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Nigeria's remarkable new Museum of West African Art (Mowaa) has found itself in the crosshairs of regional political struggles during the period it was scheduled to – but failed – to welcome visitors to the public for the first time.

The Major Initiative

The six-hectare complex is located in the core of the Edo state capital, administrative center of the southern state of Edo – and contains an historical dig and structures created by celebrated Ghanaian-British architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that opened in the US capital in 2016.

It has been 60 months in the making – and is designed to honor both the history and the present of artistic expression in the region known for the historic artworks, cultural objects stolen from the royal palace by UK forces in the nineteenth century.

Setup and Prospects

It is impressive – and before the anticipated opening, Mowaa was buzzing with employees resolved to demonstrate it is a place that can compete with well-known art institutions in the West.

Internally art restorers meticulously revealed artworks from secure wrapping, inspecting each item and taking meticulous documentation before placing them on walls and stands.

Specialists adjusted temperature regulation systems. In the research lab, personnel calibrated devices designed to conserve historical artefacts.

Investment and Economic Plans

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

"I hope us to have a major financial effect on communities in the vicinity," he told the press, mentioning that he wanted to make this urban center "a cultural destination."

Mowaa, a non-profit national foundation, envisions itself creating more than 30,000 work positions and adding above $80m each year to the local cultural industry through partnerships and activities.

Funding Sources and Political Challenges

It has taken $25m to reach this point – funds raised from multiple donors, including the French and German governments, the UK museum and the local administration.

But at present the regional administration has withdrawn support from under it – revoking the occupancy of the land on which the building was erected.

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

Protests and Political Intervention

This declaration came after rallies on the weekend, when protesters entered the complex insisting it be designated the Benin Royal Museum.

A rowdy assembly confronted international visitors at the museum ahead of the inauguration – compelling them to be quickly removed under police escort.

President Bola Tinubu has additionally intervened to attempt to settle the conflict, establishing a special task force to address the controversy.

Political Complexities

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

Much of it results from local power struggles at a local state level, as it was the former state leader Godwin Obaseki – whose administration ended the previous year – who was a primary advocate of the museum.

And it appears the government of the recently elected official, a close ally of the local traditional ruler, known as the royal figure, may desire increased control in the project. The demonstrators on that day, for example, were insisting that the facility be positioned under the control of the current Oba.

The Historical Objects Discussion

This brings into focus the contentious issue of the cultural artifacts, one of the region's most famous artistic heritage.

Because even if the museum does eventually begin operations, these bronzes will be noticeably missing.

They are metal, elephant tusk and timber artworks that once decorated the king's residence of the ancient kingdom before UK forces stole them in 1897 during a punitive expedition.

Today, many stay scattered across galleries in the West -- featuring the UK institution, European center and the New York institution.

Return Initiatives

Their repatriation has become one of the most debated debates in the international art community. Approximately 150 have currently made their way home – and further are scheduled to be repatriated.

When proposals for the museum in Benin City were initially revealed in recent years, the influential figures on the national arts community hoped it would become their perfect venue – a state-of-the-art complex to show them off to the global audience.

But the waters were muddied recently after the federal government declared that the traditional ruler would be the rightful owner of repatriated artifacts – and the royal household campaigned for a museum under the monarch's supervision, against the preferences of the former governor.

Diplomatic Challenges

This left Mowaa in a delicate position: expressing a clear stance on return while staying tactful on custodianship – and emphasising its wider mission, which led to|c