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Nigeria's impressive new West African Art Museum (Mowaa) has landed in the center of area political conflicts during the week it was expected to – but did not manage – to begin operations to the general public for the very first time.

The Ambitious Project

The large-scale complex stands in the center of the Edo state capital, capital of the southern state of Edo – and features an archaeological dig and buildings designed by celebrated Ghanaian-British architect Sir David Adjaye, most famous for the Smithsonian African American Museum that began operations in the US capital in 2016.

It has been half a decade in the creation – and is planned to showcase both the history and the modern times of creativity in the region famous for the historic artworks, artworks stolen from the king's palace by British soldiers in the nineteenth century.

Readiness and Potential

It is impressive – and prior to the scheduled opening, Mowaa was buzzing with workers committed to prove it is a place that can match well-known cultural centers in the Western world.

Within preservation experts meticulously unwrapped art pieces from safety materials, inspecting each item and taking meticulous notes before positioning them on exhibition areas and bases.

Experts calibrated temperature regulation systems. In the materials science laboratory, staff members adjusted instruments intended to maintain ancient artefacts.

Financial Backing and Economic Vision

The venture has been the idea of entrepreneur Phillip Ihenacho – now Mowaa's managing director.

"I hope us to have a significant economic impact on communities in this region," he stated to media outlets, adding that he hoped to make Benin City "a tourism center."

Mowaa, a charitable local organization, aims at creating over 30,000 employment opportunities and adding more than $80m per year to the area arts sector through collaborations and programming.

Investment and Administrative Problems

It has needed $25m to reach this point – capital gathered from various contributors, including the European governments, the British Museum and the Edo state government.

But now the state authorities has revoked permission from under it – revoking the use of the land on which the museum was built.

An Edo state spokesperson explained this was because in the original paperwork it had called itself the Edo-named institution – and it had subsequently dropped "Edo" from its title.

Demonstrations and Government Action

This announcement followed protests on the weekend, when activists invaded the facility insisting it be designated the Museum of the Benin Kingdom.

A rowdy group harassed international visitors at the museum ahead of the launch – forcing them to be hurried away under security protection.

President Bola Tinubu has even intervened to work to address the tensions, creating a high-level committee to address the controversy.

Administrative Challenges

But why has this evolved into so divisive – and such a reputation problem?

A great deal of it stems from internecine rivalries at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office ended recently – who was a primary advocate of the museum.

And it looks like the government of the recently elected official, a close ally of the area king, referred to as the traditional leader, may want increased control in the initiative. The protesters on that day, for instance, were calling for that the facility be placed under the supervision of Oba Ewuare II.

The Benin Bronzes Controversy

This brings into focus the contentious issue of the Benin Bronzes, one of the continent's most renowned artistic heritage.

Because even if the institution does ultimately open, these artifacts will be noticeably missing.

They are metal, elephant tusk and wooden artworks that once adorned the monarch's home of the historical empire before British soldiers looted them in the colonial era during a colonial invasion.

Currently, thousands remain spread across institutions in Western nations -- including the London museum, German museum and the American museum.

Return Initiatives

Their return has become one of the most debated conversations in the global art world. About 150 have now come back – and more are scheduled to be repatriated.

When plans for the facility in the city were originally proposed in the pre-pandemic era, the key players on Nigeria's art scene expected it would become their perfect venue – a modern facility to show them off to the global audience.

But the situation became complicated two years ago after the national authorities declared that the royal leader would be the proper guardian of returned objects – and the monarch's court campaigned for a facility under the royal family's direct control, contrary to the preferences of Obaseki.

Diplomatic Challenges

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