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

The Grand Vision

The 15-acre complex is located in the heart of Benin City, administrative center of the southern region of Edo – and includes an archaeological dig and facilities designed by high-profile dual heritage architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that was inaugurated in Washington in 2016.

It has been half a decade in the development – and is envisioned to honor both the history and the modern times of creativity in the area known for the cultural artifacts, artworks looted from the city's royal palace by British soldiers in the 19th Century.

Readiness and Potential

It is impressive – and ahead of the scheduled opening, Mowaa was buzzing with workers resolved to demonstrate it is a place that can rival well-known art institutions in the West.

Internally art restorers carefully opened art pieces from secure wrapping, examining each piece and taking thorough records before arranging them on exhibition areas and plinths.

Specialists calibrated climate control systems. In the research lab, personnel adjusted devices designed to preserve ancient objects.

Investment and Economic Plans

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

"I want us to have a major economic benefit on communities in this region," he stated to the press, mentioning that he hoped to make Benin City "an arts hub."

Mowaa, a non-profit Nigerian institution, aims at creating in excess of 30,000 employment opportunities and adding above $80m per year to the regional creative economy through partnerships and activities.

Funding Sources and Political Challenges

It has required $25m to get here – funds collected from various supporters, including the European governments, the London institution and the Edo state government.

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

An Edo state spokesperson stated this was because in the initial documents it had identified as the Edo-named institution – and it had since eliminated "Edo" from its title.

Unrest and Official Response

This statement came after protests on Sunday, when activists entered the campus calling for it be called the Royal Benin Museum.

A boisterous assembly confronted international visitors at the museum prior to the launch – forcing them to be hurried away under police escort.

National leader Bola Tinubu has also intervened to work to address the dispute, setting up a special task force to do some damage control.

Governance Issues

But how has this evolved into so controversial – and such a public relations crisis?

Much of it results from internecine rivalries at a area administrative level, as it was the ex-administrator Godwin Obaseki – whose administration finished recently – who was a major backer of the project.

And it appears the government of the new governor, a key associate of the local traditional ruler, known as the traditional leader, may seek increased control in the project. The protesters on Sunday, for instance, were calling for that the facility be placed under the authority of the current Oba.

The Cultural Artifacts Debate

This brings into focus the contentious issue of the Benin Bronzes, one of Africa's most famous artistic heritage.

Because even if the institution does finally welcome visitors, these artifacts will be clearly not present.

They are brass, ivory and wooden artworks that once adorned the king's residence of the ancient kingdom before British soldiers took them in the colonial era during a punitive expedition.

Nowadays, numerous stay scattered across galleries in the West -- featuring the London museum, European center and the Metropolitan Museum of Art.

Restitution Efforts

Their homecoming has become one of the most disputed debates in the worldwide cultural sector. About 150 have now come back – and further are expected to return.

When plans for the facility in Benin City were originally proposed in recent years, the movers and shakers on the country's cultural sector hoped it would become their ideal location – a state-of-the-art facility to display them to the world.

But the situation became complicated some time back after the national authorities announced that the royal leader would be the legal custodian of any returned bronzes – and the royal household campaigned for a museum under the monarch's supervision, contrary to the preferences of Obaseki.

Political Navigation

This left Mowaa in a difficult situation: expressing a clear stance on repatriation while staying tactful on ownership – and stressing its larger purpose, which led to|c