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Nigeria's impressive new Museum of West African Art (Mowaa) has found itself in the center of local power politics during the period it was scheduled to – but failed – to welcome visitors to the visitors for the first time.

The Grand Vision

The 15-acre campus stands in the heart of the Edo state capital, administrative center of the southern state of Edo – and contains an archaeological dig and facilities created by celebrated Ghanaian-British architect Sir David Adjaye, best known for the Smithsonian African American Museum that began operations in the US capital in 2016.

It has been half a decade in the creation – and is planned to showcase both the history and the current era of cultural innovation in the locale renowned for the cultural artifacts, artworks looted from the city's royal palace by British troops in the 1800s.

Readiness and Potential

It is impressive – and ahead of the planned opening, Mowaa was active with staff committed to show it is a institution that can compete with established museums and galleries in the Europe and America.

Internally art restorers carefully opened cultural items from secure wrapping, inspecting each item and taking detailed notes before positioning them on display surfaces and plinths.

Experts adjusted climate control systems. In the materials science laboratory, officers calibrated instruments intended to preserve ancient artefacts.

Funding and Economic Goals

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

"I want us to have a major financial effect on local residents in this region," he explained to journalists, adding that he wanted to make Benin City "a tourism center."

Mowaa, a not-for-profit Nigerian institution, envisions itself establishing more than 30,000 employment opportunities and adding above $80m per year to the area arts sector through partnerships and activities.

Financial Support and Government Issues

It has taken $25m to reach this point – funds collected from various supporters, such as the European governments, the UK museum and the regional authorities.

But at present the state authorities has withdrawn support from under it – canceling the occupancy of the property on which the facility was constructed.

An official representative stated this was because in the original paperwork it had identified as EMOWAA – and it had subsequently dropped "the state identifier" from its designation.

Protests and Political Intervention

This declaration came after protests on the weekend, when people entered the complex calling for it be designated the Royal Benin Museum.

A boisterous crowd harassed international visitors at the venue prior to the opening – requiring them to be quickly removed under police escort.

National leader Bola Tinubu has even become involved to try and resolve the dispute, creating a special task force to do some damage control.

Governance Issues

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

A great deal of it stems from internecine rivalries at a local state level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished the previous year – who was a key supporter of the museum.

And it seems the leadership of the recently elected official, a close ally of the regional monarch, called the royal figure, may want more of a stake in the project. The demonstrators on Sunday, for case, were demanding that the museum be positioned under the control of the current Oba.

The Benin Bronzes Controversy

This highlights the contentious issue of the historical artworks, one of Africa's most celebrated cultural treasures.

Because though the institution does finally welcome visitors, these objects will be conspicuously absent.

They are metal, ivory and timber carvings that once adorned the royal palace of the ancient kingdom before British soldiers took them in 1897 during a colonial invasion.

Currently, thousands remain spread across institutions in the West -- such as the UK institution, 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. About 150 have currently come back – and additional are expected to return.

When ideas for the facility in Benin City were originally proposed in recent years, the influential figures on Nigeria's art scene hoped it would become their natural home – a advanced campus to display them to the international community.

But the waters were muddied recently after the national authorities stated that the traditional ruler would be the rightful owner of any returned bronzes – and the monarch's court advocated for a institution under the monarch's supervision, contrary to the desires of the former governor.

Strategic Positioning

This left Mowaa in a delicate position: expressing a specific viewpoint on restitution while staying tactful on ownership – and highlighting its larger purpose, which led to|c