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Nigeria's stunning new West African Art Museum (Mowaa) has landed in the middle of regional political struggles during the time it was scheduled to – but failed – to begin operations to the general public for the first time.

The Grand Vision

The large-scale complex sits in the center of the Edo state capital, capital of the southern region of Edo – and features an historical dig and structures designed by high-profile British-Ghanaian architect Sir David Adjaye, most famous for the Washington African American Museum that opened in Washington DC in 2016.

It has been five years in the making – and is envisioned to showcase both the past and the current era of artistic expression in the region famous for the cultural artifacts, artworks looted from the king's palace by UK forces in the 1800s.

Readiness and Potential

It is remarkable – and ahead of the planned opening, Mowaa was buzzing with employees resolved to demonstrate it is a institution that can rival well-known cultural centers in the Europe and America.

Within preservation experts meticulously opened cultural items from secure wrapping, examining each item and taking thorough documentation before arranging them on display surfaces and stands.

Experts adjusted climate control systems. In the research lab, personnel adjusted devices meant to preserve centuries-old objects.

Investment and Economic Plans

The initiative has been the concept of businessman Phillip Ihenacho – currently Mowaa's executive director.

"I aim us to have a significant financial effect on local residents in this region," he told journalists, adding that he hoped to make Benin City "an arts hub."

Mowaa, a charitable Nigerian institution, envisions itself generating more than 30,000 employment opportunities and adding over $80m per year to the regional creative economy through partnerships and programming.

Funding Sources and Political Challenges

It has taken $25m to reach this point – funds gathered from multiple contributors, including the international partners, the British Museum and the local administration.

But now the state authorities has pulled the rug from below it – canceling the use of the land on which the facility was constructed.

An Edo state spokesperson stated this was because in the original paperwork it had referred to itself as the Edo-named institution – and it had since removed "Edo" from its title.

Unrest and Official Response

This statement was preceded by demonstrations on Sunday, when protesters entered the complex demanding it be designated the Museum of the Benin Kingdom.

A disruptive assembly insulted foreign guests at the museum prior to the opening – forcing them to be escorted out under official guard.

President Bola Tinubu has additionally stepped in to try and resolve the conflict, creating a high-level committee to address the controversy.

Political Complexities

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

A great deal of it results from internecine rivalries at a area administrative level, as it was the ex-administrator Godwin Obaseki – whose term in office concluded last year – who was a major backer of the project.

And it appears the leadership of the current leader, a strong supporter of the regional monarch, called the royal figure, may desire increased control in the venture. The activists on the weekend, for example, were calling for that the museum be placed under the supervision of the current Oba.

The Cultural Artifacts Debate

This brings into focus the disputed topic of the historical artworks, one of the region's most celebrated artistic heritage.

Because though the facility does eventually open, these artifacts will be noticeably missing.

They are brass, elephant tusk and timber artworks that once embellished the king's residence of the Benin Kingdom before British soldiers took them in the late nineteenth century during a colonial invasion.

Today, thousands continue to be scattered across galleries in the West -- such as the London museum, European center and the American museum.

Restitution Efforts

Their repatriation has become one of the most contested debates in the international art community. About 150 have presently been returned – and further are expected to return.

When plans for the facility in the urban center were initially revealed in the pre-pandemic era, the key players on the national arts community hoped it would become their ideal location – a state-of-the-art campus to exhibit them to the world.

But the issues became confused recently after the federal government announced that the Oba would be the rightful owner of repatriated artifacts – and the monarch's court pushed for a facility under the king's authority, contrary to the preferences of the ex-leader.

Diplomatic Challenges

This left Mowaa in a difficult situation: expressing a definite position on restitution while remaining diplomatic on guardianship – and stressing its wider mission, which led to|c