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Nigeria's impressive new Art Museum of West Africa (Mowaa) has ended up in the middle of regional political struggles during the period it was expected to – but failed – to open its doors to the general public for the very first time.

The Grand Vision

The 15-acre complex stands in the heart of the Edo state capital, main city of the southern region of Edo – and contains an excavation site and structures planned by renowned British-Ghanaian architect Sir David Adjaye, most famous for the Smithsonian African American Museum that opened in Washington in 2016.

It has been five years in the development – and is envisioned to honor both the past and the current era of creativity in the region famous for the cultural artifacts, cultural objects looted from the city's royal palace by British soldiers in the 19th Century.

Setup and Prospects

It is notable – and ahead of the anticipated opening, Mowaa was buzzing with employees resolved to prove it is a place that can compete with renowned museums and galleries in the Europe and America.

Inside art restorers precisely unwrapped art pieces from protective packaging, examining each artifact and taking thorough notes before placing them on exhibition areas and stands.

Specialists adjusted temperature regulation systems. In the materials science laboratory, staff members set up devices meant to preserve centuries-old artefacts.

Financial Backing and Economic Vision

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

"I want us to have a substantial financial effect on local residents around here," he told the press, adding that he wanted to make the city "an arts hub."

Mowaa, a charitable local organization, envisions itself establishing over 30,000 employment opportunities and contributing over $80m per year to the area arts sector through partnerships and programming.

Financial Support and Government Issues

It has taken $25m to get here – money raised from multiple contributors, such as the European governments, the UK museum and the local administration.

But at present the state authorities has revoked permission from under it – terminating the occupancy of the property on which the building was erected.

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

Protests and Political Intervention

This announcement was preceded by demonstrations on the weekend, when protesters stormed the complex insisting it be designated the Royal Benin Museum.

A disruptive crowd confronted international visitors at the venue prior to the opening – forcing them to be hurried away under official guard.

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

Governance Issues

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

A great deal of it stems from internal conflicts at a local state level, as it was the ex-administrator Godwin Obaseki – whose term in office ended last year – who was a major backer of the initiative.

And it looks like the administration of the current leader, a key associate of the area king, known as the traditional leader, may want greater involvement in the initiative. The activists on that day, for example, were calling for that the facility be placed under the supervision of Oba Ewuare II.

The Cultural Artifacts Debate

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

Because although the museum does ultimately begin operations, these artifacts will be clearly not present.

They are brass, ivory and timber artworks that once embellished the monarch's home of the historical empire before British soldiers took them in 1897 during a colonial invasion.

Nowadays, thousands continue to be spread across galleries in Western nations -- featuring the London museum, German museum and the American museum.

Return Initiatives

Their homecoming has become one of the most contested conversations in the international art community. Approximately 150 have now made their way home – and further are expected to return.

When ideas for the facility in the city were initially revealed in 2019, the influential figures on the country's cultural sector hoped it would become their ideal location – a state-of-the-art campus to show them off to the world.

But the issues became confused two years ago after the federal government declared that the Oba would be the rightful owner of repatriated artifacts – and the royal household advocated for a institution under the king's authority, contrary to the wishes of Obaseki.

Strategic Positioning

This left Mowaa in a difficult situation: asserting a definite position on return while being careful on ownership – and stressing its larger purpose, which led to|c