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Nigeria's stunning new West African Art Museum (Mowaa) has landed in the middle of local power politics during the week it was supposed to – but was unable – to welcome visitors to the general public for the initial occasion.

The Major Initiative

The 15-acre complex sits in the center of Benin City, capital of the southern region of Edo – and contains an excavation site and structures designed by celebrated British-Ghanaian architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that began operations in the US capital in 2016.

It has been 60 months in the creation – and is designed to showcase both the history and the present of creativity in the area renowned for the cultural artifacts, artworks taken from the city's royal palace by UK forces in the 1800s.

Readiness and Potential

It is impressive – and prior to the scheduled opening, Mowaa was buzzing with workers committed to demonstrate it is a venue that can compete with renowned art institutions in the Europe and America.

Internally art restorers carefully revealed cultural items from safety materials, examining each item and taking meticulous notes before positioning them on display surfaces and bases.

Technicians adjusted climate control systems. In the scientific facility, staff members calibrated devices designed to maintain ancient artefacts.

Investment and Economic Plans

The project has been the idea of entrepreneur Phillip Ihenacho – presently Mowaa's chief executive.

"I hope us to have a substantial financial effect on communities around here," he told journalists, noting that he hoped to make the city "a cultural destination."

Mowaa, a not-for-profit Nigerian institution, sees itself generating over 30,000 direct and indirect jobs and adding over $80m per year to the area arts sector through collaborations and events.

Investment and Administrative Problems

It has required $25m to achieve this stage – funds raised from various contributors, including the French and German governments, the British Museum and the local administration.

But currently the regional administration has pulled the rug from beneath it – terminating the use of the site on which the building was erected.

An Edo state spokesperson explained this was because in the initial documents it had called itself EMOWAA – and it had later eliminated "the regional name" from its designation.

Unrest and Official Response

This declaration was preceded by demonstrations on the weekend, when people stormed the facility calling for it be designated the Museum of the Benin Kingdom.

A rowdy group confronted foreign guests at the museum prior to the inauguration – forcing them to be hurried away under security protection.

President Bola Tinubu has additionally become involved to try and resolve the conflict, setting up a presidential committee to manage the situation.

Administrative Challenges

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

A great deal of it comes down to internal conflicts at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose governance ended the previous year – who was a major backer of the project.

And it appears the leadership of the new governor, a close ally of the regional monarch, referred to as the Oba, may want more of a stake in the project. The protesters on the weekend, for case, were calling for that the museum be put under the supervision of the royal leader.

The Historical Objects Discussion

This highlights the controversial matter of the Benin Bronzes, one of Africa's most celebrated artistic heritage.

Because although the museum does ultimately welcome visitors, these objects will be conspicuously absent.

They are metal, elephant tusk and wooden carvings that once decorated the royal palace of the Benin Kingdom before colonial troops looted them in 1897 during a colonial invasion.

Currently, numerous remain distributed across institutions in Europe and North America -- such as the London museum, European center and the American museum.

Restitution Efforts

Their repatriation has become one of the most contested conversations in the international art community. Roughly 150 have currently come back – and further are expected to return.

When ideas for the institution in Benin City were first announced in recent years, the influential figures on the national arts community hoped it would become their perfect venue – a modern complex to show them off to the global audience.

But the situation became complicated some time back after the federal government announced that the Oba would be the proper guardian of any returned bronzes – and the royal household campaigned for a museum under the monarch's supervision, contrary to the preferences of the former governor.

Diplomatic Challenges

This placed Mowaa in a delicate position: maintaining a definite position on repatriation while being careful on guardianship – and stressing its broader vision, which led to|c