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Nigeria's stunning new Museum of West African Art (Mowaa) has landed in the center of local power politics during the time it was supposed to – but failed – to begin operations to the visitors for the very first time.

The Ambitious Project

The six-hectare facility sits in the heart of Benin's urban center, main city of the southern area of Edo – and features an excavation site and buildings created by renowned dual heritage architect Sir David Adjaye, most famous for the Smithsonian African American Museum that began operations in Washington in 2016.

It has been half a decade in the making – and is designed to honor both the past and the present of artistic expression in the region famous for the historic artworks, historical pieces taken from the city's royal palace by UK forces in the nineteenth century.

Setup and Prospects

It is remarkable – and prior to the anticipated opening, Mowaa was energetic with workers resolved to demonstrate it is a place that can rival well-known museums and galleries in the Western world.

Inside art restorers carefully opened art pieces from protective packaging, examining each artifact and taking detailed records before positioning them on exhibition areas and plinths.

Experts fine-tuned climate control systems. In the research lab, officers adjusted devices meant to maintain historical objects.

Funding and Economic Goals

The initiative has been the concept of investor Phillip Ihenacho – now Mowaa's managing director.

"I want us to have a major economic impact on area populations in this region," he explained to the press, adding that he aspired to make Benin City "a cultural destination."

Mowaa, a non-profit local organization, envisions itself establishing in excess of 30,000 direct and indirect jobs and providing over $80m each year to the area arts sector through partnerships and activities.

Financial Support and Government Issues

It has taken $25m to achieve this stage – funds raised from different contributors, such as the French and German governments, the UK museum and the Edo state government.

But at present the regional administration has withdrawn support from below it – terminating the utilization of the site on which the facility was constructed.

An Edo state spokesperson clarified this was because in the original paperwork it had referred to itself as the Edo-named institution – and it had since dropped "the state identifier" from its name.

Demonstrations and Government Action

This declaration was preceded by protests on the weekend, when people entered the facility demanding it be designated the Benin Royal Museum.

A boisterous group confronted foreign guests at the museum ahead of the launch – forcing them to be escorted out under security protection.

Head of state Bola Tinubu has also stepped in to try and resolve the dispute, creating a special task force to address the controversy.

Political Complexities

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

The majority of it comes down to internal conflicts at a local state level, as it was the ex-administrator Godwin Obaseki – whose administration ended recently – who was a primary advocate of the museum.

And it looks like the leadership of the new governor, a close ally of the local traditional ruler, called the traditional leader, may seek increased control in the initiative. The demonstrators on Sunday, for instance, were calling for that the museum be placed under the supervision of the royal leader.

The Cultural Artifacts Debate

This brings into focus the contentious issue of the historical artworks, one of the continent's most renowned historical legacy.

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

They are metal, elephant tusk and wooden artworks that once decorated the monarch's home of the Benin Kingdom before British soldiers looted them in 1897 during a punitive expedition.

Nowadays, many remain scattered across galleries in the West -- such as the British Museum, Berlin's Humboldt Forum and the New York institution.

Restitution Efforts

Their repatriation has become one of the most contested debates in the worldwide cultural sector. Roughly 150 have presently made their way home – and additional are expected to return.

When proposals for the museum in Benin City were originally proposed in recent years, the movers and shakers on the country's cultural sector expected it would become their natural home – a modern complex to display them to the global audience.

But the issues became confused recently after the central administration declared that the Oba would be the proper guardian of repatriated artifacts – and the royal household pushed for a institution under the royal family's direct control, against the preferences of the ex-leader.

Diplomatic Challenges

This left Mowaa in a delicate position: asserting a specific viewpoint on repatriation while being careful on ownership – and highlighting its wider mission, which led to|c