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The nation's remarkable 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 open its doors to the visitors for the first time.

The Grand Vision

The 15-acre facility is located in the center of Benin City, main city of the southern region of Edo – and features an archaeological dig and buildings planned by high-profile British-Ghanaian architect Sir David Adjaye, best known for the Smithsonian African American Museum that began operations in Washington in 2016.

It has been half a decade in the creation – and is envisioned to showcase both the heritage and the current era of cultural innovation in the area known for the cultural artifacts, cultural objects taken from the king's palace by British soldiers in the 1800s.

Readiness and Potential

It is notable – and prior to the anticipated opening, Mowaa was energetic with staff determined to demonstrate it is a venue that can rival renowned art institutions in the Western world.

Internally preservation experts meticulously opened cultural items from protective packaging, examining each item and taking detailed notes before arranging them on display surfaces and plinths.

Specialists calibrated climate control systems. In the materials science laboratory, personnel adjusted instruments intended to maintain ancient artefacts.

Funding and Economic Goals

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

"I aim us to have a significant financial effect on area populations in this region," he explained to media outlets, adding that he aspired to make Benin City "an arts hub."

Mowaa, a not-for-profit national foundation, sees itself creating more than 30,000 direct and indirect jobs and contributing over $80m annually to the local cultural industry through collaborations and activities.

Financial Support and Government Issues

It has taken $25m to reach this point – funds collected from various supporters, such as the French and German governments, the UK museum and the Edo state government.

But now the regional administration has revoked permission from below it – terminating the use of the land on which the facility was constructed.

An Edo state spokesperson clarified this was because in the initial documents it had referred to itself as Edo Museum of West African Art – and it had subsequently eliminated "Edo" from its title.

Protests and Political Intervention

This statement came after demonstrations on the weekend, when people entered the campus demanding it be named the Royal Benin Museum.

A disruptive assembly harassed foreign guests at the venue ahead of the inauguration – compelling them to be quickly removed under security protection.

President Bola Tinubu has even become involved to try and resolve the conflict, setting up a high-level committee to do some damage control.

Administrative Challenges

But why has this turned into so politicised – and such a PR disaster?

A great deal of it stems from internal conflicts at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished recently – who was a key supporter of the museum.

And it appears the government of the current leader, a key associate of the local traditional ruler, known as the traditional leader, may seek greater involvement in the initiative. The protesters on Sunday, for instance, were insisting that the facility be put under the control of Oba Ewuare II.

The Historical Objects Discussion

This emphasizes the disputed topic of the historical artworks, one of the continent's most celebrated artistic heritage.

Because although the facility does eventually begin operations, these artifacts will be noticeably missing.

They are brass, ivory and wooden artworks that once decorated the king's residence of the ancient kingdom before UK forces took them in the colonial era during a punitive expedition.

Today, many remain spread across museums in the West -- including the London museum, European center and the New York institution.

Repatriation Campaigns

Their return has become one of the most contested debates in the international art community. About 150 have currently been returned – and more are scheduled to be repatriated.

When proposals for the museum in the city were first announced in the pre-pandemic era, the influential figures on the country's cultural sector hoped it would become their natural home – a modern complex to show them off to the international community.

But the issues became confused some time back after the federal government stated that the royal leader would be the rightful owner of repatriated artifacts – and the palace campaigned for a institution under the king's authority, against the desires of the ex-leader.

Strategic Positioning

This left Mowaa in a delicate position: expressing a clear stance on return while staying tactful on guardianship – and stressing its wider mission, which led to|c