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The nation's remarkable new West African Art Museum (Mowaa) has landed in the center of regional political struggles during the time it was supposed to – but did not manage – to welcome visitors to the public for the first time.

The Grand Vision

The 15-acre complex is located in the core of Benin City, main city of the southern area of Edo – and features an historical dig and buildings created by renowned Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that began operations in Washington in 2016.

It has been half a decade in the development – and is designed to celebrate both the heritage and the modern times of creativity in the area famous for the cultural artifacts, cultural objects stolen from the city's royal palace by British troops in the 19th Century.

Readiness and Potential

It is impressive – and prior to the scheduled opening, Mowaa was buzzing with staff determined to prove it is a venue that can match renowned art institutions in the West.

Inside art restorers precisely unwrapped artworks from secure wrapping, checking each item and taking thorough documentation before positioning them on walls and bases.

Experts fine-tuned climate control systems. In the scientific facility, staff members set up equipment designed to preserve centuries-old artefacts.

Funding and Economic Goals

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

"I aim us to have a major economic impact on area populations in this region," he stated to journalists, mentioning that he aspired to make the city "a cultural destination."

Mowaa, a charitable national foundation, sees itself generating over 30,000 work positions and providing more than $80m each year to the local cultural industry through partnerships and activities.

Investment and Administrative Problems

It has needed $25m to reach this point – capital gathered from multiple contributors, including the international partners, the London institution and the Edo state government.

But now the regional administration has withdrawn support from under it – canceling the utilization of the property on which the building was erected.

An Edo state spokesperson explained this was because in the original paperwork it had called itself the Edo-named institution – and it had since eliminated "Edo" from its name.

Protests and Political Intervention

This declaration followed rallies on the weekend, when protesters entered the complex demanding it be named the Royal Benin Museum.

A disruptive group harassed foreign guests at the museum ahead of the launch – compelling them to be hurried away under official guard.

President Bola Tinubu has additionally stepped in to try and resolve the conflict, establishing a presidential committee to do some damage control.

Political Complexities

But in what way has this evolved into so politicised – and such a PR disaster?

The majority of it stems from local power struggles at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office concluded last year – who was a primary advocate of the museum.

And it seems the administration of the recently elected official, a close ally of the local traditional ruler, known as the traditional leader, may want increased control in the venture. The activists on Sunday, for instance, were insisting that the museum be put under the control of the royal leader.

The Benin Bronzes Controversy

This brings into focus the disputed topic of the cultural artifacts, one of the region's most celebrated historical legacy.

Because even if the museum does eventually welcome visitors, these bronzes will be noticeably missing.

They are metal, elephant tusk and timber carvings that once decorated the king's residence of the historical empire before colonial troops took them in 1897 during a military operation.

Currently, thousands remain spread across institutions in Western nations -- featuring the London museum, European center and the New York institution.

Restitution Efforts

Their repatriation has become one of the most debated conversations in the global art world. Approximately 150 have currently made their way home – and more are scheduled to be repatriated.

When proposals for the institution in Benin City were first announced in recent years, the movers and shakers on Nigeria's art scene anticipated it would become their natural home – a state-of-the-art complex to display them to the global audience.

But the situation became complicated recently after the central administration declared that the royal leader would be the proper guardian of any returned bronzes – and the monarch's court campaigned for a institution under the royal family's direct control, contrary to the desires of the former governor.

Political Navigation

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