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Nigeria's remarkable new Museum of West African Art (Mowaa) has ended up in the center of local power politics during the week it was expected to – but did not manage – to open its doors to the general public for the initial occasion.

The Ambitious Project

The large-scale campus stands in the heart of Benin's urban center, main city of the southern state of Edo – and includes an archaeological dig and buildings created by renowned British-Ghanaian architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that was inaugurated in Washington DC in 2016.

It has been five years in the creation – and is planned to celebrate both the heritage and the present of cultural innovation in the region known for the historic artworks, historical pieces looted 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 energetic with employees determined to show it is a place that can rival well-known museums and galleries in the West.

Internally preservation experts precisely revealed artworks from secure wrapping, checking each artifact and taking detailed notes before placing them on walls and stands.

Specialists calibrated temperature regulation systems. In the scientific facility, personnel calibrated equipment intended to maintain historical items.

Investment and Economic Plans

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

"I want us to have a significant financial effect on area populations around here," he stated to the press, adding that he wanted to make this urban center "a cultural destination."

Mowaa, a not-for-profit local organization, envisions itself generating over 30,000 work positions and providing more than $80m annually to the area arts sector through collaborations and programming.

Investment and Administrative Problems

It has needed $25m to reach this point – money gathered from different supporters, including the European governments, the British Museum and the regional authorities.

But now the state authorities has pulled the rug from below it – terminating the use of the land on which the facility was constructed.

An Edo state spokesperson clarified this was because in the early agreements it had referred to itself as Edo Museum of West African Art – and it had later removed "the regional name" from its designation.

Protests and Political Intervention

This declaration was preceded by protests on recently, when activists invaded the facility insisting it be named the Royal Benin Museum.

A rowdy group harassed overseas dignitaries at the venue prior to the opening – requiring them to be escorted out under official guard.

National leader Bola Tinubu has even stepped in to try and resolve the dispute, establishing a high-level committee to do some damage control.

Governance Issues

But how has this become so politicised – and such a public relations crisis?

Much of it stems from local power struggles at a regional government level, as it was the ex-administrator Godwin Obaseki – whose governance ended the previous year – who was a key supporter of the initiative.

And it seems the administration of the new governor, a key associate of the area king, referred to as the Oba, may seek more of a stake in the initiative. The protesters on Sunday, for instance, were demanding that the facility be put under the supervision of the royal leader.

The Cultural Artifacts Debate

This highlights the controversial matter of the cultural artifacts, one of Africa's most renowned historical legacy.

Because though the facility does eventually begin operations, these objects will be clearly not present.

They are metal, ivory and wooden sculptures that once embellished the royal palace of the Benin Kingdom before colonial troops looted them in the colonial era during a punitive expedition.

Nowadays, many continue to be scattered across institutions in the West -- such as the London museum, German museum and the American museum.

Repatriation Campaigns

Their homecoming has become one of the most contested conversations in the worldwide cultural sector. Approximately 150 have now come back – and additional are expected to return.

When ideas for the facility in Benin City were initially revealed in the pre-pandemic era, the key players on the national arts community hoped it would become their perfect venue – a modern facility to show them off to the world.

But the issues became confused two years ago after the national authorities declared that the traditional ruler would be the rightful owner of returned objects – and the monarch's court pushed for a facility under the royal family's direct control, contrary to the preferences of Obaseki.

Diplomatic Challenges

This left Mowaa in a difficult situation: expressing a definite position on return while staying tactful on custodianship – and highlighting its wider mission, which led to|c