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Nigeria's impressive new West African Art Museum (Mowaa) has ended up in the middle of regional political struggles during the period it was scheduled to – but was unable – to open its doors to the visitors for the very first time.

The Ambitious Project

The six-hectare campus is located in the center of Benin City, capital of the southern region of Edo – and features an excavation site and facilities planned by celebrated dual heritage architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that opened in Washington in 2016.

It has been five years in the creation – and is planned to celebrate both the past and the present of creativity in the locale known for the historic artworks, cultural objects taken from the city's royal palace by British soldiers in the 19th Century.

Preparation and Promise

It is impressive – and before the planned opening, Mowaa was buzzing with workers determined to demonstrate it is a institution that can match renowned cultural centers in the Europe and America.

Inside preservation experts precisely opened artworks from safety materials, checking each item and taking detailed documentation before placing them on exhibition areas and bases.

Technicians calibrated environmental controls. In the scientific facility, personnel adjusted devices meant to conserve ancient items.

Investment and Economic Plans

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

"I want us to have a major economic impact on communities around here," he told media outlets, adding that he wanted to make the city "a cultural destination."

Mowaa, a not-for-profit Nigerian institution, envisions itself establishing over 30,000 employment opportunities and contributing more than $80m per year to the regional creative economy through alliances and activities.

Funding Sources and Political Challenges

It has needed $25m to reach this point – funds collected from multiple contributors, featuring the French and German governments, the UK museum and the regional authorities.

But currently the local government has revoked permission from beneath it – canceling the occupancy of the site on which the building was erected.

An official representative stated this was because in the early agreements it had identified as EMOWAA – and it had later removed "Edo" from its title.

Protests and Political Intervention

This statement was preceded by protests on the weekend, when activists entered the facility calling for it be called the Royal Benin Museum.

A disruptive crowd insulted overseas dignitaries at the venue before the inauguration – forcing them to be quickly removed under police escort.

National leader Bola Tinubu has even become involved to try and resolve the conflict, creating a presidential committee to address the controversy.

Political Complexities

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

The majority of it stems from internecine rivalries at a local state level, as it was the former state leader Godwin Obaseki – whose term in office finished last year – who was a major backer of the museum.

And it looks like the leadership of the recently elected official, a key associate of the area king, called the traditional leader, may want increased control in the venture. The demonstrators on Sunday, for instance, were insisting that the museum be positioned under the authority of the current Oba.

The Benin Bronzes Controversy

This brings into focus the contentious issue of the cultural artifacts, one of the continent's most renowned artistic heritage.

Because though the museum does ultimately welcome visitors, these objects will be conspicuously absent.

They are metal, elephant tusk and timber artworks that once embellished the monarch's home of the Benin Kingdom before British soldiers took them in 1897 during a military operation.

Today, thousands remain scattered across institutions in the West -- featuring the British Museum, German museum and the New York institution.

Restitution Efforts

Their return has become one of the most contested discussions in the international art community. About 150 have now made their way home – and additional are scheduled to be repatriated.

When proposals for the institution in the urban center were originally proposed in the pre-pandemic era, the key players on Nigeria's art scene hoped it would become their ideal location – a state-of-the-art campus to show them off to the international community.

But the issues became confused recently after the central administration declared that the traditional ruler would be the legal custodian of returned objects – and the palace campaigned for a museum under the monarch's supervision, against the preferences of the ex-leader.

Strategic Positioning

This placed Mowaa in a delicate position: maintaining a definite position on return while remaining diplomatic on guardianship – and stressing its broader vision, which led to|c