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The nation's stunning new Art Museum of West Africa (Mowaa) has found itself in the crosshairs of local power politics during the week it was scheduled to – but did not manage – to open its doors to the public for the initial occasion.

The Grand Vision

The six-hectare campus stands in the center of Benin's urban center, administrative center of the southern area of Edo – and features an archaeological dig and facilities created by renowned British-Ghanaian 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 60 months in the making – and is designed to showcase both the history and the current era of artistic expression in the region known for the historic artworks, historical pieces taken from the royal palace by UK forces in the nineteenth century.

Preparation and Promise

It is impressive – and prior to the planned opening, Mowaa was active with staff resolved to demonstrate it is a place that can compete with renowned art institutions in the Western world.

Inside conservators carefully opened artworks from protective packaging, examining each piece and taking detailed records before arranging them on display surfaces and plinths.

Specialists fine-tuned temperature regulation systems. In the scientific facility, staff members set up instruments designed to maintain ancient objects.

Financial Backing and Economic Vision

The venture has been the concept of investor Phillip Ihenacho – presently Mowaa's managing director.

"I hope us to have a significant economic impact on local residents in the vicinity," he told journalists, mentioning that he hoped to make Benin City "a cultural destination."

Mowaa, a non-profit Nigerian institution, aims at establishing more than 30,000 direct and indirect jobs and contributing above $80m per year to the area arts sector through partnerships and programming.

Investment and Administrative Problems

It has taken $25m to reach this point – capital gathered from various contributors, such as the French and German governments, the UK museum and the regional authorities.

But currently the state authorities has withdrawn support from beneath it – revoking the occupancy of the property on which the facility was constructed.

An official representative explained this was because in the early agreements it had referred to itself as the Edo-named institution – and it had since eliminated "the regional name" from its title.

Demonstrations and Government Action

This statement was preceded by rallies on recently, when activists invaded the campus demanding it be named the Royal Benin Museum.

A boisterous crowd confronted international visitors at the facility ahead of the opening – forcing them to be escorted out under police escort.

Head of state Bola Tinubu has even become involved to try and resolve the tensions, creating a presidential 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 stems from internecine rivalries at a local state level, as it was the former state leader Godwin Obaseki – whose term in office ended last year – who was a major backer of the initiative.

And it seems the leadership of the new governor, a close ally of the local traditional ruler, known as the traditional leader, may want increased control in the project. The protesters on that day, for example, were insisting that the institution be put under the control of the current Oba.

The Benin Bronzes Controversy

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

Because although the museum does eventually welcome visitors, these objects will be clearly not present.

They are brass, elephant tusk and timber carvings that once adorned the royal palace of the Benin Kingdom before colonial troops took them in 1897 during a colonial invasion.

Today, numerous remain scattered across institutions in Europe and North America -- including the London museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Repatriation Campaigns

Their homecoming has become one of the most debated debates in the worldwide cultural sector. Roughly 150 have now been returned – and additional are scheduled to be repatriated.

When plans for the institution in the city were first announced in recent years, the influential figures on the national arts community expected it would become their perfect venue – a state-of-the-art complex to show them off to the international community.

But the waters were muddied two years ago after the federal government announced that the traditional ruler would be the proper guardian of returned objects – and the royal household campaigned for a museum under the king's authority, opposing the desires of Obaseki.

Diplomatic Challenges

This placed Mowaa in a difficult situation: asserting a definite position on restitution while staying tactful on ownership – and highlighting its broader vision, which led to|c