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Nigeria's impressive new Art Museum of West Africa (Mowaa) has found itself in the middle of regional political struggles during the period it was supposed to – but failed – to welcome visitors to the public for the very first time.

The Ambitious Project

The 15-acre campus is located in the heart of Benin City, capital of the southern state of Edo – and includes an historical dig and facilities created by renowned Ghanaian-British architect Sir David Adjaye, most famous for the Smithsonian African American Museum that began operations in Washington in 2016.

It has been half a decade in the creation – and is planned to honor both the heritage and the modern times of artistic expression in the region known for the cultural artifacts, historical pieces taken from the king's palace by British soldiers in the 1800s.

Setup and Prospects

It is remarkable – and before the scheduled opening, Mowaa was energetic with employees resolved to prove it is a place that can rival renowned cultural centers in the Europe and America.

Within art restorers carefully unwrapped artworks from safety materials, checking each artifact and taking meticulous documentation before arranging them on walls and stands.

Experts fine-tuned environmental controls. In the scientific facility, staff members set up instruments meant to maintain ancient artefacts.

Funding and Economic Goals

The project has been the idea of businessman Phillip Ihenacho – now Mowaa's managing director.

"I want us to have a major economic impact on area populations in the vicinity," he told journalists, mentioning that he aspired to make this urban center "a tourism center."

Mowaa, a not-for-profit local organization, envisions itself creating over 30,000 work positions and providing above $80m each year to the regional creative economy through partnerships and events.

Investment and Administrative Problems

It has taken $25m to reach this point – funds collected from different donors, such as the European governments, the UK museum and the Edo state government.

But at present the regional administration has pulled the rug from beneath it – terminating the occupancy of the land on which the museum was built.

An government communicator explained this was because in the initial documents it had referred to itself as EMOWAA – and it had later dropped "the state identifier" from its name.

Protests and Political Intervention

This statement was preceded by demonstrations on recently, when protesters stormed the complex demanding it be designated the Royal Benin Museum.

A disruptive crowd insulted international visitors at the museum ahead of the launch – compelling them to be hurried away under security protection.

National leader Bola Tinubu has also become involved to work to address the tensions, establishing a high-level committee to manage the situation.

Governance Issues

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

A great deal of it stems from internal conflicts at a local state level, as it was the former state leader Godwin Obaseki – whose administration concluded the previous year – who was a primary advocate of the project.

And it appears the government of the recently elected official, a strong supporter of the area king, known as the traditional leader, may seek greater involvement in the venture. The protesters on Sunday, for case, were insisting that the facility be positioned under the control of the current Oba.

The Cultural Artifacts Debate

This brings into focus the controversial matter of the cultural artifacts, one of Africa's most famous cultural treasures.

Because although the institution does eventually welcome visitors, these objects will be clearly not present.

They are brass, elephant tusk and timber sculptures that once adorned the monarch's home of the Benin Kingdom before UK forces stole them in the colonial era during a military operation.

Today, many continue to be spread across galleries in the West -- including the London museum, European center and the Metropolitan Museum of Art.

Return Initiatives

Their return has become one of the most contested conversations in the worldwide cultural sector. About 150 have now made their way home – and more are scheduled to be repatriated.

When ideas for the institution in the city were initially revealed in 2019, the key players on Nigeria's art scene expected it would become their natural home – a advanced facility to exhibit them to the global audience.

But the waters were muddied two years ago after the federal government announced that the royal leader would be the legal custodian of repatriated artifacts – and the palace pushed for a facility under the royal family's direct control, contrary to the desires of the former governor.

Political Navigation

This left Mowaa in a delicate position: maintaining a specific viewpoint on return while staying tactful on custodianship – and highlighting its broader vision, which led to|c