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Nigeria's remarkable new West African Art Museum (Mowaa) has landed in the middle of local power politics during the period it was scheduled to – but was unable – to open its doors to the visitors for the initial occasion.

The Major Initiative

The six-hectare facility is located in the heart of Benin's urban center, main city of the southern region of Edo – and includes an archaeological dig and structures planned by celebrated Ghanaian-British architect Sir David Adjaye, most famous for the Washington African American Museum that began operations in Washington DC in 2016.

It has been half a decade in the creation – and is designed to showcase both the past and the current era of creativity in the region known for the cultural artifacts, historical pieces stolen from the royal palace by British soldiers in the 19th Century.

Preparation and Promise

It is remarkable – and prior to the anticipated opening, Mowaa was active with staff committed to demonstrate it is a venue that can rival renowned art institutions in the West.

Internally preservation experts carefully unwrapped art pieces from safety materials, checking each item and taking meticulous records before positioning them on walls and stands.

Experts calibrated climate control systems. In the research lab, officers adjusted instruments meant to maintain centuries-old objects.

Funding and Economic Goals

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

"I hope us to have a major economic benefit on local residents in the vicinity," he told the press, noting that he aspired to make Benin City "a cultural destination."

Mowaa, a not-for-profit local organization, aims at generating over 30,000 employment opportunities and providing more than $80m per year to the regional creative economy through alliances and programming.

Investment and Administrative Problems

It has required $25m to reach this point – capital gathered from multiple supporters, featuring the international partners, the UK museum and the local administration.

But now the state authorities has pulled the rug from beneath it – terminating the occupancy of the site on which the facility was constructed.

An official representative stated this was because in the early agreements it had identified as EMOWAA – and it had subsequently removed "the regional name" from its designation.

Unrest and Official Response

This declaration came after demonstrations on Sunday, when activists invaded the campus demanding it be named the Museum of the Benin Kingdom.

A rowdy crowd harassed overseas dignitaries at the venue prior to the opening – requiring them to be escorted out under official guard.

Head of state Bola Tinubu has also intervened to attempt to settle the dispute, creating a high-level committee to manage the situation.

Political Complexities

But why has this turned into so divisive – and such a public relations crisis?

A great deal of it results from internecine rivalries at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose term in office concluded recently – who was a major backer of the project.

And it seems the government of the new governor, a key associate of the area king, known as the traditional leader, may desire more of a stake in the project. The activists on the weekend, for instance, were insisting that the museum be put under the authority of Oba Ewuare II.

The Cultural Artifacts Debate

This brings into focus the contentious issue of the cultural artifacts, one of the region's most famous historical legacy.

Because though the facility does ultimately begin operations, these objects will be noticeably missing.

They are metal, ivory and timber carvings that once adorned the king's residence of the historical empire before UK forces looted them in 1897 during a colonial invasion.

Today, many stay scattered across museums in Europe and North America -- including the UK institution, Berlin's Humboldt Forum and the American museum.

Return Initiatives

Their return has become one of the most debated debates in the worldwide cultural sector. Approximately 150 have presently come back – and further are scheduled to be repatriated.

When plans for the institution in the urban center were originally proposed in the pre-pandemic era, the key players on Nigeria's art scene expected it would become their ideal location – a modern campus to display them to the global audience.

But the waters were muddied some time back after the central administration declared that the royal leader would be the rightful owner of repatriated artifacts – and the palace advocated for a institution under the king's authority, against the preferences of Obaseki.

Strategic Positioning

This left Mowaa in a delicate position: expressing a specific viewpoint on repatriation while being careful on ownership – and highlighting its wider mission, which led to|c