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The nation's stunning new West African Art Museum (Mowaa) has ended up in the middle of local power politics during the period it was scheduled to – but did not manage – to open its doors to the general public for the first time.

The Ambitious Project

The six-hectare facility is located in the heart of Benin City, main city of the southern state of Edo – and contains an archaeological dig and buildings planned by high-profile Ghanaian-British architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that was inaugurated in Washington DC in 2016.

It has been 60 months in the development – and is envisioned to showcase both the heritage and the present of artistic expression in the area famous for the Benin Bronzes, artworks stolen from the king's palace by British troops in the 1800s.

Setup and Prospects

It is notable – and before the planned opening, Mowaa was energetic with workers determined to demonstrate it is a institution that can rival renowned art institutions in the Western world.

Internally art restorers carefully unwrapped art pieces from protective packaging, inspecting each piece and taking thorough documentation before placing them on exhibition areas and stands.

Experts adjusted temperature regulation systems. In the research lab, officers set up instruments intended to conserve ancient artefacts.

Investment and Economic Plans

The venture has been the concept of investor Phillip Ihenacho – currently Mowaa's chief executive.

"I aim us to have a substantial financial effect on communities in this region," he stated to the press, noting that he hoped to make this urban center "a tourism center."

Mowaa, a charitable local organization, envisions itself establishing more than 30,000 direct and indirect jobs and contributing over $80m per year to the regional creative economy through collaborations and programming.

Financial Support and Government Issues

It has required $25m to reach this point – funds collected from different supporters, including the European governments, the London institution and the regional authorities.

But currently the state authorities has withdrawn support from below it – terminating the utilization of the land on which the building was erected.

An government communicator clarified this was because in the original paperwork it had called itself the Edo-named institution – and it had since eliminated "Edo" from its designation.

Demonstrations and Government Action

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

A boisterous crowd harassed overseas dignitaries at the venue before the opening – compelling them to be quickly removed under security protection.

Head of state Bola Tinubu has even stepped in to attempt to settle the tensions, establishing a special task force to do some damage control.

Administrative Challenges

But why has this become so controversial – and such a reputation problem?

Much 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 major backer of the initiative.

And it seems the administration of the new governor, a strong supporter of the area king, known as the Oba, may want greater involvement in the initiative. The demonstrators on Sunday, for example, were demanding that the facility be positioned under the control of the royal leader.

The Benin Bronzes Controversy

This emphasizes the controversial matter of the Benin Bronzes, one of the region's most renowned historical legacy.

Because even if the facility does finally begin operations, these bronzes will be noticeably missing.

They are brass, elephant tusk and timber sculptures that once adorned the monarch's home of the ancient kingdom before colonial troops stole them in the colonial era during a colonial invasion.

Currently, many stay spread across institutions in Europe and North America -- including the British Museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Return Initiatives

Their return has become one of the most disputed discussions in the international art community. Approximately 150 have currently come back – and further are expected to return.

When plans for the facility in the city were originally proposed in 2019, the movers and shakers on the national arts community hoped it would become their natural home – a modern campus to exhibit them to the global audience.

But the issues became confused two years ago after the national authorities declared that the Oba would be the legal custodian of returned objects – and the palace advocated for a institution under the monarch's supervision, contrary to the preferences of Obaseki.

Strategic Positioning

This left Mowaa in a difficult situation: expressing a specific viewpoint on restitution while being careful on custodianship – and stressing its broader vision, which led to|c