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Nigeria's impressive new Museum of West African Art (Mowaa) has landed in the crosshairs of local power politics during the week it was supposed to – but was unable – to begin operations to the public for the very first time.

The Grand Vision

The large-scale campus is located in the heart of the Edo state capital, administrative center of the southern area of Edo – and features an archaeological dig and buildings planned by celebrated British-Ghanaian architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that opened in Washington DC in 2016.

It has been half a decade in the creation – and is designed to showcase both the history and the modern times of cultural innovation in the locale famous for the historic artworks, historical pieces looted from the king's palace by UK forces in the 19th Century.

Preparation and Promise

It is remarkable – and before the scheduled opening, Mowaa was buzzing with workers resolved to show it is a place that can compete with well-known cultural centers in the Europe and America.

Internally preservation experts carefully opened artworks from protective packaging, examining each piece and taking detailed records before arranging them on exhibition areas and stands.

Experts fine-tuned temperature regulation systems. In the research lab, officers calibrated instruments intended to maintain ancient artefacts.

Funding and Economic Goals

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

"I hope us to have a major economic impact on local residents in the vicinity," he told journalists, adding that he hoped to make this urban center "an arts hub."

Mowaa, a not-for-profit national foundation, envisions itself generating in excess of 30,000 work positions and contributing above $80m each year to the area arts sector through partnerships and programming.

Funding Sources and Political Challenges

It has required $25m to get here – money raised from multiple supporters, featuring the French and German governments, the UK museum and the Edo state government.

But at present the state authorities has withdrawn support from beneath it – terminating the use of the property on which the museum was built.

An official representative stated this was because in the early agreements it had called itself Edo Museum of West African Art – and it had subsequently removed "the regional name" from its title.

Unrest and Official Response

This declaration came after protests on Sunday, when people stormed the campus demanding it be designated the Benin Royal Museum.

A disruptive group harassed foreign guests at the museum ahead of the inauguration – requiring them to be quickly removed under police escort.

President Bola Tinubu has also stepped in to work to address the dispute, setting up a presidential committee to address the controversy.

Governance Issues

But why has this evolved into so controversial – and such a reputation problem?

Much of it comes down to internecine rivalries at a local state level, as it was the ex-administrator Godwin Obaseki – whose administration ended the previous year – who was a primary advocate of the museum.

And it looks like the administration of the recently elected official, a strong supporter of the area king, referred to as the traditional leader, may seek greater involvement in the venture. The demonstrators on that day, for instance, were insisting that the facility be placed under the supervision of Oba Ewuare II.

The Benin Bronzes Controversy

This brings into focus the disputed topic of the Benin Bronzes, one of Africa's most celebrated historical legacy.

Because although the facility does eventually begin operations, these objects will be conspicuously absent.

They are metal, ivory and wooden artworks that once decorated the monarch's home of the historical empire before British soldiers stole them in the late nineteenth century during a colonial invasion.

Currently, many stay distributed across institutions in Europe and North America -- including the London museum, European center and the American museum.

Restitution Efforts

Their repatriation has become one of the most contested debates in the worldwide cultural sector. Approximately 150 have presently made their way home – and further are scheduled to be repatriated.

When plans for the museum in Benin City were first announced in recent years, the key players on the country's cultural sector expected it would become their perfect venue – a state-of-the-art complex to exhibit them to the international community.

But the situation became complicated recently after the national authorities declared that the traditional ruler would be the proper guardian of any returned bronzes – and the palace pushed for a museum under the king's authority, contrary to the wishes of Obaseki.

Political Navigation

This placed Mowaa in a difficult situation: asserting a clear stance on restitution while being careful on custodianship – and highlighting its broader vision, which led to|c