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The nation's impressive new Museum of West African Art (Mowaa) has ended up in the middle of regional political struggles during the time it was expected to – but failed – to open its doors to the general public for the very first time.

The Major Initiative

The six-hectare complex sits in the core of Benin's urban center, main city of the southern state of Edo – and contains an historical dig and structures planned by renowned British-Ghanaian architect Sir David Adjaye, best known for the Washington African American Museum that was inaugurated in Washington DC in 2016.

It has been 60 months in the development – and is envisioned to celebrate both the past and the modern times of cultural innovation in the area known for the Benin Bronzes, artworks stolen from the royal palace by UK forces in the 1800s.

Preparation and Promise

It is notable – and ahead of the scheduled opening, Mowaa was active with employees committed to demonstrate it is a institution that can rival well-known museums and galleries in the Europe and America.

Internally conservators precisely unwrapped cultural items from protective packaging, examining each artifact and taking thorough documentation before positioning them on walls and plinths.

Technicians fine-tuned environmental controls. In the scientific facility, staff members set up instruments meant to preserve historical objects.

Funding and Economic Goals

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

"I want us to have a major economic impact on communities in this region," he explained to journalists, mentioning that he wanted to make Benin City "an arts hub."

Mowaa, a not-for-profit local organization, aims at generating in excess of 30,000 work positions and adding over $80m each year to the regional creative economy through partnerships and activities.

Financial Support and Government Issues

It has taken $25m to achieve this stage – funds raised from various supporters, featuring the international partners, the London institution and the local administration.

But now the regional administration has pulled the rug from below it – canceling the use of the site on which the building was erected.

An official representative clarified this was because in the initial documents it had called itself EMOWAA – and it had since removed "Edo" from its name.

Protests and Political Intervention

This statement was preceded by rallies on recently, when people stormed the facility calling for it be called the Museum of the Benin Kingdom.

A rowdy crowd harassed overseas dignitaries at the venue before the launch – requiring them to be quickly removed under police escort.

National leader Bola Tinubu has also become involved to try and resolve the dispute, creating a high-level committee to do some damage control.

Administrative Challenges

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

A great deal of it results from internal conflicts at a regional government level, as it was the former state leader Godwin Obaseki – whose administration finished the previous year – who was a major backer of the project.

And it seems the leadership of the current leader, a key associate of the local traditional ruler, known as the traditional leader, may want greater involvement in the project. The demonstrators on Sunday, for example, were calling for that the institution be put under the control of Oba Ewuare II.

The Benin Bronzes Controversy

This emphasizes the contentious issue of the cultural artifacts, one of the continent's most famous cultural treasures.

Because though the institution does finally begin operations, these artifacts will be conspicuously absent.

They are brass, ivory and timber carvings that once embellished the royal palace of the ancient kingdom before UK forces stole them in 1897 during a punitive expedition.

Today, thousands remain scattered across galleries in Western nations -- including the UK institution, European center and the American museum.

Restitution Efforts

Their return has become one of the most contested discussions in the worldwide cultural sector. Approximately 150 have currently been returned – and additional are expected to return.

When proposals for the facility in Benin City were initially revealed in the pre-pandemic era, the influential figures on the national arts community anticipated it would become their natural home – a modern facility to show them off to the world.

But the issues became confused recently after the federal government declared that the Oba would be the rightful owner of returned objects – and the palace advocated for a facility under the royal family's direct control, against the desires of the ex-leader.

Diplomatic Challenges

This left Mowaa in a delicate position: expressing a clear stance on return while being careful on ownership – and highlighting its larger purpose, which led to|c