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The nation's remarkable new West African Art Museum (Mowaa) has landed in the middle of local power politics during the week it was scheduled to – but did not manage – to open its doors to the visitors for the initial occasion.

The Major Initiative

The six-hectare campus is located in the center of the Edo state capital, administrative center of the southern state of Edo – and features an excavation site and facilities planned by renowned British-Ghanaian architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that opened in Washington in 2016.

It has been half a decade in the creation – and is planned to honor both the past and the current era of creativity in the region famous for the Benin Bronzes, artworks taken from the royal palace by British soldiers in the 19th Century.

Setup and Prospects

It is notable – and before the anticipated opening, Mowaa was active with workers committed to show it is a place that can match renowned art institutions in the Western world.

Internally preservation experts meticulously opened artworks from secure wrapping, inspecting each piece and taking detailed documentation before placing them on walls and plinths.

Technicians fine-tuned climate control systems. In the scientific facility, staff members set up devices designed to conserve historical objects.

Investment and Economic Plans

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

"I want us to have a significant economic benefit on local residents in this region," he told journalists, adding that he hoped to make the city "a tourism center."

Mowaa, a non-profit local organization, envisions itself creating more than 30,000 work positions and providing above $80m each year to the area arts sector through partnerships and events.

Financial Support and Government Issues

It has needed $25m to reach this point – capital gathered from various contributors, such as the French and German governments, the UK museum and the Edo state government.

But currently the local government has revoked permission from under it – canceling the occupancy of the property on which the building was erected.

An government communicator clarified this was because in the initial documents it had called itself EMOWAA – and it had later eliminated "the regional name" from its title.

Demonstrations and Government Action

This declaration followed rallies on recently, when protesters stormed the complex demanding it be named the Museum of the Benin Kingdom.

A boisterous assembly harassed overseas dignitaries at the facility prior to the opening – requiring them to be quickly removed under official guard.

Head of state Bola Tinubu has also become involved to work to address the tensions, setting up a high-level committee to do some damage control.

Political Complexities

But how has this become so divisive – and such a reputation problem?

A great deal of it comes down to internal conflicts at a local state level, as it was the ex-administrator Godwin Obaseki – whose term in office ended last year – who was a major backer of the project.

And it seems the leadership of the new governor, a close ally of the area king, called the Oba, may seek greater involvement in the venture. The demonstrators on Sunday, for instance, were calling for that the institution be placed under the authority of Oba Ewuare II.

The Cultural Artifacts Debate

This brings into focus the controversial matter of the historical artworks, one of Africa's most renowned artistic heritage.

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

They are brass, ivory and timber sculptures that once embellished the royal palace of the historical empire before colonial troops took them in the colonial era during a punitive expedition.

Nowadays, many remain scattered across museums in Western nations -- featuring the British Museum, German museum and the Metropolitan Museum of Art.

Return Initiatives

Their return has become one of the most disputed discussions in the international art community. Approximately 150 have currently been returned – and further are expected to return.

When plans for the facility in the city were first announced in the pre-pandemic era, the influential figures on the national arts community expected it would become their ideal location – a state-of-the-art campus to display them to the global audience.

But the waters were muddied two years ago after the national authorities announced that the Oba would be the rightful owner of returned objects – and the royal household campaigned for a museum under the king's authority, against the preferences of Obaseki.

Political Navigation

This placed Mowaa in a delicate position: maintaining a clear stance on restitution while being careful on guardianship – and highlighting its wider mission, which led to|c