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The nation's stunning new West African Art Museum (Mowaa) has ended up in the center of local power politics during the time it was expected to – but was unable – to begin operations to the visitors for the initial occasion.

The Grand Vision

The six-hectare campus sits in the heart of Benin City, main city of the southern region of Edo – and contains an historical dig and buildings planned by renowned dual heritage architect Sir David Adjaye, best known for the National Museum of African American History and Culture that was inaugurated in Washington DC in 2016.

It has been 60 months in the creation – and is planned to showcase both the past and the current era of creativity in the region renowned for the cultural artifacts, cultural objects stolen from the city's royal palace by British troops in the 1800s.

Readiness and Potential

It is impressive – and prior to the scheduled opening, Mowaa was energetic with workers committed to prove it is a place that can rival well-known art institutions in the Europe and America.

Inside conservators carefully revealed art pieces from protective packaging, checking each piece and taking detailed notes before positioning them on display surfaces and stands.

Technicians calibrated environmental controls. In the materials science laboratory, personnel calibrated devices designed to preserve centuries-old objects.

Investment and Economic Plans

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

"I want us to have a substantial financial effect on area populations around here," he told the press, noting that he aspired to make the city "a tourism center."

Mowaa, a not-for-profit Nigerian institution, aims at establishing in excess of 30,000 work positions and providing more than $80m annually to the area arts sector through partnerships and activities.

Financial Support and Government Issues

It has required $25m to achieve this stage – money raised from multiple supporters, such as the European governments, the British Museum and the Edo state government.

But currently the local government has revoked permission from under it – terminating the use of the land on which the facility was constructed.

An government communicator stated this was because in the original paperwork it had referred to itself as EMOWAA – and it had later dropped "the state identifier" from its title.

Demonstrations and Government Action

This statement came after rallies on Sunday, when activists stormed the complex insisting it be named the Royal Benin Museum.

A rowdy crowd harassed international visitors at the facility ahead of the inauguration – compelling them to be hurried away under police escort.

Head of state Bola Tinubu has also stepped in to attempt to settle the dispute, setting up a presidential committee to manage the situation.

Administrative Challenges

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

Much of it comes down to internecine rivalries at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose governance ended last year – who was a major backer of the project.

And it seems the leadership of the new governor, a key associate of the regional monarch, known as the traditional leader, may desire increased control in the initiative. The protesters on that day, for instance, were demanding that the facility be placed under the control of Oba Ewuare II.

The Cultural Artifacts Debate

This highlights the controversial matter of the historical artworks, one of Africa's most famous cultural treasures.

Because even if the facility does ultimately open, these artifacts will be noticeably missing.

They are metal, ivory and wooden carvings that once decorated the monarch's home of the historical empire before colonial troops looted them in the colonial era during a military operation.

Today, thousands remain distributed across institutions in Western nations -- such as the UK institution, German museum and the Metropolitan Museum of Art.

Repatriation Campaigns

Their return has become one of the most contested discussions in the international art community. About 150 have now come back – and further are expected to return.

When plans for the museum in the urban center were first announced in recent years, the movers and shakers on the country's cultural sector hoped it would become their perfect venue – a modern campus to exhibit them to the international community.

But the issues became confused two years ago after the central administration stated that the traditional ruler would be the proper guardian of returned objects – and the royal household campaigned for a facility under the king's authority, against the desires of the former governor.

Political Navigation

This placed Mowaa in a delicate position: asserting a definite position on repatriation while staying tactful on guardianship – and highlighting its broader vision, which led to|c