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Nigeria's stunning new Art Museum of West Africa (Mowaa) has found itself in the crosshairs of regional political struggles during the period it was supposed to – but was unable – to open its doors to the public for the first time.

The Grand Vision

The six-hectare facility sits in the center of Benin's urban center, main city of the southern area of Edo – and includes an historical dig and structures designed by celebrated dual heritage architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that was inaugurated in Washington in 2016.

It has been five years in the creation – and is planned to honor both the past and the modern times of artistic expression in the area renowned for the historic artworks, cultural objects stolen from the king's palace by British soldiers in the 19th Century.

Preparation and Promise

It is remarkable – and prior to the planned opening, Mowaa was active with staff resolved to show it is a venue that can match renowned museums and galleries in the Europe and America.

Internally conservators meticulously unwrapped artworks from secure wrapping, inspecting each item and taking thorough records before placing them on walls and bases.

Specialists calibrated climate control systems. In the scientific facility, personnel set up devices meant to maintain ancient items.

Funding and Economic Goals

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

"I want us to have a major economic benefit on communities around here," he stated to the press, adding that he aspired to make the city "a tourism center."

Mowaa, a not-for-profit local organization, envisions itself generating more than 30,000 employment opportunities and contributing over $80m each year to the local cultural industry through collaborations and events.

Funding Sources and Political Challenges

It has taken $25m to achieve this stage – money gathered from various supporters, featuring the French and German governments, the British Museum and the regional authorities.

But at present the local government has withdrawn support from below it – terminating the use of the site on which the building was erected.

An government communicator clarified this was because in the original paperwork it had referred to itself as EMOWAA – and it had since removed "the regional name" from its title.

Demonstrations and Government Action

This announcement followed demonstrations on recently, when protesters invaded the campus calling for it be called the Museum of the Benin Kingdom.

A disruptive assembly insulted overseas dignitaries at the venue before the opening – compelling them to be hurried away under police escort.

President Bola Tinubu has even intervened to work to address the conflict, establishing a presidential committee to do some damage control.

Administrative Challenges

But how has this evolved into so politicised – and such a PR disaster?

Much of it results from internecine rivalries at a regional government level, as it was the ex-administrator Godwin Obaseki – whose governance ended recently – who was a primary advocate of the initiative.

And it appears the government of the recently elected official, a strong supporter of the regional monarch, referred to as the traditional leader, may want increased control in the initiative. The protesters on Sunday, for case, were insisting that the institution be placed under the control of the current Oba.

The Benin Bronzes Controversy

This brings into focus the contentious issue of the cultural artifacts, one of Africa's most famous historical legacy.

Because although the museum does finally begin operations, these objects will be conspicuously absent.

They are metal, ivory and timber sculptures that once embellished the monarch's home of the Benin Kingdom before UK forces stole them in 1897 during a military operation.

Currently, numerous continue to be distributed across institutions in Europe and North America -- featuring the British Museum, European center and the American museum.

Return Initiatives

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

When proposals for the museum in the city were first announced in the pre-pandemic era, the key players on the national arts community expected it would become their perfect venue – a state-of-the-art facility to show them off to the international community.

But the situation became complicated some time back after the federal government declared that the traditional ruler would be the legal custodian of repatriated artifacts – and the monarch's court campaigned for a museum under the monarch's supervision, against the wishes of Obaseki.

Political Navigation

This left Mowaa in a difficult situation: maintaining a definite position on restitution while being careful on custodianship – and emphasising its broader vision, which led to|c