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Nigeria's stunning new West African Art Museum (Mowaa) has found itself in the center of local power politics during the time it was scheduled to – but was unable – to open its doors to the public for the initial occasion.

The Grand Vision

The large-scale campus sits in the core of the Edo state capital, main city of the southern state of Edo – and includes an archaeological dig and structures designed by high-profile dual heritage architect Sir David Adjaye, best known for the Smithsonian African American Museum that began operations in Washington in 2016.

It has been half a decade in the development – and is planned to showcase both the history and the present of artistic expression in the region renowned for the historic artworks, historical pieces looted from the royal 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 resolved to prove it is a place that can compete with renowned museums and galleries in the Europe and America.

Within art restorers meticulously opened cultural items from secure wrapping, examining each artifact and taking detailed records before placing them on exhibition areas and bases.

Experts adjusted environmental controls. In the research lab, officers adjusted devices designed to conserve centuries-old items.

Funding and Economic Goals

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

"I want us to have a substantial economic impact on local residents in this region," he explained to journalists, noting that he wanted to make Benin City "a tourism center."

Mowaa, a non-profit national foundation, sees itself establishing in excess of 30,000 direct and indirect jobs and contributing more than $80m annually to the area arts sector through alliances and activities.

Investment and Administrative Problems

It has needed $25m to achieve this stage – money raised from different donors, featuring the European governments, the UK museum and the local administration.

But at present the state authorities has revoked permission from beneath it – revoking the occupancy of the site on which the museum was built.

An government communicator clarified this was because in the early agreements it had referred to itself as the Edo-named institution – and it had since eliminated "Edo" from its name.

Protests and Political Intervention

This declaration followed protests on Sunday, when people stormed the facility calling for it be named the Museum of the Benin Kingdom.

A disruptive crowd harassed foreign guests at the venue before the opening – forcing them to be quickly removed under official guard.

Head of state Bola Tinubu has even intervened to try and resolve the tensions, setting up a high-level committee to do some damage control.

Administrative Challenges

But in what way has this evolved into so controversial – and such a PR disaster?

Much of it results from internecine rivalries at a area administrative level, as it was the former state leader Godwin Obaseki – whose administration ended last year – who was a major backer of the museum.

And it appears the government of the new governor, a key associate of the area king, known as the Oba, may seek increased control in the initiative. The protesters on that day, for instance, were insisting that the museum be positioned under the authority of the royal leader.

The Historical Objects Discussion

This highlights the contentious issue of the Benin Bronzes, one of the region's most famous historical legacy.

Because though the institution does finally welcome visitors, these objects will be noticeably missing.

They are metal, ivory and timber carvings that once decorated the monarch's home of the historical empire before UK forces looted them in the late nineteenth century during a punitive expedition.

Nowadays, thousands continue to be spread across museums in Western nations -- including the London museum, German museum and the New York institution.

Return Initiatives

Their repatriation has become one of the most contested debates in the global art world. Roughly 150 have now come back – and further are scheduled to be repatriated.

When plans for the institution in Benin City were initially revealed in recent years, the influential figures on the country's cultural sector hoped it would become their perfect venue – a modern complex to show them off to the global audience.

But the waters were muddied recently after the federal government announced that the traditional ruler would be the proper guardian of returned objects – and the palace pushed for a museum under the monarch's supervision, opposing the desires of the ex-leader.

Strategic Positioning

This placed Mowaa in a challenging circumstance: maintaining a specific viewpoint on repatriation while staying tactful on ownership – and emphasising its larger purpose, which led to|c