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Nigeria's stunning new Museum of West African Art (Mowaa) has landed in the center of regional political struggles during the week it was scheduled to – but was unable – to open its doors to the general public for the first time.

The Major Initiative

The six-hectare facility is located in the core of Benin's urban center, capital of the southern region of Edo – and includes an archaeological dig and buildings designed by renowned Ghanaian-British architect Sir David Adjaye, most famous for the Smithsonian African American Museum that began operations in the US capital in 2016.

It has been half a decade in the making – and is envisioned to showcase both the past and the modern times of artistic expression in the area renowned for the Benin Bronzes, historical pieces looted from the king's palace by UK forces in the nineteenth century.

Setup and Prospects

It is impressive – and ahead of the planned opening, Mowaa was active with employees committed to demonstrate it is a institution that can match well-known art institutions in the Western world.

Inside art restorers meticulously revealed cultural items from safety materials, inspecting each artifact and taking detailed documentation before positioning them on display surfaces and plinths.

Specialists fine-tuned temperature regulation systems. In the research lab, staff members set up equipment intended to preserve historical artefacts.

Investment and Economic Plans

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

"I aim us to have a major economic benefit on local residents in the vicinity," he stated to the press, noting that he aspired to make this urban center "a tourism center."

Mowaa, a charitable Nigerian institution, aims at establishing more than 30,000 direct and indirect jobs and providing more than $80m per year to the area arts sector through partnerships and activities.

Funding Sources and Political Challenges

It has needed $25m to get here – funds collected from various donors, such as the French and German governments, the British Museum and the Edo state government.

But at present the local government has withdrawn support from below it – canceling the utilization of the property on which the building was erected.

An Edo state spokesperson stated this was because in the early agreements it had identified as the Edo-named institution – and it had later removed "Edo" from its designation.

Unrest and Official Response

This declaration was preceded by rallies on recently, when protesters entered the facility insisting it be called the Museum of the Benin Kingdom.

A rowdy group harassed overseas dignitaries at the venue ahead of the opening – forcing them to be escorted out under security protection.

President Bola Tinubu has even stepped in to attempt to settle the conflict, creating a special task force to manage the situation.

Administrative Challenges

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

A great deal of it comes down to internal conflicts at a local state level, as it was the former state leader Godwin Obaseki – whose administration ended the previous year – who was a major backer of the museum.

And it looks like the government of the new governor, a strong supporter of the area king, referred to as the traditional leader, may seek greater involvement in the venture. The demonstrators on the weekend, for case, were insisting that the facility be placed under the control of the current Oba.

The Benin Bronzes Controversy

This highlights the contentious issue of the historical artworks, one of the region's most famous cultural treasures.

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

They are brass, ivory and wooden sculptures that once embellished the royal palace of the historical empire before colonial troops looted them in the late nineteenth century during a punitive expedition.

Today, thousands stay distributed across galleries in the West -- including the UK institution, German museum and the American museum.

Return Initiatives

Their return has become one of the most contested discussions in the global art world. About 150 have presently been returned – and more are expected to return.

When proposals for the institution in the urban center were first announced in recent years, the influential figures on the national arts community anticipated it would become their perfect venue – a modern facility to display them to the international community.

But the waters were muddied two years ago after the national authorities stated that the royal leader would be the rightful owner of repatriated artifacts – and the royal household campaigned for a facility under the royal family's direct control, contrary to the desires of the former governor.

Diplomatic Challenges

This left Mowaa in a challenging circumstance: maintaining a clear stance on repatriation while remaining diplomatic on guardianship – and emphasising its larger purpose, which led to|c