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The nation's stunning new West African Art Museum (Mowaa) has found itself in the center of local power politics during the period it was expected to – but was unable – to welcome visitors to the general public for the very first time.

The Ambitious Project

The six-hectare complex stands in the core of Benin's urban center, main city of the southern area of Edo – and contains an historical dig and facilities planned by renowned dual heritage architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that was inaugurated in Washington DC in 2016.

It has been half a decade in the creation – and is planned to honor both the heritage and the current era of artistic expression in the locale known for the cultural artifacts, cultural objects taken from the city's royal palace by British troops in the 19th Century.

Preparation and Promise

It is impressive – and prior to the planned opening, Mowaa was buzzing with employees committed to show it is a venue that can rival established cultural centers in the West.

Within art restorers meticulously revealed cultural items from secure wrapping, inspecting each artifact and taking detailed notes before positioning them on exhibition areas and stands.

Technicians adjusted environmental controls. In the materials science laboratory, personnel set up instruments meant to preserve ancient artefacts.

Financial Backing and Economic Vision

The initiative has been the idea of investor Phillip Ihenacho – currently Mowaa's managing director.

"I hope us to have a significant financial effect on area populations in the vicinity," he told journalists, adding that he wanted to make Benin City "a cultural destination."

Mowaa, a not-for-profit Nigerian institution, aims at generating over 30,000 direct and indirect jobs and contributing over $80m each year to the local cultural industry through collaborations and activities.

Investment and Administrative Problems

It has taken $25m to reach this point – capital gathered from multiple supporters, featuring the French and German governments, the London institution and the Edo state government.

But currently the state authorities has revoked permission from below it – terminating the use of the property on which the building was erected.

An official representative stated this was because in the initial documents it had referred to itself as Edo Museum of West African Art – and it had since removed "Edo" from its designation.

Protests and Political Intervention

This declaration was preceded by demonstrations on recently, when people invaded the campus calling for it be named the Museum of the Benin Kingdom.

A rowdy group confronted international visitors at the venue before the opening – requiring them to be quickly removed under security protection.

National leader Bola Tinubu has also intervened to try and resolve the dispute, setting up a high-level committee to manage the situation.

Political Complexities

But why has this evolved into so divisive – and such a PR disaster?

The majority of it comes down to internecine rivalries at a area administrative level, as it was the former state leader Godwin Obaseki – whose term in office finished last year – who was a key supporter of the museum.

And it appears the government of the recently elected official, a strong supporter of the area king, referred to as the traditional leader, may seek more of a stake in the venture. The activists on the weekend, for instance, were calling for that the museum be put under the authority of Oba Ewuare II.

The Cultural Artifacts Debate

This highlights the disputed topic of the Benin Bronzes, one of the continent's most renowned historical legacy.

Because even if the facility does finally open, these artifacts will be conspicuously absent.

They are metal, ivory and timber artworks that once embellished the royal palace of the historical empire before British soldiers looted them in the colonial era during a colonial invasion.

Nowadays, numerous continue to be scattered across galleries in Europe and North America -- such as the UK institution, German museum and the New York institution.

Restitution Efforts

Their return has become one of the most contested debates in the worldwide cultural sector. About 150 have currently been returned – and further are due to follow.

When proposals for the institution in the city were initially revealed in 2019, the key players on the national arts community anticipated it would become their ideal location – a modern campus to exhibit them to the international community.

But the issues became confused recently after the national authorities declared that the royal leader would be the legal custodian of any returned bronzes – and the monarch's court campaigned for a institution under the royal family's direct control, against the desires of the former governor.

Strategic Positioning

This placed Mowaa in a difficult situation: expressing a specific viewpoint on return while staying tactful on ownership – and highlighting its larger purpose, which led to|c