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

The Ambitious Project

The large-scale complex sits in the heart of Benin's urban center, administrative center of the southern area of Edo – and contains an archaeological dig and facilities planned by renowned British-Ghanaian architect Sir David Adjaye, best known for the Washington African American Museum that began operations in Washington in 2016.

It has been five years in the development – and is planned to honor both the heritage and the modern times of cultural innovation in the area known for the historic artworks, artworks looted from the king's palace by British soldiers in the 19th Century.

Preparation and Promise

It is impressive – and prior to the anticipated opening, Mowaa was buzzing with workers committed to demonstrate it is a venue that can match established museums and galleries in the Europe and America.

Within preservation experts precisely revealed cultural items from protective packaging, inspecting each item and taking detailed records before arranging them on display surfaces and plinths.

Experts fine-tuned temperature regulation systems. In the scientific facility, personnel set up instruments designed to conserve ancient objects.

Investment and Economic Plans

The project has been the concept of investor Phillip Ihenacho – currently Mowaa's executive director.

"I want us to have a significant economic impact on local residents around here," he explained to journalists, adding that he hoped to make Benin City "an arts hub."

Mowaa, a not-for-profit local organization, aims at establishing over 30,000 direct and indirect jobs and providing over $80m per year to the area arts sector through partnerships and programming.

Investment and Administrative Problems

It has taken $25m to get here – funds raised from various contributors, including the European governments, the UK museum and the local administration.

But at present the state authorities has withdrawn support from below it – revoking the occupancy of the property on which the building was erected.

An government communicator explained this was because in the original paperwork it had identified as Edo Museum of West African Art – and it had later eliminated "the state identifier" from its name.

Unrest and Official Response

This statement was preceded by protests on the weekend, when protesters invaded the complex demanding it be designated the Museum of the Benin Kingdom.

A disruptive assembly confronted international visitors at the venue ahead of the opening – compelling them to be hurried away under security protection.

National leader Bola Tinubu has even stepped in to attempt to settle the dispute, creating a special task force to do some damage control.

Political Complexities

But how has this evolved into so divisive – and such a public relations crisis?

Much of it results from internal conflicts at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose administration finished last year – who was a primary advocate of the museum.

And it appears the government of the recently elected official, a strong supporter of the local traditional ruler, referred to as the Oba, may want greater involvement in the venture. The activists on the weekend, for example, were demanding that the institution be positioned under the supervision of Oba Ewuare II.

The Cultural Artifacts Debate

This highlights the controversial matter of the historical artworks, one of the region's most famous artistic heritage.

Because even if the facility does eventually welcome visitors, these artifacts will be noticeably missing.

They are brass, elephant tusk and timber sculptures that once decorated the king's residence of the Benin Kingdom before UK forces looted them in 1897 during a colonial invasion.

Nowadays, many stay scattered across institutions in Europe and North America -- such as the UK institution, European center and the American museum.

Restitution Efforts

Their homecoming has become one of the most contested discussions in the global art world. Roughly 150 have currently made their way home – and further are expected to return.

When proposals for the museum in Benin City were originally proposed in the pre-pandemic era, the influential figures on Nigeria's art scene anticipated it would become their natural home – a advanced facility to exhibit them to the global audience.

But the waters were muddied two years ago after the federal government stated that the traditional ruler would be the legal custodian of repatriated artifacts – and the monarch's court campaigned for a institution under the monarch's supervision, contrary to the preferences of the ex-leader.

Strategic Positioning

This placed Mowaa in a challenging circumstance: asserting a clear stance on restitution while remaining diplomatic on guardianship – and highlighting its wider mission, which led to|c