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The nation's impressive new Museum of West African Art (Mowaa) has found itself in the crosshairs of local power politics during the period it was supposed to – but did not manage – to welcome visitors to the public for the initial occasion.

The Grand Vision

The six-hectare complex stands in the center of Benin's urban center, main city of the southern area of Edo – and contains an archaeological dig and facilities created by high-profile British-Ghanaian architect Sir David Adjaye, most famous for the Washington African American Museum that began operations in Washington in 2016.

It has been five years in the creation – and is designed to celebrate both the heritage and the modern times of creativity in the region famous for the Benin Bronzes, historical pieces taken from the city's royal palace by UK forces in the 1800s.

Setup and Prospects

It is remarkable – and before the scheduled opening, Mowaa was active with workers committed to show it is a place that can match well-known art institutions in the West.

Within art restorers meticulously unwrapped artworks from safety materials, inspecting each item and taking detailed records before arranging them on display surfaces and bases.

Experts fine-tuned temperature regulation systems. In the research lab, staff members set up instruments designed to preserve ancient items.

Funding and Economic Goals

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

"I want us to have a substantial economic impact on local residents around here," he told media outlets, mentioning that he aspired to make Benin City "an arts hub."

Mowaa, a non-profit national foundation, aims at generating more than 30,000 work positions and providing over $80m annually to the area arts sector through partnerships and events.

Investment and Administrative Problems

It has needed $25m to achieve this stage – money raised from different contributors, such as the international partners, the UK museum and the local administration.

But currently the regional administration has revoked permission from beneath it – terminating the use of the land on which the building was erected.

An Edo state spokesperson clarified this was because in the early agreements it had identified as Edo Museum of West African Art – and it had later removed "the state identifier" from its title.

Unrest and Official Response

This announcement came after demonstrations on recently, when protesters stormed the campus calling for it be named the Royal Benin Museum.

A disruptive assembly harassed overseas dignitaries at the venue prior to the launch – forcing them to be hurried away under official guard.

National leader Bola Tinubu has also stepped in to work to address the tensions, creating a special task force to manage the situation.

Governance Issues

But how has this become so controversial – and such a PR disaster?

Much of it comes down to internecine rivalries at a regional government level, as it was the former state leader Godwin Obaseki – whose administration finished last year – who was a key supporter of the initiative.

And it seems the administration of the recently elected official, a strong supporter of the area king, known as the Oba, may desire more of a stake in the project. The demonstrators on the weekend, for example, were demanding that the institution be placed under the supervision of Oba Ewuare II.

The Benin Bronzes Controversy

This emphasizes the contentious issue of the historical artworks, one of Africa's most celebrated artistic heritage.

Because though the museum does ultimately welcome visitors, these bronzes will be conspicuously absent.

They are metal, ivory and wooden artworks that once decorated the king's residence of the ancient kingdom before colonial troops looted them in 1897 during a punitive expedition.

Nowadays, thousands stay distributed across galleries in Europe and North America -- such as the British Museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Return Initiatives

Their homecoming has become one of the most debated conversations in the worldwide cultural sector. Approximately 150 have presently made their way home – and additional are scheduled to be repatriated.

When plans for the facility in the urban center were originally proposed in recent years, the movers and shakers on Nigeria's art scene hoped it would become their ideal location – a modern campus to exhibit them to the world.

But the waters were muddied recently after the central administration announced that the Oba would be the proper guardian of returned objects – and the royal household campaigned for a museum under the king's authority, contrary to the wishes of the former governor.

Political Navigation

This left Mowaa in a difficult situation: expressing a specific viewpoint on restitution while remaining diplomatic on ownership – and stressing its broader vision, which led to|c