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Nigeria's remarkable new West African Art Museum (Mowaa) has ended up in the crosshairs of local power politics during the time it was supposed to – but was unable – to open its doors to the public for the very first time.

The Ambitious Project

The six-hectare campus sits in the core of Benin City, main city of the southern state of Edo – and features an archaeological dig and buildings planned by high-profile British-Ghanaian architect Sir David Adjaye, best known for the National Museum of African American History and Culture that opened in Washington DC in 2016.

It has been five years in the creation – and is designed to honor both the heritage and the present of creativity in the locale famous for the historic artworks, historical pieces taken from the royal palace by British soldiers in the 19th Century.

Readiness and Potential

It is remarkable – and prior to the planned opening, Mowaa was buzzing with staff determined to show it is a place that can compete with renowned art institutions in the West.

Inside art restorers carefully unwrapped artworks from safety materials, inspecting each piece and taking detailed notes before positioning them on display surfaces and stands.

Specialists calibrated environmental controls. In the scientific facility, officers set up equipment meant to preserve ancient items.

Investment and Economic Plans

The project has been the concept of businessman Phillip Ihenacho – now Mowaa's chief executive.

"I hope us to have a significant financial effect on communities in the vicinity," he explained to the press, adding that he hoped to make Benin City "a cultural destination."

Mowaa, a charitable national foundation, envisions itself establishing more than 30,000 direct and indirect jobs and contributing above $80m each year to the regional creative economy through collaborations and activities.

Financial Support and Government Issues

It has required $25m to achieve this stage – funds collected from different donors, including the European governments, the UK museum and the regional authorities.

But currently the regional administration has withdrawn support from beneath it – canceling the utilization of the property on which the building was erected.

An Edo state spokesperson clarified this was because in the initial documents it had identified as Edo Museum of West African Art – and it had since eliminated "the state identifier" from its name.

Demonstrations and Government Action

This statement came after rallies on Sunday, when protesters stormed the facility calling for it be named the Benin Royal Museum.

A rowdy crowd harassed foreign guests at the museum ahead of the opening – compelling them to be hurried away under security protection.

National leader Bola Tinubu has additionally stepped in to work to address the dispute, creating a presidential committee to do some damage control.

Governance Issues

But in what way has this evolved into so controversial – and such a public relations crisis?

A great deal of it comes down to local power struggles at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished recently – who was a key supporter of the initiative.

And it seems the government of the new governor, a close ally of the regional monarch, called the royal figure, may want increased control in the venture. The protesters on that day, for example, were calling for that the facility be placed under the authority of Oba Ewuare II.

The Cultural Artifacts Debate

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

Because even if the museum does finally begin operations, these bronzes will be conspicuously absent.

They are metal, elephant tusk and wooden sculptures that once decorated the king's residence of the ancient kingdom before colonial troops looted them in the colonial era during a military operation.

Today, thousands remain scattered across museums in Europe and North America -- such as the London museum, German museum and the New York institution.

Restitution Efforts

Their return has become one of the most disputed discussions in the global art world. About 150 have presently made their way home – and additional are due to follow.

When plans for the facility in the city were originally proposed in recent years, the key players on the national arts community hoped it would become their perfect venue – a state-of-the-art facility to show them off to the global audience.

But the issues became confused two years ago after the central administration announced that the Oba would be the rightful owner of repatriated artifacts – and the palace advocated for a museum under the king's authority, against the wishes of the former governor.

Political Navigation

This left Mowaa in a challenging circumstance: maintaining a definite position on restitution while being careful on custodianship – and highlighting its wider mission, which led to|c