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Nigeria's stunning new Museum of West African Art (Mowaa) has landed in the crosshairs of area political conflicts during the time it was expected to – but failed – to open its doors to the public for the very first time.

The Ambitious Project

The six-hectare facility is located in the core of Benin's urban center, main city of the southern region of Edo – and includes an historical dig and structures designed by high-profile dual heritage architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that was inaugurated in Washington in 2016.

It has been half a decade in the making – and is designed to celebrate both the past and the current era of cultural innovation in the region famous for the historic artworks, historical pieces taken from the king's palace by UK forces in the 1800s.

Readiness and Potential

It is impressive – and ahead of the anticipated opening, Mowaa was energetic with workers committed to demonstrate it is a place that can compete with well-known cultural centers in the Europe and America.

Inside preservation experts meticulously revealed art pieces from safety materials, inspecting each artifact and taking detailed records before arranging them on display surfaces and bases.

Experts fine-tuned temperature regulation systems. In the scientific facility, personnel adjusted devices intended to maintain historical objects.

Investment and Economic Plans

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

"I want us to have a significant financial effect on area populations in this region," he explained to journalists, mentioning that he aspired to make this urban center "an arts hub."

Mowaa, a charitable national foundation, aims at creating more than 30,000 employment opportunities and contributing above $80m per year to the local cultural industry through partnerships and events.

Investment and Administrative Problems

It has taken $25m to achieve this stage – money gathered from various donors, including the French and German governments, the UK museum and the local administration.

But currently the regional administration has pulled the rug from under it – revoking the utilization of the land on which the facility was constructed.

An official representative stated this was because in the initial documents it had called itself the Edo-named institution – and it had subsequently removed "the state identifier" from its title.

Protests and Political Intervention

This declaration followed demonstrations on Sunday, when protesters invaded the facility demanding it be named the Royal Benin Museum.

A rowdy crowd confronted international visitors at the museum ahead of the inauguration – requiring them to be hurried away under official guard.

President Bola Tinubu has also intervened to work to address the conflict, creating a high-level committee to do some damage control.

Governance Issues

But why has this become so controversial – and such a reputation problem?

The majority of it results from internecine rivalries at a local state level, as it was Edo's previous governor Godwin Obaseki – whose term in office ended recently – who was a major backer of the project.

And it seems the government of the current leader, a key associate of the area king, called the Oba, may want greater involvement in the project. The protesters on Sunday, for example, were demanding that the institution be placed under the authority of Oba Ewuare II.

The Benin Bronzes Controversy

This emphasizes the controversial matter of the historical artworks, one of the continent's most renowned historical legacy.

Because although the museum does eventually begin operations, these objects will be noticeably missing.

They are brass, ivory and timber sculptures that once embellished the king's residence of the ancient kingdom before colonial troops stole them in 1897 during a military operation.

Currently, thousands remain scattered across museums in Europe and North America -- such as the British Museum, Berlin's Humboldt Forum and the New York institution.

Return Initiatives

Their homecoming has become one of the most debated debates in the international art community. Approximately 150 have now been returned – and additional are scheduled to be repatriated.

When ideas for the museum in the urban center were first announced in 2019, the influential figures on Nigeria's art scene hoped it would become their ideal location – a state-of-the-art campus to display them to the international community.

But the situation became complicated two years ago after the federal government declared that the traditional ruler would be the rightful owner of repatriated artifacts – and the royal household campaigned for a facility under the royal family's direct control, against the wishes of the ex-leader.

Diplomatic Challenges

This placed Mowaa in a challenging circumstance: maintaining a clear stance on return while remaining diplomatic on ownership – and highlighting its broader vision, which led to|c