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The nation's remarkable new West African Art Museum (Mowaa) has found itself in the middle of regional political struggles during the period it was supposed to – but failed – to open its doors to the public for the very first time.

The Grand Vision

The large-scale complex stands in the center of Benin's urban center, main city of the southern state of Edo – and contains an historical dig and buildings planned by high-profile dual heritage architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that was inaugurated in Washington DC in 2016.

It has been 60 months in the creation – and is designed to celebrate both the heritage and the modern times of creativity in the region known for the Benin Bronzes, artworks looted from the city's royal palace by British troops in the nineteenth century.

Readiness and Potential

It is remarkable – and prior to the planned opening, Mowaa was buzzing with staff committed to prove it is a institution that can rival well-known art institutions in the Europe and America.

Inside preservation experts carefully revealed art pieces from secure wrapping, checking each item and taking thorough records before positioning them on walls and stands.

Technicians adjusted environmental controls. In the scientific facility, officers adjusted instruments designed to maintain ancient objects.

Funding and Economic Goals

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

"I hope us to have a substantial economic benefit on area populations in the vicinity," he explained to the press, mentioning that he wanted to make Benin City "an arts hub."

Mowaa, a non-profit local organization, aims at generating more than 30,000 direct and indirect jobs and adding over $80m annually to the area arts sector through partnerships and activities.

Funding Sources and Political Challenges

It has taken $25m to reach this point – capital collected from different supporters, including the international partners, the British Museum and the regional authorities.

But currently the state authorities has pulled the rug from under it – canceling the occupancy of the site on which the museum was built.

An Edo state spokesperson clarified this was because in the original paperwork it had called itself EMOWAA – and it had later dropped "the regional name" from its name.

Unrest and Official Response

This announcement was preceded by protests on recently, when people invaded the complex calling for it be named the Museum of the Benin Kingdom.

A rowdy crowd harassed overseas dignitaries at the facility ahead of the launch – forcing them to be escorted out under official guard.

President Bola Tinubu has additionally become involved to try and resolve the conflict, setting up a presidential committee to address the controversy.

Administrative Challenges

But how has this turned into so divisive – 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 concluded last year – who was a key supporter of the museum.

And it seems the leadership of the recently elected official, a strong supporter of the local traditional ruler, called the royal figure, may seek more of a stake in the initiative. The demonstrators on that day, for case, were demanding that the institution be positioned under the control of the current Oba.

The Cultural Artifacts Debate

This brings into focus the contentious issue of the Benin Bronzes, one of the region's most famous cultural treasures.

Because even if the institution does finally begin operations, these artifacts will be noticeably missing.

They are metal, ivory and timber sculptures that once embellished the king's residence of the Benin Kingdom before colonial troops stole them in 1897 during a military operation.

Currently, numerous stay distributed across galleries in the West -- such as the UK institution, European center and the New York institution.

Return Initiatives

Their return has become one of the most debated debates in the international art community. About 150 have currently made their way home – and further are due to follow.

When proposals for the museum in the urban center were originally proposed in recent years, the key players on Nigeria's art scene anticipated it would become their perfect venue – a modern complex to show them off to the international community.

But the situation became complicated some time back after the national authorities declared that the Oba would be the proper guardian of returned objects – and the royal household advocated for a institution under the king's authority, against the wishes of the ex-leader.

Diplomatic Challenges

This placed Mowaa in a difficult situation: expressing a definite position on restitution while remaining diplomatic on custodianship – and emphasising its wider mission, which led to|c