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The nation's impressive new West African Art Museum (Mowaa) has found itself in the center of regional political struggles during the time it was supposed to – but did not manage – to open its doors to the public for the very first time.

The Grand Vision

The large-scale campus stands in the core of the Edo state capital, main city of the southern area of Edo – and features an archaeological dig and buildings planned by renowned dual heritage architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that opened in Washington in 2016.

It has been half a decade in the creation – and is envisioned to showcase both the heritage and the current era of cultural innovation in the area famous for the Benin Bronzes, cultural objects taken from the city's royal palace by British soldiers in the 1800s.

Readiness and Potential

It is remarkable – and prior to the planned opening, Mowaa was active with staff committed to prove it is a place that can compete with renowned cultural centers in the Western world.

Inside preservation experts precisely revealed artworks from protective packaging, checking each artifact and taking meticulous documentation before positioning them on display surfaces and plinths.

Experts fine-tuned climate control systems. In the research lab, staff members adjusted devices designed to maintain historical artefacts.

Financial Backing and Economic Vision

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

"I want us to have a substantial economic impact on area populations in this region," he explained to media outlets, noting that he wanted to make the city "a cultural destination."

Mowaa, a non-profit national foundation, aims at establishing over 30,000 employment opportunities and contributing over $80m each year to the area arts sector through partnerships and activities.

Investment and Administrative Problems

It has required $25m to reach this point – funds collected from different donors, featuring the European governments, the British Museum and the regional authorities.

But currently the state authorities has pulled the rug from beneath it – revoking the utilization of the property on which the building was erected.

An official representative stated this was because in the original paperwork it had called itself EMOWAA – and it had later dropped "the regional name" from its title.

Unrest and Official Response

This declaration came after rallies on Sunday, when protesters stormed the complex insisting it be named the Benin Royal Museum.

A boisterous assembly harassed overseas dignitaries at the museum before the inauguration – requiring them to be quickly removed under security protection.

President Bola Tinubu has even intervened to try and resolve the tensions, creating a presidential committee to do some damage control.

Governance Issues

But in what way has this evolved into so controversial – and such a PR disaster?

Much of it stems from internecine rivalries at a local state level, as it was Edo's previous governor Godwin Obaseki – whose term in office concluded the previous year – who was a key supporter of the project.

And it looks like the government of the current leader, a strong supporter of the regional monarch, referred to as the Oba, may seek increased control in the project. The demonstrators on that day, for example, were demanding that the facility be placed under the control of the current Oba.

The Historical Objects Discussion

This highlights the contentious issue of the historical artworks, one of the continent's most famous cultural treasures.

Because although the facility does eventually open, these objects will be clearly not present.

They are brass, ivory and wooden carvings that once embellished the king's residence of the historical empire before UK forces took them in the colonial era during a colonial invasion.

Currently, thousands continue to be scattered across museums in Europe and North America -- such as the UK institution, European center and the Metropolitan Museum of Art.

Return Initiatives

Their homecoming has become one of the most disputed discussions in the international art community. About 150 have currently come back – and additional are due to follow.

When plans for the institution in the city were first announced in recent years, the movers and shakers on Nigeria's art scene hoped it would become their natural home – a advanced campus to show them off to the international community.

But the issues became confused recently after the central administration announced that the royal leader would be the rightful owner of repatriated artifacts – and the royal household campaigned for a museum under the king's authority, opposing the preferences of Obaseki.

Diplomatic Challenges

This placed Mowaa in a difficult situation: asserting a clear stance on restitution while remaining diplomatic on ownership – and emphasising its wider mission, which led to|c