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The nation's remarkable new West African Art Museum (Mowaa) has ended up in the center of regional political struggles during the time it was supposed to – but did not manage – to welcome visitors to the public for the first time.

The Major Initiative

The 15-acre complex is located in the heart of Benin City, main city of the southern area of Edo – and contains an archaeological dig and structures planned by renowned dual heritage architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that opened in Washington in 2016.

It has been half a decade in the development – and is envisioned to celebrate both the heritage and the current era of cultural innovation in the region known for the Benin Bronzes, artworks taken from the king's palace by British soldiers in the 1800s.

Preparation and Promise

It is notable – and prior to the planned opening, Mowaa was energetic with employees determined to prove it is a place that can rival renowned cultural centers in the Europe and America.

Internally art restorers carefully unwrapped art pieces from protective packaging, inspecting each item and taking thorough documentation before placing them on exhibition areas and plinths.

Technicians calibrated climate control systems. In the materials science laboratory, staff members set up devices designed to preserve centuries-old objects.

Funding and Economic Goals

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

"I aim us to have a significant economic benefit on area populations in the vicinity," he explained to the press, adding that he wanted to make the city "a cultural destination."

Mowaa, a charitable Nigerian institution, aims at generating more than 30,000 employment opportunities and contributing more than $80m each year to the local cultural industry through partnerships and activities.

Funding Sources and Political Challenges

It has needed $25m to achieve this stage – funds raised from different contributors, including the international partners, the London institution and the Edo state government.

But now the local government has revoked permission from under it – canceling the occupancy of the land on which the facility was constructed.

An Edo state spokesperson stated this was because in the initial documents it had identified as Edo Museum of West African Art – and it had subsequently eliminated "the regional name" from its name.

Protests and Political Intervention

This announcement followed demonstrations on Sunday, when protesters stormed the campus demanding it be called the Benin Royal Museum.

A rowdy assembly harassed international visitors at the venue before the inauguration – compelling them to be hurried away under security protection.

Head of state Bola Tinubu has also stepped in to attempt to settle the dispute, creating a presidential committee to address the controversy.

Political Complexities

But how has this turned into so politicised – and such a reputation problem?

The majority of it comes down to internal conflicts at a local state level, as it was the former state leader Godwin Obaseki – whose governance ended recently – who was a key supporter of the project.

And it seems the administration of the new governor, a close ally of the regional monarch, referred to as the royal figure, may want more of a stake in the venture. The demonstrators on Sunday, for example, were demanding that the facility be put under the authority of the current Oba.

The Cultural Artifacts Debate

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

Because even if the museum does eventually open, these artifacts will be clearly not present.

They are metal, elephant tusk and wooden artworks that once embellished the royal palace of the ancient kingdom before colonial troops stole them in 1897 during a colonial invasion.

Today, numerous remain scattered across galleries in Europe and North America -- featuring the UK institution, European center and the New York institution.

Repatriation Campaigns

Their repatriation has become one of the most contested conversations in the worldwide cultural sector. About 150 have now come back – and further are due to follow.

When ideas for the museum in the urban center were first announced in recent years, the influential figures on the national arts community hoped it would become their ideal location – a modern complex to show them off to the world.

But the waters were muddied two years ago after the central administration declared that the royal leader would be the rightful owner of repatriated artifacts – and the palace campaigned for a facility under the monarch's supervision, against the wishes of the former governor.

Strategic Positioning

This placed Mowaa in a delicate position: maintaining a specific viewpoint on return while staying tactful on guardianship – and stressing its wider mission, which led to|c