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The nation's impressive new West African Art Museum (Mowaa) has ended up in the crosshairs of area political conflicts during the week it was expected to – but failed – to begin operations to the general public for the first time.

The Grand Vision

The 15-acre campus stands in the heart of Benin City, capital of the southern state of Edo – and features an historical dig and facilities created by renowned British-Ghanaian architect Sir David Adjaye, best known for the Smithsonian African American Museum that opened in the US capital in 2016.

It has been 60 months in the making – and is envisioned to showcase both the history and the current era of artistic expression in the area renowned for the Benin Bronzes, artworks stolen from the city's royal palace by British soldiers in the nineteenth century.

Setup and Prospects

It is remarkable – and before the scheduled opening, Mowaa was buzzing with staff resolved to demonstrate it is a venue that can match renowned art institutions in the Europe and America.

Internally preservation experts precisely unwrapped cultural items from protective packaging, inspecting each item and taking detailed documentation before placing them on exhibition areas and stands.

Experts calibrated climate control systems. In the scientific facility, personnel adjusted equipment meant to conserve ancient objects.

Investment and Economic Plans

The initiative has been the brainchild of investor Phillip Ihenacho – presently Mowaa's executive director.

"I aim us to have a substantial economic benefit on communities in this region," he explained to the press, mentioning that he aspired to make this urban center "a tourism center."

Mowaa, a non-profit national foundation, envisions itself generating in excess of 30,000 direct and indirect jobs and adding more than $80m annually to the regional creative economy through collaborations and programming.

Investment and Administrative Problems

It has required $25m to achieve this stage – funds collected from multiple supporters, including the international partners, the UK museum and the local administration.

But currently the state authorities has pulled the rug from under it – revoking the use of the property on which the museum was built.

An official representative stated this was because in the early agreements it had referred to itself as the Edo-named institution – and it had subsequently dropped "the state identifier" from its name.

Protests and Political Intervention

This announcement followed demonstrations on the weekend, when people entered the campus calling for it be named the Royal Benin Museum.

A disruptive group confronted overseas dignitaries at the venue ahead of the inauguration – compelling them to be quickly removed under police escort.

National leader Bola Tinubu has also stepped in to work to address the conflict, establishing a presidential committee to address the controversy.

Administrative Challenges

But why has this become so politicised – and such a public relations crisis?

Much of it stems from internal conflicts at a local state level, as it was the former state leader Godwin Obaseki – whose term in office concluded recently – who was a key supporter of the museum.

And it seems the administration of the recently elected official, a key associate of the regional monarch, called the traditional leader, may seek more of a stake in the venture. The protesters on Sunday, for case, were demanding that the facility be positioned under the authority of Oba Ewuare II.

The Cultural Artifacts Debate

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

Because although the institution does eventually begin operations, these bronzes will be noticeably missing.

They are metal, ivory and timber artworks that once embellished the king's residence of the ancient kingdom before British soldiers looted them in 1897 during a punitive expedition.

Currently, numerous remain spread across museums in the West -- including the UK institution, European center and the American museum.

Restitution Efforts

Their repatriation has become one of the most debated debates in the international art community. Roughly 150 have now made their way home – and more are due to follow.

When plans for the institution in the urban center were originally proposed in the pre-pandemic era, the movers and shakers on Nigeria's art scene anticipated it would become their ideal location – a state-of-the-art facility to display them to the global audience.

But the issues became confused recently after the central administration announced that the traditional ruler would be the legal custodian of any returned bronzes – and the palace advocated for a institution under the monarch's supervision, contrary to the desires of Obaseki.

Political Navigation

This placed Mowaa in a challenging circumstance: maintaining a clear stance on return while remaining diplomatic on ownership – and emphasising its wider mission, which led to|c