in a delicate position: asserting a clear stance on restitution while remaining diplomatic on ownership – and emphasising its larger purpose, which led to|c