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Nigeria's impressive new West African Art Museum (Mowaa) has landed in the crosshairs of regional political struggles during the period it was expected to – but was unable – to welcome visitors to the public for the initial occasion.

The Ambitious Project

The six-hectare complex stands in the center of Benin's urban center, capital of the southern region of Edo – and contains an archaeological dig and facilities planned by renowned dual heritage architect Sir David Adjaye, best known for the Washington African American Museum that opened in the US capital in 2016.

It has been half a decade in the making – and is planned to celebrate both the history and the modern times of creativity in the region renowned for the historic artworks, cultural objects taken from the city's royal palace by UK forces in the 1800s.

Setup and Prospects

It is remarkable – and prior to the planned opening, Mowaa was buzzing with workers committed to demonstrate it is a venue that can rival established museums and galleries in the Europe and America.

Internally art restorers meticulously revealed artworks from secure wrapping, inspecting each piece and taking meticulous documentation before placing them on exhibition areas and stands.

Experts fine-tuned temperature regulation systems. In the scientific facility, personnel adjusted instruments intended to maintain centuries-old items.

Funding and Economic Goals

The project has been the concept of businessman Phillip Ihenacho – presently Mowaa's chief executive.

"I want us to have a substantial economic impact on communities in the vicinity," he explained to media outlets, noting that he wanted to make the city "a tourism center."

Mowaa, a not-for-profit local organization, envisions itself generating more than 30,000 direct and indirect jobs and contributing more than $80m per year to the regional creative economy through partnerships and programming.

Investment and Administrative Problems

It has needed $25m to achieve this stage – capital gathered from different contributors, including the international partners, the London institution and the local administration.

But currently the state authorities has pulled the rug from below it – revoking the use of the property on which the building was erected.

An Edo state spokesperson stated this was because in the initial documents it had called itself the Edo-named institution – and it had subsequently eliminated "the state identifier" from its designation.

Protests and Political Intervention

This announcement was preceded by rallies on recently, when protesters invaded the facility insisting it be designated the Museum of the Benin Kingdom.

A boisterous group harassed foreign guests at the venue prior to the inauguration – forcing them to be quickly removed under police escort.

National leader Bola Tinubu has even intervened to try and resolve the tensions, setting up a high-level committee to address the controversy.

Political Complexities

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

Much of it results from internal conflicts at a area administrative level, as it was the former state leader Godwin Obaseki – whose governance concluded the previous year – who was a key supporter of the initiative.

And it seems the government of the new governor, a close ally of the local traditional ruler, known as the traditional leader, may desire more of a stake in the venture. The demonstrators on Sunday, for case, were calling for that the museum be placed under the supervision of the current Oba.

The Benin Bronzes Controversy

This emphasizes the disputed topic of the cultural artifacts, one of Africa's most renowned artistic heritage.

Because although the facility does ultimately begin operations, these artifacts will be noticeably missing.

They are brass, elephant tusk and wooden sculptures that once decorated the monarch's home of the ancient kingdom before colonial troops looted them in the late nineteenth century during a punitive expedition.

Nowadays, thousands remain distributed across galleries in Western nations -- featuring the UK institution, German museum and the American museum.

Restitution Efforts

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

When proposals for the facility in the urban center were originally proposed in the pre-pandemic era, the movers and shakers on the national arts community anticipated it would become their ideal location – a modern facility to display them to the global audience.

But the waters were muddied two years ago after the national authorities announced that the royal leader would be the legal custodian of returned objects – and the royal household campaigned for a facility under the royal family's direct control, against the desires of the ex-leader.

Diplomatic Challenges

This left Mowaa in a delicate position: expressing a clear stance on return while being careful on ownership – and stressing its broader vision, which led to|c