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Nigeria's remarkable new Art Museum of West Africa (Mowaa) has found itself in the middle of local power politics during the week it was scheduled to – but was unable – to begin operations to the visitors for the initial occasion.

The Grand Vision

The six-hectare facility is located in the center of the Edo state capital, administrative center of the southern state of Edo – and features an archaeological dig and buildings designed by high-profile British-Ghanaian architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that began operations in Washington DC in 2016.

It has been five years in the creation – and is planned to celebrate both the past and the current era of artistic expression in the area renowned for the Benin Bronzes, artworks looted from the city's royal palace by British troops in the 1800s.

Setup and Prospects

It is impressive – and before the scheduled opening, Mowaa was active with workers committed to demonstrate it is a place that can match well-known cultural centers in the Europe and America.

Internally preservation experts carefully unwrapped artworks from safety materials, inspecting each artifact and taking meticulous documentation before arranging them on display surfaces and plinths.

Experts calibrated climate control systems. In the materials science laboratory, officers calibrated equipment meant to conserve historical items.

Financial Backing and Economic Vision

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

"I want us to have a significant financial effect on communities around here," he told journalists, noting that he aspired to make the city "an arts hub."

Mowaa, a not-for-profit national foundation, envisions itself creating over 30,000 direct and indirect jobs and providing above $80m annually to the regional creative economy through partnerships and events.

Investment and Administrative Problems

It has required $25m to get here – funds raised from different donors, such as the French and German governments, the London institution and the regional authorities.

But currently the regional administration has revoked permission from beneath it – revoking the use of the property on which the building was erected.

An government communicator explained this was because in the initial documents it had identified as Edo Museum of West African Art – and it had later removed "Edo" from its designation.

Protests and Political Intervention

This declaration was preceded by demonstrations on Sunday, when people stormed the complex calling for it be called the Royal Benin Museum.

A boisterous group harassed foreign guests at the facility ahead of the opening – requiring them to be escorted out under official guard.

President Bola Tinubu has even stepped in to try and resolve the tensions, creating a special task force to manage the situation.

Governance Issues

But why has this turned into so politicised – and such a public relations crisis?

The majority of it comes down to internecine rivalries at a local state level, as it was Edo's previous governor Godwin Obaseki – whose administration concluded the previous year – who was a major backer of the initiative.

And it looks like the leadership of the new governor, a strong supporter of the local traditional ruler, referred to as the traditional leader, may want increased control in the venture. The demonstrators on Sunday, for example, were calling for that the institution be positioned under the control of Oba Ewuare II.

The Cultural Artifacts Debate

This highlights the disputed topic of the Benin Bronzes, one of the continent's most celebrated historical legacy.

Because though the museum does eventually welcome visitors, these objects will be clearly not present.

They are brass, ivory and timber artworks that once decorated the royal palace of the ancient kingdom before British soldiers took them in the late nineteenth century during a punitive expedition.

Nowadays, thousands remain scattered across galleries in Europe and North America -- such as the UK institution, European center and the New York institution.

Restitution Efforts

Their return has become one of the most debated conversations in the worldwide cultural sector. Roughly 150 have now come back – and more are due to follow.

When proposals for the institution in the urban center were initially revealed in recent years, the key players on Nigeria's art scene anticipated it would become their perfect venue – a modern complex to display them to the global audience.

But the issues became confused two years ago after the central administration announced that the traditional ruler would be the rightful owner of returned objects – and the royal household advocated for a facility under the royal family's direct control, against the desires of Obaseki.

Diplomatic Challenges

This left Mowaa in a challenging circumstance: maintaining a clear stance on restitution while staying tactful on guardianship – and stressing its wider mission, which led to|c