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Nigeria's stunning new West African Art Museum (Mowaa) has found itself in the crosshairs of local power politics during the period it was expected to – but did not manage – to begin operations to the public for the very first time.

The Ambitious Project

The 15-acre campus is located in the center of Benin's urban center, main city of the southern state of Edo – and features an excavation site and buildings created by renowned Ghanaian-British architect Sir David Adjaye, most famous for the Smithsonian African American Museum that began operations in Washington DC in 2016.

It has been five years in the making – and is designed to showcase both the past and the current era of creativity in the locale known for the historic artworks, artworks stolen from the royal palace by UK forces in the nineteenth century.

Setup and Prospects

It is impressive – and prior to the planned opening, Mowaa was active with workers determined to show it is a place that can match established museums and galleries in the Europe and America.

Internally conservators meticulously opened artworks from secure wrapping, checking each piece and taking thorough notes before arranging them on walls and plinths.

Experts adjusted environmental controls. In the materials science laboratory, officers set up equipment intended to maintain ancient items.

Investment and Economic Plans

The project has been the brainchild of businessman Phillip Ihenacho – presently Mowaa's managing director.

"I hope us to have a substantial economic benefit on communities around here," he stated to media outlets, mentioning that he hoped to make this urban center "an arts hub."

Mowaa, a non-profit local organization, aims at creating more than 30,000 employment opportunities and contributing more than $80m each year to the regional creative economy through alliances and events.

Funding Sources and Political Challenges

It has required $25m to get here – funds collected from multiple contributors, featuring the European governments, the UK museum and the regional authorities.

But currently the local government has revoked permission from below it – terminating the use of the property on which the building was erected.

An government communicator stated this was because in the initial documents it had referred to itself as the Edo-named institution – and it had subsequently dropped "Edo" from its name.

Protests and Political Intervention

This statement was preceded by rallies on Sunday, when people entered the facility demanding it be named the Benin Royal Museum.

A rowdy group confronted international visitors at the venue before the inauguration – compelling them to be quickly removed under official guard.

President Bola Tinubu has also become involved to work to address the dispute, establishing a presidential committee to do some damage control.

Political Complexities

But how has this become so politicised – and such a PR disaster?

A great deal of it comes down to local power struggles at a area administrative level, as it was the ex-administrator Godwin Obaseki – whose governance finished last year – who was a major backer of the initiative.

And it seems the administration of the new governor, a strong supporter of the local traditional ruler, referred to as the Oba, may desire more of a stake in the venture. The protesters on that day, for case, were demanding that the facility be placed under the supervision of the current Oba.

The Benin Bronzes Controversy

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

Because although the museum does ultimately welcome visitors, these objects will be conspicuously absent.

They are metal, ivory and timber carvings that once adorned the royal palace of the Benin Kingdom before UK forces took them in the colonial era during a punitive expedition.

Nowadays, thousands remain scattered across institutions in Europe and North America -- featuring the London museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Repatriation Campaigns

Their return has become one of the most debated debates in the global art world. Roughly 150 have currently made their way home – and further are scheduled to be repatriated.

When proposals for the museum in Benin City were initially revealed in recent years, the key players on the national arts community expected it would become their perfect venue – a modern complex to show them off to the international community.

But the issues became confused two years ago after the central administration announced that the Oba would be the proper guardian of repatriated artifacts – and the monarch's court advocated for a museum under the king's authority, opposing the preferences of the ex-leader.

Diplomatic Challenges

This placed Mowaa in a difficult situation: asserting a clear stance on return while remaining diplomatic on ownership – and stressing its larger purpose, which led to|c