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The nation's impressive new West African Art Museum (Mowaa) has landed in the crosshairs of area political conflicts during the period it was supposed to – but did not manage – to begin operations to the general public for the first time.

The Ambitious Project

The six-hectare facility stands in the heart of the Edo state capital, capital of the southern state of Edo – and features an historical dig and facilities designed by high-profile British-Ghanaian architect Sir David Adjaye, best known for the National Museum of African American History and Culture that began operations in Washington DC in 2016.

It has been five years in the development – and is envisioned to honor both the heritage and the current era of cultural innovation in the region renowned for the Benin Bronzes, artworks looted from the city's royal palace by British soldiers in the 19th Century.

Readiness and Potential

It is impressive – and ahead of the planned opening, Mowaa was buzzing with staff resolved to demonstrate it is a venue that can match established museums and galleries in the Europe and America.

Within conservators meticulously opened artworks from safety materials, inspecting each piece and taking thorough records before arranging them on exhibition areas and plinths.

Technicians calibrated environmental controls. In the scientific facility, personnel calibrated instruments intended to preserve ancient items.

Funding and Economic Goals

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

"I hope us to have a substantial economic benefit on area populations in the vicinity," he told media outlets, mentioning that he aspired to make this urban center "an arts hub."

Mowaa, a non-profit Nigerian institution, sees itself creating in excess of 30,000 work positions and providing more than $80m each year to the area arts sector through partnerships and activities.

Funding Sources and Political Challenges

It has needed $25m to achieve this stage – funds raised from different donors, featuring the European governments, the London institution and the Edo state government.

But now the regional administration has pulled the rug from below it – terminating the occupancy of the property on which the building was erected.

An Edo state spokesperson clarified this was because in the early agreements it had called itself EMOWAA – and it had later removed "the regional name" from its designation.

Unrest and Official Response

This statement followed protests on the weekend, when protesters invaded the complex insisting it be called the Benin Royal Museum.

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

Head of state Bola Tinubu has also stepped in to try and resolve the dispute, setting up a special task force to do some damage control.

Administrative Challenges

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

A great deal of it stems from local power struggles at a area administrative level, as it was the former state leader Godwin Obaseki – whose term in office finished recently – who was a key supporter of the project.

And it looks like the leadership of the current leader, a strong supporter of the local traditional ruler, known as the royal figure, may want increased control in the venture. The protesters on the weekend, for example, were calling for that the institution be placed under the control of Oba Ewuare II.

The Cultural Artifacts Debate

This emphasizes the disputed topic of the historical artworks, one of the continent's most renowned artistic heritage.

Because even if the facility does eventually welcome visitors, these bronzes will be conspicuously absent.

They are metal, ivory and timber carvings that once decorated the king's residence of the Benin Kingdom before UK forces looted them in 1897 during a colonial invasion.

Currently, numerous stay spread across museums in Europe and North America -- including the UK institution, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Repatriation Campaigns

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

When plans for the institution in the urban center were first announced in recent years, the key players on Nigeria's art scene hoped it would become their perfect venue – a state-of-the-art complex to display them to the international community.

But the issues became confused two years ago after the federal government declared that the royal leader would be the rightful owner of returned objects – and the palace pushed for a museum under the king's authority, contrary to the desires of the ex-leader.

Diplomatic Challenges

This left Mowaa in a delicate position: maintaining a definite position on restitution while staying tactful on guardianship – and stressing its wider mission, which led to|c