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Nigeria's impressive new West African Art Museum (Mowaa) has ended up in the middle of regional political struggles during the week it was scheduled to – but was unable – to welcome visitors to the visitors for the very first time.

The Grand Vision

The large-scale facility stands in the heart of Benin's urban center, capital of the southern area of Edo – and features an historical dig and structures planned by high-profile dual heritage architect Sir David Adjaye, most famous for the Smithsonian African American Museum that began operations in Washington DC in 2016.

It has been half a decade in the development – and is designed to showcase both the heritage and the current era of cultural innovation in the area known for the cultural artifacts, historical pieces taken from the city's royal palace by UK forces in the 19th Century.

Readiness and Potential

It is impressive – and ahead of the planned opening, Mowaa was active with staff resolved to show it is a place that can rival renowned art institutions in the West.

Inside conservators carefully revealed art pieces from safety materials, examining each artifact and taking thorough records before arranging them on display surfaces and stands.

Specialists fine-tuned environmental controls. In the scientific facility, staff members set up instruments meant to preserve historical objects.

Funding and Economic Goals

The project has been the brainchild of entrepreneur Phillip Ihenacho – now Mowaa's executive director.

"I hope us to have a significant economic benefit on local residents around here," he told the press, adding that he wanted to make Benin City "a cultural destination."

Mowaa, a charitable Nigerian institution, aims at generating over 30,000 employment opportunities and adding above $80m each year to the local cultural industry through alliances and programming.

Investment and Administrative Problems

It has taken $25m to reach this point – funds collected from different supporters, featuring the European governments, the UK museum and the Edo state government.

But now the local government has pulled the rug from under it – terminating the use of the site on which the facility was constructed.

An government communicator explained this was because in the original paperwork it had referred to itself as the Edo-named institution – and it had subsequently dropped "Edo" from its designation.

Unrest and Official Response

This announcement was preceded by rallies on recently, when protesters entered the complex insisting it be named the Royal Benin Museum.

A boisterous group confronted international visitors at the venue prior to the opening – compelling them to be escorted out under police escort.

National leader Bola Tinubu has even become involved to work to address the conflict, creating a high-level committee to do some damage control.

Political Complexities

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

Much of it results from local power struggles at a regional government level, as it was the ex-administrator Godwin Obaseki – whose governance concluded the previous year – who was a primary advocate of the project.

And it appears the leadership of the new governor, a close ally of the local traditional ruler, referred to as the royal figure, may desire increased control in the venture. The activists on that day, for case, were insisting that the museum be positioned under the authority of Oba Ewuare II.

The Cultural Artifacts Debate

This highlights the disputed topic of the cultural artifacts, one of Africa's most famous historical legacy.

Because though the institution does eventually welcome visitors, these artifacts will be clearly not present.

They are brass, ivory and wooden carvings that once decorated the royal palace of the historical empire before British soldiers took them in the late nineteenth century during a colonial invasion.

Nowadays, thousands stay scattered across galleries in Western nations -- featuring the UK institution, Berlin's Humboldt Forum and the American museum.

Repatriation Campaigns

Their return has become one of the most contested debates in the global art world. Roughly 150 have presently come back – and additional are expected to return.

When ideas for the facility in Benin City were originally proposed in recent years, the key players on the national arts community expected it would become their perfect venue – a state-of-the-art complex to exhibit them to the international community.

But the issues became confused some time back after the national authorities stated that the Oba would be the legal custodian of any returned bronzes – and the monarch's court advocated for a museum under the royal family's direct control, opposing the wishes of the former governor.

Diplomatic Challenges

This left Mowaa in a delicate position: expressing a definite position on return while remaining diplomatic on ownership – and highlighting its wider mission, which led to|c