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The nation's stunning new Museum of West African Art (Mowaa) has ended up in the center of local power politics during the week it was supposed to – but did not manage – to open its doors to the public for the first time.

The Ambitious Project

The 15-acre facility stands in the heart of the Edo state capital, capital of the southern state of Edo – and features an excavation site and facilities planned by high-profile dual heritage architect Sir David Adjaye, best known for the Washington African American Museum that opened in Washington DC in 2016.

It has been half a decade in the creation – and is envisioned to honor both the heritage and the present of artistic expression in the area known for the Benin Bronzes, historical pieces stolen from the city's royal palace by British troops in the nineteenth century.

Setup and Prospects

It is impressive – and prior to the anticipated opening, Mowaa was energetic with workers committed to demonstrate it is a venue that can match established cultural centers in the Western world.

Inside art restorers carefully unwrapped artworks from safety materials, inspecting each artifact and taking thorough notes before positioning them on walls and plinths.

Technicians calibrated temperature regulation systems. In the research lab, officers adjusted devices intended to conserve ancient items.

Investment and Economic Plans

The venture has been the brainchild of entrepreneur Phillip Ihenacho – now Mowaa's chief executive.

"I want us to have a major economic impact on local residents in the vicinity," he told the press, mentioning that he hoped to make the city "a tourism center."

Mowaa, a not-for-profit national foundation, aims at establishing in excess of 30,000 work positions and providing over $80m each year to the local cultural industry through partnerships and activities.

Funding Sources and Political Challenges

It has taken $25m to reach this point – capital gathered from multiple donors, featuring the European governments, the London institution and the Edo state government.

But now the local government has withdrawn support from beneath it – canceling the use of the land on which the museum was built.

An Edo state spokesperson stated this was because in the original paperwork it had referred to itself as Edo Museum of West African Art – and it had since removed "the regional name" from its designation.

Protests and Political Intervention

This declaration was preceded by rallies on the weekend, when activists stormed the complex insisting it be designated the Museum of the Benin Kingdom.

A boisterous crowd harassed foreign guests at the facility ahead of the opening – compelling them to be hurried away under police escort.

Head of state Bola Tinubu has also stepped in to attempt to settle the conflict, setting up a high-level committee to address the controversy.

Administrative Challenges

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

The majority of it results from local power struggles at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose administration ended recently – who was a major backer of the project.

And it appears the leadership of the new governor, a close ally of the area king, called the royal figure, may seek more of a stake in the initiative. The protesters on that day, for example, were insisting that the facility be put under the control of the current Oba.

The Cultural Artifacts Debate

This brings into focus the disputed topic of the historical artworks, one of Africa's most famous historical legacy.

Because although the facility does finally open, these bronzes will be conspicuously absent.

They are metal, ivory and wooden carvings that once decorated the royal palace of the ancient kingdom before colonial troops looted them in the late nineteenth century during a punitive expedition.

Today, numerous remain spread across galleries in Western nations -- featuring the London museum, European center and the Metropolitan Museum of Art.

Return Initiatives

Their repatriation has become one of the most debated debates in the global art world. Approximately 150 have currently made their way home – and more are expected to return.

When proposals for the museum in the urban center were originally proposed in recent years, the movers and shakers on Nigeria's art scene hoped it would become their natural home – a advanced complex to show them off to the international community.

But the issues became confused recently after the national authorities declared that the traditional ruler would be the proper guardian of returned objects – and the palace campaigned for a institution under the king's authority, against the wishes of Obaseki.

Political Navigation

This left Mowaa in a difficult situation: asserting a clear stance on return while being careful on guardianship – and stressing its wider mission, which led to|c