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Nigeria's stunning new Museum of West African Art (Mowaa) has landed in the middle of local power politics during the period it was expected to – but was unable – to open its doors to the visitors for the initial occasion.

The Grand Vision

The large-scale complex is located in the center of Benin's urban center, administrative center of the southern region of Edo – and features an excavation site and facilities created by celebrated Ghanaian-British architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that began operations in Washington in 2016.

It has been half a decade in the making – and is envisioned to honor both the heritage and the modern times of cultural innovation in the region known for the historic artworks, historical pieces taken from the city's royal palace by British troops in the nineteenth century.

Preparation and Promise

It is impressive – and before the planned opening, Mowaa was active with employees determined to show it is a place that can rival renowned art institutions in the West.

Internally preservation experts precisely opened art pieces from protective packaging, examining each piece and taking thorough notes before placing them on walls and bases.

Technicians fine-tuned environmental controls. In the materials science laboratory, staff members set up devices meant to maintain centuries-old objects.

Funding and Economic Goals

The initiative has been the brainchild of businessman Phillip Ihenacho – currently Mowaa's managing director.

"I want us to have a major economic impact on area populations in this region," he explained to the press, adding that he aspired to make the city "an arts hub."

Mowaa, a not-for-profit Nigerian institution, envisions itself creating over 30,000 employment opportunities and providing more than $80m each year to the area arts sector through collaborations and activities.

Financial Support and Government Issues

It has taken $25m to achieve this stage – funds collected from various contributors, such as the international partners, the London institution and the regional authorities.

But now the state authorities has revoked permission from beneath it – terminating the use of the land on which the museum was built.

An Edo state spokesperson stated this was because in the original paperwork it had called itself the Edo-named institution – and it had later removed "Edo" from its title.

Unrest and Official Response

This statement followed rallies on recently, when people stormed the facility demanding it be named the Royal Benin Museum.

A rowdy assembly insulted foreign guests at the museum ahead of the inauguration – requiring them to be escorted out under official guard.

National leader Bola Tinubu has additionally intervened to attempt to settle the conflict, setting up a special task force to do some damage control.

Governance Issues

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

Much of it comes down to internecine rivalries at a local state level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished the previous year – who was a major backer of the project.

And it looks like the administration of the new governor, a close ally of the local traditional ruler, known as the traditional leader, may seek increased control in the venture. The activists on Sunday, for example, were insisting that the museum be put under the control of the royal leader.

The Cultural Artifacts Debate

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

Because though the institution does eventually welcome visitors, these artifacts will be conspicuously absent.

They are metal, elephant tusk and wooden sculptures that once embellished the monarch's home of the Benin Kingdom before colonial troops took them in 1897 during a colonial invasion.

Nowadays, many remain scattered across institutions in Europe and North America -- featuring the UK institution, European center and the New York institution.

Repatriation Campaigns

Their return has become one of the most disputed conversations in the global art world. About 150 have presently come back – and additional are due to follow.

When proposals for the institution in the urban center were originally proposed in recent years, the key players on the national arts community expected it would become their natural home – a state-of-the-art campus to show them off to the world.

But the situation became complicated recently after the federal government declared that the traditional ruler would be the legal custodian of repatriated artifacts – and the royal household advocated for a institution under the king's authority, contrary to the desires of the ex-leader.

Strategic Positioning

This placed Mowaa in a delicate position: expressing a definite position on repatriation while staying tactful on ownership – and highlighting its wider mission, which led to|c