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Nigeria's remarkable new Art Museum of West Africa (Mowaa) has landed in the middle of local power politics during the week it was scheduled to – but failed – to welcome visitors to the general public for the initial occasion.

The Major Initiative

The 15-acre complex is located in the center of the Edo state capital, main city of the southern region of Edo – and includes an archaeological dig and buildings planned by celebrated Ghanaian-British architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that began operations in Washington in 2016.

It has been 60 months in the making – and is planned to honor both the heritage and the present of artistic expression in the locale famous for the cultural artifacts, artworks stolen from the king's palace by UK forces in the 19th Century.

Preparation and Promise

It is notable – and prior to the planned opening, Mowaa was energetic with workers resolved to prove it is a place that can rival renowned museums and galleries in the Western world.

Internally art restorers carefully unwrapped art pieces from secure wrapping, checking each piece and taking meticulous notes before positioning them on display surfaces and plinths.

Specialists fine-tuned environmental controls. In the research lab, staff members set up devices designed to maintain historical items.

Funding and Economic Goals

The project has been the idea of entrepreneur Phillip Ihenacho – currently Mowaa's executive director.

"I hope us to have a substantial economic benefit on area populations around here," he stated to journalists, noting that he hoped to make Benin City "an arts hub."

Mowaa, a non-profit national foundation, sees itself generating in excess of 30,000 direct and indirect jobs and contributing above $80m per year to the regional creative economy through collaborations and activities.

Investment and Administrative Problems

It has taken $25m to achieve this stage – capital raised from various supporters, such as the international partners, the UK museum and the regional authorities.

But now the local government has pulled the rug from under it – revoking the occupancy of the land on which the facility was constructed.

An government communicator clarified this was because in the original paperwork it had called itself EMOWAA – and it had later dropped "Edo" from its designation.

Demonstrations and Government Action

This declaration came after demonstrations on the weekend, when protesters invaded the facility demanding it be named the Museum of the Benin Kingdom.

A disruptive group harassed international visitors at the venue prior to the inauguration – forcing them to be hurried away under police escort.

Head of state Bola Tinubu has even intervened to work to address the conflict, establishing a special task force to manage the situation.

Political Complexities

But in what way has this evolved into so divisive – and such a PR disaster?

Much of it comes down to local power struggles at a regional government level, as it was the ex-administrator Godwin Obaseki – whose term in office concluded the previous year – who was a primary advocate of the initiative.

And it appears the leadership of the new governor, a strong supporter of the regional monarch, referred to as the Oba, may desire greater involvement in the venture. The protesters on that day, for example, were demanding that the facility be placed under the authority of the current Oba.

The Cultural Artifacts Debate

This highlights the contentious issue of the historical artworks, one of the region's most famous historical legacy.

Because although the museum does eventually welcome visitors, these artifacts will be conspicuously absent.

They are metal, ivory and timber artworks that once decorated the king's residence of the Benin Kingdom before colonial troops looted them in the colonial era during a military operation.

Currently, thousands remain spread across museums in Europe and North America -- including the London museum, Berlin's Humboldt Forum and the New York institution.

Restitution Efforts

Their return has become one of the most debated conversations in the global art world. About 150 have now made their way home – and additional are expected to return.

When proposals for the museum in the urban center were first announced in recent years, the influential figures on the country's cultural sector anticipated it would become their natural home – a advanced campus to exhibit them to the international community.

But the situation became complicated two years ago after the national authorities announced that the traditional ruler would be the legal custodian of returned objects – and the monarch's court advocated for a facility under the monarch's supervision, contrary to the desires of Obaseki.

Political Navigation

This left Mowaa in a challenging circumstance: asserting a clear stance on repatriation while being careful on ownership – and highlighting its broader vision, which led to|c