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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 week it was supposed to – but failed – to begin operations to the general public for the first time.

The Ambitious Project

The six-hectare campus is located in the center of the Edo state capital, administrative center of the southern region of Edo – and features an historical dig and facilities created by renowned dual heritage architect Sir David Adjaye, best known for the Washington African American Museum that began operations in Washington in 2016.

It has been half a decade in the creation – and is planned to showcase both the heritage and the current era of artistic expression in the area renowned for the historic artworks, artworks looted from the city's royal palace by British troops in the 19th Century.

Setup and Prospects

It is impressive – and ahead of the scheduled opening, Mowaa was active with workers resolved to demonstrate it is a venue that can match well-known museums and galleries in the Western world.

Internally conservators meticulously unwrapped cultural items from secure wrapping, checking each piece and taking meticulous records before arranging them on exhibition areas and plinths.

Experts calibrated climate control systems. In the scientific facility, personnel calibrated equipment meant to maintain historical items.

Funding and Economic Goals

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

"I want us to have a substantial economic impact on area populations around here," he stated to journalists, noting that he wanted to make the city "an arts hub."

Mowaa, a charitable Nigerian institution, envisions itself establishing in excess of 30,000 work positions and adding over $80m each year to the local cultural industry through collaborations and programming.

Financial Support and Government Issues

It has needed $25m to reach this point – capital raised from various donors, such as the European governments, the UK museum and the Edo state government.

But currently the state authorities has withdrawn support from below it – revoking the use of the land on which the museum was built.

An Edo state spokesperson clarified this was because in the original paperwork it had called itself the Edo-named institution – and it had since dropped "Edo" from its designation.

Unrest and Official Response

This declaration followed rallies on the weekend, when people invaded the facility insisting it be named the Museum of the Benin Kingdom.

A disruptive group insulted foreign guests at the facility prior to the inauguration – forcing them to be escorted out under security protection.

Head of state Bola Tinubu has additionally become involved to try and resolve the conflict, establishing a special task force to address the controversy.

Political Complexities

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

Much of it stems from local power struggles at a local state level, as it was the former state leader Godwin Obaseki – whose administration finished the previous year – who was a key supporter of the initiative.

And it seems the government of the recently elected official, a close ally of the local traditional ruler, referred to as the Oba, may seek increased control in the venture. The protesters on that day, for example, were calling for that the institution be placed under the control of the royal leader.

The Cultural Artifacts Debate

This emphasizes the controversial matter of the cultural artifacts, one of the continent's most celebrated artistic heritage.

Because although the institution does eventually welcome visitors, these artifacts will be noticeably missing.

They are brass, elephant tusk and wooden sculptures that once adorned the monarch's home of the historical empire before colonial troops looted them in 1897 during a colonial invasion.

Today, thousands remain spread across museums in Western nations -- such as the UK institution, European center and the American museum.

Return Initiatives

Their return has become one of the most debated debates in the global art world. About 150 have now been returned – and further are expected to return.

When ideas for the facility in the city were initially revealed in recent years, the influential figures on Nigeria's art scene hoped it would become their ideal location – a modern facility to exhibit them to the international community.

But the situation became complicated recently after the central administration stated that the traditional ruler would be the rightful owner of returned objects – and the monarch's court campaigned for a facility under the king's authority, against the desires of the ex-leader.

Diplomatic Challenges

This left Mowaa in a challenging circumstance: asserting a definite position on restitution while staying tactful on guardianship – and highlighting its broader vision, which led to|c