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The nation's impressive new Museum of West African Art (Mowaa) has landed in the crosshairs of local power politics during the week it was expected to – but did not manage – to open its doors to the visitors for the initial occasion.

The Grand Vision

The large-scale complex stands in the core of Benin's urban center, administrative center of the southern region of Edo – and features an historical dig and buildings created by renowned British-Ghanaian architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that opened in the US capital in 2016.

It has been five years in the creation – and is designed to celebrate both the heritage and the present of cultural innovation in the area famous for the Benin Bronzes, cultural objects looted from the king's palace by UK forces in the 19th Century.

Preparation and Promise

It is impressive – and prior to the anticipated opening, Mowaa was active with staff determined to show it is a institution that can match well-known cultural centers in the Western world.

Internally conservators meticulously unwrapped cultural items from safety materials, inspecting each piece and taking meticulous documentation before positioning them on display surfaces and stands.

Technicians fine-tuned climate control systems. In the research lab, staff members set up devices intended to conserve ancient artefacts.

Financial Backing and Economic Vision

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

"I hope us to have a substantial economic impact on communities around here," he explained to media outlets, adding that he aspired to make the city "an arts hub."

Mowaa, a not-for-profit local organization, aims at establishing over 30,000 employment opportunities and providing more than $80m annually to the area arts sector through partnerships and events.

Funding Sources and Political Challenges

It has needed $25m to get here – funds collected from various contributors, such as the European governments, the UK museum and the local administration.

But currently the state authorities has revoked permission from beneath it – canceling the utilization of the site on which the museum was built.

An official representative stated this was because in the initial documents it had referred to itself as the Edo-named institution – and it had since removed "the regional name" from its name.

Unrest and Official Response

This declaration came after rallies on the weekend, when protesters entered the campus calling for it be named the Royal Benin Museum.

A rowdy assembly harassed foreign guests at the facility ahead of the opening – forcing them to be escorted out under security protection.

Head of state Bola Tinubu has additionally intervened to try and resolve the tensions, setting up a special task force to do some damage control.

Governance Issues

But in what way has this evolved into so politicised – and such a reputation problem?

Much of it results 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 key supporter of the museum.

And it seems the administration of the recently elected official, a key associate of the local traditional ruler, called the Oba, may seek greater involvement in the initiative. The protesters on Sunday, for instance, were calling for that the institution be put under the control of Oba Ewuare II.

The Cultural Artifacts Debate

This brings into focus the disputed topic of the cultural artifacts, one of the continent's most renowned historical legacy.

Because even if the museum does ultimately welcome visitors, these objects will be clearly not present.

They are brass, ivory and timber artworks that once adorned the royal palace of the historical empire before British soldiers took them in the colonial era during a military operation.

Currently, numerous continue to be distributed across galleries in the West -- featuring the British Museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Return Initiatives

Their repatriation has become one of the most contested discussions in the international art community. About 150 have now come back – and more are due to follow.

When plans for the institution in the urban center were originally proposed in recent years, the key players on Nigeria's art scene hoped it would become their perfect venue – a state-of-the-art complex to exhibit them to the international community.

But the waters were muddied two years ago after the national authorities declared that the traditional ruler would be the proper guardian of any returned bronzes – and the monarch's court pushed for a institution under the monarch's supervision, opposing the wishes of the ex-leader.

Diplomatic Challenges

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