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The nation's stunning new Museum of West African Art (Mowaa) has found itself in the center of local power politics during the period it was expected to – but was unable – to begin operations to the public for the first time.

The Major Initiative

The six-hectare campus stands in the heart of the Edo state capital, main city of the southern region of Edo – and contains an excavation site and buildings created by celebrated Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that was inaugurated 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 area renowned for the Benin Bronzes, cultural objects looted from the royal palace by UK forces in the 1800s.

Readiness and Potential

It is impressive – and before the scheduled opening, Mowaa was buzzing with employees determined to prove it is a institution that can rival renowned museums and galleries in the Western world.

Inside conservators carefully opened art pieces from safety materials, examining each item and taking meticulous notes before positioning them on exhibition areas and stands.

Technicians adjusted climate control systems. In the research lab, officers calibrated equipment meant to maintain ancient artefacts.

Financial Backing and Economic Vision

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

"I want us to have a major financial effect on local residents in the vicinity," he told media outlets, adding that he wanted to make this urban center "a tourism center."

Mowaa, a non-profit national foundation, sees itself creating in excess of 30,000 direct and indirect jobs and contributing above $80m per year to the regional creative economy through collaborations and events.

Financial Support and Government Issues

It has taken $25m to reach this point – funds collected from multiple contributors, featuring the French and German governments, the London institution and the Edo state government.

But at present the local government has pulled the rug from below it – revoking the occupancy of the land on which the facility was constructed.

An government communicator explained this was because in the initial documents it had identified as Edo Museum of West African Art – and it had since removed "the regional name" from its title.

Demonstrations and Government Action

This announcement came after protests on Sunday, when protesters stormed the campus calling for it be designated the Benin Royal Museum.

A rowdy crowd harassed overseas dignitaries at the venue prior to the inauguration – forcing them to be quickly removed under security protection.

President Bola Tinubu has also become involved to work to address the tensions, setting up a special task force to address the controversy.

Governance Issues

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

Much of it stems from internecine rivalries at a regional government level, as it was the ex-administrator Godwin Obaseki – whose term in office concluded recently – who was a key supporter of the museum.

And it appears the government of the current leader, a key associate of the area king, called the royal figure, may seek greater involvement in the venture. The protesters on Sunday, for instance, were demanding that the museum be placed under the supervision of the current Oba.

The Cultural Artifacts Debate

This brings into focus the contentious issue of the cultural artifacts, one of the continent's most celebrated historical legacy.

Because even if the museum does ultimately begin operations, these objects will be noticeably missing.

They are brass, ivory and timber carvings that once embellished the king's residence of the ancient kingdom before British soldiers looted them in the colonial era during a military operation.

Today, numerous stay spread across galleries in the West -- including the British Museum, German museum and the American museum.

Return Initiatives

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

When proposals for the institution in Benin City were originally proposed in 2019, the influential figures on the country's cultural sector hoped it would become their ideal location – a modern facility to exhibit them to the global audience.

But the situation became complicated two years ago after the federal government declared that the royal leader would be the proper guardian of returned objects – and the palace advocated for a museum under the king's authority, opposing the preferences of the former governor.

Political Navigation

This placed Mowaa in a difficult situation: asserting a clear stance on repatriation while staying tactful on guardianship – and highlighting its wider mission, which led to|c