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The nation's stunning new Museum of West African Art (Mowaa) has found itself in the middle of regional political struggles during the period it was scheduled to – but failed – to welcome visitors to the visitors for the very first time.

The Ambitious Project

The 15-acre campus stands in the heart of Benin City, administrative center of the southern area of Edo – and includes an historical dig and structures designed by renowned Ghanaian-British architect Sir David Adjaye, most famous for the Smithsonian African American Museum that began operations in the US capital in 2016.

It has been 60 months in the making – and is envisioned to showcase both the heritage and the present of creativity in the area known for the historic artworks, historical pieces stolen from the royal palace by British troops in the 1800s.

Setup and Prospects

It is remarkable – and prior to the scheduled opening, Mowaa was buzzing with employees determined to prove it is a venue that can match established cultural centers in the West.

Inside conservators carefully revealed art pieces from safety materials, checking each artifact and taking detailed notes before arranging them on walls and stands.

Technicians fine-tuned environmental controls. In the scientific facility, officers set up equipment meant to preserve ancient items.

Funding and Economic Goals

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

"I want us to have a substantial economic benefit on area populations in the vicinity," he stated to journalists, noting that he wanted to make Benin City "a cultural destination."

Mowaa, a not-for-profit Nigerian institution, sees itself establishing in excess of 30,000 employment opportunities and providing more than $80m per year to the area arts sector through alliances and programming.

Investment and Administrative Problems

It has needed $25m to achieve this stage – funds collected from various donors, featuring the European governments, the UK museum and the Edo state government.

But now the state authorities has withdrawn support from below it – terminating the occupancy of the land on which the museum was built.

An official representative clarified this was because in the original paperwork it had identified as Edo Museum of West African Art – and it had since removed "Edo" from its name.

Protests and Political Intervention

This announcement was preceded by rallies on Sunday, when protesters entered the campus insisting it be designated the Museum of the Benin Kingdom.

A boisterous crowd insulted foreign guests at the venue prior to the launch – compelling them to be escorted out under official guard.

President Bola Tinubu has additionally intervened to work to address the tensions, creating a high-level committee to do some damage control.

Governance Issues

But how has this turned into so politicised – and such a reputation problem?

The majority of it comes down to internecine rivalries at a local state level, as it was the former state leader Godwin Obaseki – whose administration concluded recently – who was a key supporter of the project.

And it looks like the leadership of the current leader, a close ally of the regional monarch, known as the royal figure, may seek increased control in the project. The protesters on Sunday, for instance, were demanding that the facility be put under the control of the current Oba.

The Historical Objects Discussion

This brings into focus the contentious issue of the Benin Bronzes, one of Africa's most celebrated artistic heritage.

Because even if the facility does ultimately open, these bronzes will be clearly not present.

They are metal, ivory and wooden artworks that once adorned the monarch's home of the Benin Kingdom before UK forces looted them in the late nineteenth century during a colonial invasion.

Nowadays, numerous remain scattered across institutions in Western nations -- including the UK institution, German museum and the American museum.

Return Initiatives

Their repatriation has become one of the most contested discussions in the global art world. About 150 have now made their way home – and more are due to follow.

When plans for the museum in the city were initially revealed in recent years, the movers and shakers on the national arts community anticipated it would become their perfect venue – a modern facility to show them off to the global audience.

But the waters were muddied recently after the central administration declared that the Oba would be the proper guardian of repatriated artifacts – and the monarch's court campaigned for a museum under the monarch's supervision, contrary to the desires of the former governor.

Political Navigation

This placed Mowaa in a difficult situation: expressing a clear stance on return while being careful on custodianship – and stressing its larger purpose, which led to|c