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The nation's remarkable new West African Art Museum (Mowaa) has found itself in the middle of area political conflicts during the week it was supposed to – but was unable – to begin operations to the visitors for the very first time.

The Ambitious Project

The six-hectare campus sits in the heart of Benin's urban center, capital of the southern region of Edo – and contains an archaeological dig and structures designed by high-profile dual heritage architect Sir David Adjaye, best known for the Washington African American Museum that was inaugurated in the US capital in 2016.

It has been 60 months in the making – and is planned to showcase both the past and the present of cultural innovation in the locale famous for the Benin Bronzes, historical pieces looted from the royal palace by British troops in the 19th Century.

Setup and Prospects

It is notable – and before the scheduled opening, Mowaa was active with staff committed to demonstrate it is a venue that can compete with established museums and galleries in the Western world.

Internally conservators carefully opened artworks from secure wrapping, inspecting each item and taking thorough notes before arranging them on display surfaces and plinths.

Experts adjusted environmental controls. In the materials science laboratory, personnel calibrated equipment designed to maintain historical items.

Investment and Economic Plans

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

"I hope us to have a significant economic benefit on communities around here," he explained to journalists, noting that he aspired to make Benin City "a tourism center."

Mowaa, a charitable Nigerian institution, sees itself generating in excess of 30,000 employment opportunities and contributing more than $80m annually to the area arts sector through alliances and events.

Funding Sources and Political Challenges

It has needed $25m to achieve this stage – money gathered from different supporters, such as the European governments, the London institution and the local administration.

But currently the state authorities has withdrawn support from under it – revoking the utilization of the land on which the museum was built.

An government communicator clarified this was because in the original paperwork it had identified as Edo Museum of West African Art – and it had subsequently dropped "the regional name" from its title.

Unrest and Official Response

This statement came after protests on the weekend, when activists invaded the campus insisting it be called the Museum of the Benin Kingdom.

A rowdy assembly insulted overseas dignitaries at the museum ahead of the inauguration – requiring them to be escorted out under security protection.

Head of state Bola Tinubu has even stepped in to try and resolve the tensions, setting up a high-level committee to manage the situation.

Political Complexities

But in what way has this become so politicised – and such a reputation problem?

A great deal of it results from internal conflicts at a local state level, as it was the former state leader Godwin Obaseki – whose term in office ended recently – who was a key supporter of the initiative.

And it seems the administration of the current leader, a strong supporter of the area king, known as the traditional leader, may seek more of a stake in the project. The demonstrators on Sunday, for instance, were demanding that the institution be positioned under the control of the royal leader.

The Historical Objects Discussion

This highlights the controversial matter of the historical artworks, one of the region's most celebrated historical legacy.

Because even if the facility does finally welcome visitors, these bronzes will be clearly not present.

They are brass, ivory and timber artworks that once embellished the king's residence of the Benin Kingdom before UK forces stole them in the late nineteenth century during a punitive expedition.

Currently, many remain spread across museums in the West -- such as the London museum, European center and the American museum.

Return Initiatives

Their return has become one of the most debated discussions in the global art world. Roughly 150 have now made their way home – and further are expected to return.

When plans for the facility in the urban center were originally proposed in 2019, the key players on Nigeria's art scene hoped it would become their natural home – a modern facility to show them off to the international community.

But the waters were muddied recently after the central administration stated that the traditional ruler would be the proper guardian of repatriated artifacts – and the royal household campaigned for a museum under the monarch's supervision, contrary to the preferences of the ex-leader.

Diplomatic Challenges

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