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

The Grand Vision

The 15-acre campus sits in the heart of Benin City, main city of the southern state of Edo – and features an historical dig and structures planned by renowned dual heritage architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that began operations in Washington in 2016.

It has been five years in the making – and is designed to showcase both the history and the present of artistic expression in the region renowned for the historic artworks, artworks stolen from the city's royal palace by UK forces in the 19th Century.

Preparation and Promise

It is notable – and before the anticipated opening, Mowaa was buzzing with staff committed to demonstrate it is a place that can match established art institutions in the Europe and America.

Inside preservation experts precisely unwrapped cultural items from secure wrapping, inspecting each piece and taking detailed records before positioning them on exhibition areas and bases.

Experts fine-tuned temperature regulation systems. In the research lab, personnel set up equipment intended to maintain centuries-old artefacts.

Financial Backing and Economic Vision

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

"I aim us to have a major economic benefit on local residents in this region," he stated to media outlets, noting that he aspired to make this urban center "a cultural destination."

Mowaa, a charitable Nigerian institution, aims at generating over 30,000 employment opportunities and providing above $80m each year to the regional creative economy through collaborations and programming.

Financial Support and Government Issues

It has needed $25m to achieve this stage – funds gathered from different donors, featuring the European governments, the London institution and the regional authorities.

But at present the state authorities has pulled the rug from under it – revoking the use of the land on which the facility was constructed.

An government communicator explained this was because in the early agreements it had called itself the Edo-named institution – and it had since dropped "the state identifier" from its title.

Unrest and Official Response

This statement was preceded by demonstrations on Sunday, when people invaded the complex calling for it be called the Royal Benin Museum.

A disruptive assembly confronted overseas dignitaries at the venue before the inauguration – compelling them to be escorted out under security protection.

President Bola Tinubu has even stepped in to work to address the dispute, setting up a high-level committee to manage the situation.

Political Complexities

But why has this become so politicised – and such a public relations crisis?

The majority of it results from internal conflicts at a local state level, as it was Edo's previous governor Godwin Obaseki – whose governance finished recently – who was a primary advocate of the initiative.

And it appears the leadership of the current leader, a close ally of the local traditional ruler, referred to as the Oba, may seek more of a stake in the initiative. The protesters on Sunday, for instance, were calling for that the facility be put under the authority of the current Oba.

The Cultural Artifacts Debate

This highlights the disputed topic of the cultural artifacts, one of the continent's most celebrated historical legacy.

Because although the facility does ultimately begin operations, these objects will be noticeably missing.

They are brass, elephant tusk and timber sculptures that once decorated the royal palace of the ancient kingdom before colonial troops looted them in the colonial era during a military operation.

Currently, thousands continue to be distributed across institutions in the West -- including the UK institution, German museum and the American museum.

Return Initiatives

Their homecoming has become one of the most disputed debates in the international art community. About 150 have now come back – and further are expected to return.

When plans for the institution in Benin City were originally proposed in the pre-pandemic era, the influential figures on the national arts community anticipated it would become their perfect venue – a modern facility to show them off to the international community.

But the issues became confused two years ago after the federal government announced that the royal leader would be the rightful owner of repatriated artifacts – and the royal household advocated for a facility under the monarch's supervision, against the desires of the ex-leader.

Political Navigation

This left Mowaa in a challenging circumstance: asserting a definite position on repatriation while staying tactful on guardianship – and stressing its wider mission, which led to|c