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The nation's remarkable new West African Art Museum (Mowaa) has ended up in the middle of regional political struggles during the period it was expected to – but failed – to begin operations to the general public for the initial occasion.

The Grand Vision

The 15-acre complex stands in the core of the Edo state capital, capital of the southern region of Edo – and contains an archaeological dig and structures planned by high-profile British-Ghanaian architect Sir David Adjaye, best known for the Washington African American Museum that was inaugurated in the US capital in 2016.

It has been 60 months in the creation – and is designed to showcase both the past and the present of creativity in the area famous for the Benin Bronzes, historical pieces looted from the city's royal palace by UK forces in the nineteenth century.

Setup and Prospects

It is impressive – and ahead of the planned opening, Mowaa was buzzing with staff resolved to show it is a venue that can compete with established art institutions in the Western world.

Within conservators precisely opened cultural items from secure wrapping, inspecting each artifact and taking thorough notes before placing them on walls and plinths.

Experts adjusted environmental controls. In the scientific facility, officers adjusted devices intended to preserve historical artefacts.

Financial Backing and Economic Vision

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

"I aim us to have a significant financial effect on local residents in this region," he told the press, noting that he wanted to make the city "a cultural destination."

Mowaa, a non-profit Nigerian institution, sees itself establishing in excess of 30,000 employment opportunities and contributing over $80m annually to the area arts sector through partnerships and activities.

Financial Support and Government Issues

It has required $25m to get here – money collected from multiple contributors, featuring the international partners, the British Museum and the regional authorities.

But at present the local government has pulled the rug from under it – canceling the occupancy of the site on which the building was erected.

An government communicator explained this was because in the original paperwork it had identified as the Edo-named institution – and it had subsequently removed "the state identifier" from its designation.

Protests and Political Intervention

This statement followed rallies on the weekend, when people stormed the complex demanding it be called the Royal Benin Museum.

A rowdy crowd harassed foreign guests at the facility prior to the opening – compelling them to be hurried away under police escort.

Head of state Bola Tinubu has also become involved to work to address the tensions, establishing a high-level committee to address the controversy.

Governance Issues

But in what way has this turned into so controversial – and such a public relations crisis?

Much of it stems from local power struggles at a regional government level, as it was the ex-administrator Godwin Obaseki – whose administration concluded last year – who was a primary advocate of the initiative.

And it seems the administration of the new governor, a strong supporter of the regional monarch, referred to as the traditional leader, may seek increased control in the project. The demonstrators on Sunday, for example, were demanding that the institution be put under the authority of Oba Ewuare II.

The Cultural Artifacts Debate

This highlights the disputed topic of the Benin Bronzes, one of Africa's most famous cultural treasures.

Because even if the museum does finally begin operations, these bronzes will be noticeably missing.

They are metal, elephant tusk and wooden carvings that once decorated the king's residence of the Benin Kingdom before colonial troops stole them in the colonial era during a punitive expedition.

Today, many continue to be scattered across institutions in the West -- including the UK institution, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Repatriation Campaigns

Their return has become one of the most debated conversations in the worldwide cultural sector. Roughly 150 have presently made their way home – and further are due to follow.

When plans for the museum in the city were first announced in 2019, the movers and shakers on Nigeria's art scene expected it would become their perfect venue – a modern complex to show them off to the international community.

But the waters were muddied two years ago after the federal government declared that the royal leader would be the rightful owner of repatriated artifacts – and the monarch's court campaigned for a museum under the royal family's direct control, against the desires of Obaseki.

Diplomatic Challenges

This left Mowaa in a delicate position: expressing a definite position on restitution while being careful on custodianship – and stressing its wider mission, which led to|c