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The nation's impressive new West African Art Museum (Mowaa) has found itself in the crosshairs of area political conflicts during the time it was expected to – but did not manage – to begin operations to the visitors for the very first time.

The Major Initiative

The large-scale complex sits in the center of Benin City, administrative center of the southern state of Edo – and features an archaeological dig and buildings designed by renowned British-Ghanaian architect Sir David Adjaye, most famous for the Smithsonian African American Museum that was inaugurated in Washington DC in 2016.

It has been five years in the development – and is designed to honor both the heritage and the current era of artistic expression in the region known for the historic artworks, artworks looted from the royal palace by UK forces in the nineteenth century.

Preparation and Promise

It is remarkable – and prior to the planned opening, Mowaa was active with employees resolved to demonstrate it is a place that can compete with well-known museums and galleries in the Europe and America.

Within conservators meticulously opened artworks from secure wrapping, checking each piece and taking thorough notes before placing them on walls and stands.

Specialists calibrated temperature regulation systems. In the materials science laboratory, staff members set up devices intended to preserve ancient objects.

Investment and Economic Plans

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

"I aim us to have a major economic impact on area populations in the vicinity," he explained to media outlets, mentioning that he hoped to make the city "a tourism center."

Mowaa, a non-profit Nigerian institution, aims at establishing over 30,000 employment opportunities and contributing more than $80m each year to the regional creative economy through alliances and events.

Funding Sources and Political Challenges

It has taken $25m to reach this point – funds collected from multiple contributors, such as the French and German governments, the UK museum and the local administration.

But currently the local government has withdrawn support from under it – terminating the use of the site on which the facility was constructed.

An official representative clarified this was because in the original paperwork it had called itself EMOWAA – and it had later eliminated "the state identifier" from its name.

Unrest and Official Response

This statement came after rallies on recently, when activists invaded the complex calling for it be designated the Royal Benin Museum.

A boisterous group insulted foreign guests at the facility prior to the opening – compelling them to be escorted out under official guard.

National leader Bola Tinubu has also become involved to try and resolve the conflict, creating a high-level committee to do some damage control.

Administrative Challenges

But how has this turned into so divisive – and such a reputation problem?

The majority of it stems from internal conflicts at a regional government level, as it was the former state leader Godwin Obaseki – whose governance ended recently – who was a key supporter of the project.

And it looks like the administration of the recently elected official, a key associate of the local traditional ruler, referred to as the Oba, may seek increased control in the project. The activists on that day, for instance, were insisting that the facility be placed under the control of the royal leader.

The Cultural Artifacts Debate

This brings into focus the controversial matter of the cultural artifacts, one of the region's most renowned cultural treasures.

Because even if the institution does eventually begin operations, these objects will be noticeably missing.

They are brass, elephant tusk and wooden carvings that once embellished the king's residence of the Benin Kingdom before British soldiers looted them in the late nineteenth century during a punitive expedition.

Today, thousands remain distributed across institutions in Europe and North America -- including the UK institution, Berlin's Humboldt Forum and the New York institution.

Repatriation Campaigns

Their homecoming has become one of the most disputed conversations in the international art community. Roughly 150 have currently come back – and additional are due to follow.

When plans for the facility in Benin City were first announced in recent years, the movers and shakers on Nigeria's art scene hoped it would become their ideal location – a state-of-the-art campus to exhibit them to the global audience.

But the issues became confused two years ago after the federal government announced that the Oba would be the rightful owner of repatriated artifacts – and the royal household advocated for a facility under the king's authority, contrary to the wishes of the former governor.

Political Navigation

This placed Mowaa in a difficult situation: maintaining a clear stance on restitution while remaining diplomatic on custodianship – and highlighting its wider mission, which led to|c