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Nigeria's stunning new Museum of West African Art (Mowaa) has ended up in the center of area political conflicts during the period it was supposed to – but was unable – to begin operations to the visitors for the very first time.

The Ambitious Project

The large-scale facility is located in the heart of Benin's urban center, capital of the southern state of Edo – and includes an historical dig and structures created by renowned dual heritage architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that was inaugurated in the US capital in 2016.

It has been 60 months in the making – and is designed to celebrate both the past and the modern times of artistic expression in the region known for the historic artworks, historical pieces looted from the city's royal palace by British soldiers in the 1800s.

Readiness and Potential

It is remarkable – and before the anticipated opening, Mowaa was active with employees determined to prove it is a venue that can rival established museums and galleries in the West.

Within art restorers carefully unwrapped art pieces from protective packaging, examining each piece and taking meticulous documentation before positioning them on walls and bases.

Technicians calibrated temperature regulation systems. In the materials science laboratory, officers adjusted instruments designed to maintain centuries-old objects.

Investment and Economic Plans

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

"I want us to have a major economic benefit on local residents in the vicinity," he told the press, adding that he hoped to make the city "a tourism center."

Mowaa, a not-for-profit Nigerian institution, sees itself establishing over 30,000 employment opportunities and contributing above $80m each year to the local cultural industry through partnerships and programming.

Funding Sources and Political Challenges

It has taken $25m to get here – funds collected from various contributors, featuring the French and German governments, the UK museum and the local administration.

But currently the local government has pulled the rug from beneath it – canceling the occupancy of the property on which the building was erected.

An government communicator clarified this was because in the original paperwork it had identified as the Edo-named institution – and it had subsequently eliminated "the regional name" from its title.

Protests and Political Intervention

This statement came after demonstrations on the weekend, when activists invaded the complex insisting it be named the Museum of the Benin Kingdom.

A boisterous group confronted international visitors at the venue prior to the launch – requiring them to be quickly removed under police escort.

National leader Bola Tinubu has even become involved to work to address the dispute, setting up a special task force to address the controversy.

Political Complexities

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

The majority of it results from internal conflicts at a area administrative level, as it was the former state leader Godwin Obaseki – whose term in office finished the previous year – who was a major backer of the initiative.

And it looks like the leadership of the current leader, a close ally of the regional monarch, known as the traditional leader, may seek more of a stake in the initiative. The activists on Sunday, for example, were demanding that the facility be put under the control of Oba Ewuare II.

The Historical Objects Discussion

This brings into focus the controversial matter of the cultural artifacts, one of the region's most famous historical legacy.

Because though the museum does ultimately welcome visitors, these artifacts will be noticeably missing.

They are brass, ivory and wooden carvings that once embellished the royal palace of the Benin Kingdom before UK forces stole them in 1897 during a colonial invasion.

Nowadays, many continue to be spread across galleries in Western nations -- including the British Museum, German museum and the New York institution.

Repatriation Campaigns

Their homecoming has become one of the most disputed debates in the global art world. Roughly 150 have presently made their way home – and additional are scheduled to be repatriated.

When plans for the facility in the city were first announced in recent years, the influential figures on Nigeria's art scene expected it would become their natural home – a modern complex to exhibit them to the international community.

But the situation became complicated recently after the national authorities declared that the royal leader would be the legal custodian of returned objects – and the palace pushed for a museum under the royal family's direct control, contrary to the preferences of the former governor.

Strategic Positioning

This left Mowaa in a delicate position: maintaining a definite position on restitution while remaining diplomatic on guardianship – and highlighting its larger purpose, which led to|c