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Nigeria's stunning new West African Art Museum (Mowaa) has landed in the center of area political conflicts during the period it was supposed to – but failed – to welcome visitors to the public for the first time.

The Ambitious Project

The large-scale facility sits in the core of Benin's urban center, capital of the southern state of Edo – and includes an archaeological dig and facilities planned by high-profile British-Ghanaian architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that began operations in Washington in 2016.

It has been five years in the making – and is designed to showcase both the past and the present of artistic expression in the area renowned for the cultural artifacts, artworks stolen from the king's palace by British soldiers in the 1800s.

Setup and Prospects

It is impressive – and ahead of the planned opening, Mowaa was buzzing with staff committed to demonstrate it is a institution that can match established art institutions in the Europe and America.

Within conservators carefully opened artworks from safety materials, inspecting each item and taking meticulous documentation before positioning them on exhibition areas and bases.

Specialists calibrated climate control systems. In the materials science laboratory, officers set up instruments meant to conserve ancient items.

Investment and Economic Plans

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

"I aim us to have a significant economic impact on communities around here," he explained to media outlets, noting that he hoped to make Benin City "an arts hub."

Mowaa, a not-for-profit national foundation, envisions itself establishing over 30,000 work positions and contributing more than $80m annually to the area arts sector through collaborations and events.

Funding Sources and Political Challenges

It has needed $25m to get here – funds collected from various donors, including the French and German governments, the British Museum and the regional authorities.

But now the regional administration has revoked permission from beneath it – terminating the occupancy of the land on which the building was erected.

An Edo state spokesperson stated this was because in the early agreements it had identified as the Edo-named institution – and it had later dropped "the regional name" from its name.

Protests and Political Intervention

This declaration followed protests on recently, when people invaded the campus insisting it be named the Benin Royal Museum.

A disruptive assembly harassed overseas dignitaries at the facility prior to the inauguration – compelling them to be escorted out under police escort.

National leader Bola Tinubu has even stepped in to try and resolve the dispute, establishing a presidential committee to address the controversy.

Governance Issues

But why has this become so divisive – and such a PR disaster?

Much of it results from internecine rivalries at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished the previous year – who was a key supporter of the project.

And it appears the administration of the new governor, a close ally of the area king, called the traditional leader, may want more of a stake in the project. The activists on Sunday, for example, were calling for that the facility be positioned under the control of Oba Ewuare II.

The Cultural Artifacts Debate

This brings into focus the controversial matter of the Benin Bronzes, one of the continent's most celebrated historical legacy.

Because even if the museum does finally open, these objects will be conspicuously absent.

They are metal, elephant tusk and timber sculptures that once adorned the royal palace of the ancient kingdom before colonial troops took them in the colonial era during a colonial invasion.

Currently, thousands stay distributed across museums in Western nations -- featuring the UK institution, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Return Initiatives

Their return has become one of the most debated conversations in the international art community. About 150 have currently been returned – and further are expected to return.

When proposals for the facility in the city were initially revealed in the pre-pandemic era, the key players on Nigeria's art scene anticipated it would become their perfect venue – a advanced facility to show them off to the world.

But the situation became complicated some time back after the federal government declared that the traditional ruler would be the rightful owner of any returned bronzes – and the royal household campaigned for a facility under the royal family's direct control, against the preferences of Obaseki.

Political Navigation

This left Mowaa in a challenging circumstance: asserting a specific viewpoint on repatriation while being careful on ownership – and stressing its broader vision, which led to|c