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The nation's impressive new West African Art Museum (Mowaa) has found itself in the center of local power politics during the period it was expected to – but failed – to open its doors to the public for the very first time.

The Ambitious Project

The six-hectare complex sits in the center of the Edo state capital, main city of the southern region of Edo – and includes an archaeological dig and facilities planned by celebrated Ghanaian-British architect Sir David Adjaye, best known for the Washington African American Museum that began operations in the US capital in 2016.

It has been five years in the making – and is planned to celebrate both the past and the present of creativity in the locale famous for the historic artworks, cultural objects looted from the royal palace by UK forces in the 19th Century.

Setup and Prospects

It is notable – and ahead of the scheduled opening, Mowaa was energetic with employees committed to prove it is a institution that can rival established art institutions in the Western world.

Within conservators meticulously unwrapped art pieces from safety materials, examining each item and taking meticulous documentation before placing them on exhibition areas and stands.

Experts adjusted climate control systems. In the research lab, staff members adjusted devices designed to conserve ancient artefacts.

Funding and Economic Goals

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

"I hope us to have a significant economic impact on area populations in this region," he stated to the press, noting that he wanted to make Benin City "a cultural destination."

Mowaa, a non-profit Nigerian institution, envisions itself establishing over 30,000 direct and indirect jobs and contributing above $80m per year to the area arts sector through partnerships and activities.

Investment and Administrative Problems

It has required $25m to achieve this stage – funds raised from different supporters, including the European governments, the British Museum and the regional authorities.

But now the local government has pulled the rug from below it – revoking the occupancy of the site on which the building was erected.

An government communicator clarified this was because in the original paperwork it had called itself the Edo-named institution – and it had subsequently dropped "Edo" from its title.

Unrest and Official Response

This declaration was preceded by rallies on the weekend, when protesters entered the facility demanding it be designated the Benin Royal Museum.

A disruptive group harassed international visitors at the museum before the inauguration – requiring them to be hurried away under official guard.

Head of state Bola Tinubu has additionally become involved to work to address the conflict, establishing a high-level committee to manage the situation.

Governance Issues

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

The majority of it results from local power struggles at a area administrative level, as it was the former state leader Godwin Obaseki – whose term in office finished the previous year – who was a key supporter of the project.

And it seems the administration of the recently elected official, a strong supporter of the area king, known as the Oba, may want increased control in the initiative. The demonstrators on Sunday, for case, were insisting that the museum be positioned under the control of the royal leader.

The Benin Bronzes Controversy

This brings into focus the disputed topic of the Benin Bronzes, one of the region's most celebrated cultural treasures.

Because although the facility does finally begin operations, these objects will be conspicuously absent.

They are metal, ivory and timber artworks that once decorated the monarch's home of the ancient kingdom before UK forces took them in the colonial era during a punitive expedition.

Currently, thousands continue to be scattered across galleries in the West -- such as the British Museum, Berlin's Humboldt Forum and the American museum.

Repatriation Campaigns

Their return has become one of the most contested debates in the international art community. Approximately 150 have currently come back – and further are scheduled to be repatriated.

When proposals for the facility in the city were originally proposed in the pre-pandemic era, the key players on the country's cultural sector hoped it would become their ideal location – a state-of-the-art facility to show them off to the international community.

But the waters were muddied recently after the national authorities declared that the royal leader would be the rightful owner of repatriated artifacts – and the palace advocated for a museum under the monarch's supervision, opposing the desires of the former governor.

Diplomatic Challenges

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