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The nation's impressive new West African Art Museum (Mowaa) has landed in the center of local power politics during the time it was expected to – but failed – to open its doors to the general public for the initial occasion.

The Ambitious Project

The six-hectare complex is located in the heart of the Edo state capital, administrative center of the southern region of Edo – and contains an archaeological dig and structures designed by high-profile Ghanaian-British architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that opened in Washington DC in 2016.

It has been 60 months in the making – and is envisioned to honor both the past and the present of artistic expression in the region known for the historic artworks, cultural objects looted from the king's palace by UK forces in the 19th Century.

Readiness and Potential

It is impressive – and before the anticipated opening, Mowaa was active with employees determined to prove it is a place that can match well-known cultural centers in the West.

Internally art restorers carefully opened artworks from protective packaging, examining each item and taking meticulous notes before arranging them on exhibition areas and stands.

Technicians fine-tuned climate control systems. In the scientific facility, personnel calibrated equipment designed to maintain historical artefacts.

Financial Backing and Economic Vision

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

"I want us to have a significant financial effect on local residents around here," he explained to journalists, mentioning that he hoped to make this urban center "a cultural destination."

Mowaa, a not-for-profit Nigerian institution, sees itself establishing over 30,000 employment opportunities and adding above $80m each year to the regional creative economy through partnerships and events.

Investment and Administrative Problems

It has required $25m to reach this point – money collected from multiple contributors, including the European governments, the UK museum and the regional authorities.

But now the regional administration has pulled the rug from beneath it – terminating the utilization of the property on which the building was erected.

An government communicator explained this was because in the original paperwork it had referred to itself as Edo Museum of West African Art – and it had subsequently eliminated "Edo" from its title.

Unrest and Official Response

This announcement followed protests on recently, when people entered the facility demanding it be called the Royal Benin Museum.

A boisterous assembly harassed international visitors at the facility prior to the launch – forcing them to be quickly removed under security protection.

National leader Bola Tinubu has even stepped in to try and resolve the tensions, establishing a presidential committee to address the controversy.

Administrative Challenges

But why has this evolved into so controversial – and such a PR disaster?

A great deal of it comes down to internal conflicts at a local state level, as it was Edo's previous governor Godwin Obaseki – whose administration concluded recently – who was a key supporter of the initiative.

And it looks like the administration of the new governor, a strong supporter of the local traditional ruler, referred to as the traditional leader, may seek greater involvement in the venture. The activists on Sunday, for case, were demanding that the facility be placed under the control of the current Oba.

The Cultural Artifacts Debate

This highlights the controversial matter of the cultural artifacts, one of the continent's most famous cultural treasures.

Because though the museum does finally begin operations, these objects will be conspicuously absent.

They are metal, ivory and timber artworks that once decorated the king's residence of the ancient kingdom before UK forces stole them in the colonial era during a military operation.

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

Restitution Efforts

Their return has become one of the most disputed discussions in the international art community. Roughly 150 have now come back – and further are due to follow.

When ideas for the museum in Benin City were initially revealed in recent years, the key players on Nigeria's art scene expected it would become their ideal location – a state-of-the-art campus to show them off to the international community.

But the situation became complicated two years ago after the national authorities stated that the Oba would be the rightful owner of returned objects – and the monarch's court campaigned for a facility under the royal family's direct control, opposing the desires of the former governor.

Diplomatic Challenges

This placed Mowaa in a difficult situation: expressing a definite position on repatriation while being careful on guardianship – and emphasising its wider mission, which led to|c