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The nation's stunning new Museum of West African Art (Mowaa) has landed in the middle of regional political struggles during the time it was expected to – but was unable – to welcome visitors to the general public for the first time.

The Grand Vision

The six-hectare complex is located in the center of the Edo state capital, main city of the southern region of Edo – and features an historical dig and buildings created by high-profile British-Ghanaian architect Sir David Adjaye, most famous for the Smithsonian African American Museum that began operations in the US capital in 2016.

It has been five years in the making – and is designed to celebrate both the past and the modern times of cultural innovation in the locale known for the Benin Bronzes, artworks stolen from the city's royal palace by British troops in the nineteenth century.

Readiness and Potential

It is remarkable – and ahead of the anticipated opening, Mowaa was buzzing with employees determined to show it is a venue that can rival established cultural centers in the Western world.

Inside conservators carefully opened artworks from safety materials, checking each artifact and taking detailed notes before placing them on display surfaces and stands.

Specialists calibrated temperature regulation systems. In the scientific facility, personnel set up instruments intended to maintain ancient objects.

Financial Backing and Economic Vision

The venture has been the idea of entrepreneur Phillip Ihenacho – now Mowaa's chief executive.

"I aim us to have a significant economic benefit on communities around here," he stated to media outlets, noting that he wanted to make this urban center "an arts hub."

Mowaa, a not-for-profit national foundation, sees itself generating more than 30,000 direct and indirect jobs and providing over $80m per year to the area arts sector through partnerships and activities.

Funding Sources and Political Challenges

It has required $25m to achieve this stage – funds raised from various donors, such as the European governments, the UK museum and the Edo state government.

But currently the state authorities has pulled the rug from below it – revoking the utilization of the property on which the building was erected.

An government communicator stated this was because in the early agreements it had referred to itself as EMOWAA – and it had later removed "the regional name" from its name.

Protests and Political Intervention

This declaration was preceded by demonstrations on the weekend, when protesters entered the campus demanding it be designated the Museum of the Benin Kingdom.

A disruptive crowd confronted international visitors at the museum prior to the opening – compelling them to be hurried away under official guard.

Head of state Bola Tinubu has also intervened to try and resolve the conflict, creating a high-level committee to do some damage control.

Political Complexities

But in what way has this evolved into so politicised – and such a reputation problem?

A great deal of it comes down to internecine rivalries at a area administrative level, as it was the ex-administrator Godwin Obaseki – whose term in office finished the previous year – who was a major backer of the project.

And it seems the administration of the new governor, a close ally of the regional monarch, called the Oba, may seek increased control in the venture. The protesters on the weekend, for example, were calling for that the facility be positioned under the authority of the royal leader.

The Benin Bronzes Controversy

This highlights the controversial matter of the cultural artifacts, one of Africa's most renowned cultural treasures.

Because even if the museum does eventually open, these artifacts will be conspicuously absent.

They are metal, elephant tusk and timber sculptures that once adorned the monarch's home of the ancient kingdom before UK forces looted them in the late nineteenth century during a punitive expedition.

Nowadays, numerous remain scattered across galleries in the West -- such as the British Museum, Berlin's Humboldt Forum and the New York institution.

Restitution Efforts

Their homecoming has become one of the most contested debates in the global art world. Approximately 150 have now been returned – and more are expected to return.

When plans for the museum in the city were first announced in the pre-pandemic era, the influential figures on the country's cultural sector anticipated it would become their perfect venue – a modern facility to exhibit them to the global audience.

But the situation became complicated recently after the national authorities announced that the Oba would be the rightful owner of repatriated artifacts – and the monarch's court campaigned for a museum under the monarch's supervision, contrary to the preferences of the ex-leader.

Political Navigation

This placed Mowaa in a difficult situation: asserting a clear stance on repatriation while being careful on custodianship – and emphasising its larger purpose, which led to|c