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The nation's impressive new Art Museum of West Africa (Mowaa) has ended up in the center of area political conflicts during the week it was supposed to – but did not manage – to begin operations to the public for the very first time.

The Grand Vision

The six-hectare campus is located in the core of Benin City, capital of the southern area of Edo – and features an archaeological dig and facilities designed by high-profile Ghanaian-British architect Sir David Adjaye, most famous for the Washington African American Museum that was inaugurated in Washington DC in 2016.

It has been five years in the creation – and is designed to celebrate both the history and the modern times of artistic expression in the region renowned for the Benin Bronzes, historical pieces taken from the king's palace by UK forces in the 1800s.

Setup and Prospects

It is impressive – and ahead of the scheduled opening, Mowaa was energetic with workers committed to show it is a institution that can rival well-known museums and galleries in the West.

Inside conservators carefully unwrapped art pieces from protective packaging, examining each piece and taking detailed records before arranging them on walls and bases.

Specialists adjusted temperature regulation systems. In the materials science laboratory, officers set up devices meant to preserve centuries-old items.

Financial Backing and Economic Vision

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

"I hope us to have a substantial economic impact on local residents in this region," he told journalists, adding that he hoped to make Benin City "a tourism center."

Mowaa, a not-for-profit local organization, sees itself creating more than 30,000 work positions and adding over $80m each year to the local cultural industry through collaborations and programming.

Investment and Administrative Problems

It has required $25m to achieve this stage – money gathered from multiple donors, such as the European governments, the UK museum and the local administration.

But currently the regional administration has withdrawn support from below it – terminating the utilization of the site on which the facility was constructed.

An Edo state spokesperson clarified this was because in the early agreements it had identified as Edo Museum of West African Art – and it had since dropped "the regional name" from its title.

Unrest and Official Response

This declaration was preceded by protests on recently, when activists invaded the complex insisting it be called the Benin Royal Museum.

A boisterous assembly harassed overseas dignitaries at the facility prior to the launch – forcing them to be escorted out under security protection.

President Bola Tinubu has even stepped in to try and resolve the tensions, setting up a special task force to do some damage control.

Political Complexities

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

The majority of it stems from internal conflicts at a local state level, as it was the former state leader Godwin Obaseki – whose administration finished recently – who was a major backer of the initiative.

And it seems the administration of the current leader, a key associate of the local traditional ruler, known as the royal figure, may desire more of a stake in the venture. The activists on the weekend, for instance, were calling for that the museum be placed under the control of Oba Ewuare II.

The Cultural Artifacts Debate

This brings into focus the contentious issue of the Benin Bronzes, one of the region's most renowned artistic heritage.

Because even if the facility does finally welcome visitors, these objects will be clearly not present.

They are metal, elephant tusk and timber artworks that once embellished the royal palace of the historical empire before British soldiers stole them in the colonial era during a military operation.

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

Return Initiatives

Their repatriation has become one of the most debated debates in the international art community. About 150 have presently come back – and more are expected to return.

When plans for the museum in the city were initially revealed in recent years, the movers and shakers on the national arts community expected it would become their perfect venue – a modern complex to exhibit them to the international community.

But the situation became complicated recently after the national authorities declared that the Oba would be the legal custodian of returned objects – and the royal household campaigned for a institution under the royal family's direct control, against the desires of the ex-leader.

Political Navigation

This left Mowaa in a difficult situation: expressing a definite position on repatriation while staying tactful on custodianship – and emphasising its larger purpose, which led to|c