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Nigeria's impressive new Museum of West African Art (Mowaa) has ended up in the crosshairs of local power politics during the time it was scheduled to – but failed – to open its doors to the visitors for the very first time.

The Ambitious Project

The large-scale complex is located in the core of Benin City, capital of the southern region of Edo – and contains an excavation site and facilities created by celebrated dual heritage architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that began operations in Washington DC in 2016.

It has been 60 months in the creation – and is envisioned to celebrate both the history and the current era of artistic expression in the area famous for the cultural artifacts, cultural objects looted from the king's palace by British troops in the 1800s.

Setup and Prospects

It is remarkable – and prior to the planned opening, Mowaa was buzzing with employees determined to prove it is a venue that can rival well-known cultural centers in the Western world.

Internally conservators meticulously revealed art pieces from secure wrapping, inspecting each artifact and taking thorough documentation before arranging them on walls and bases.

Technicians adjusted climate control systems. In the materials science laboratory, staff members adjusted equipment intended to conserve historical objects.

Investment and Economic Plans

The venture has been the concept of businessman Phillip Ihenacho – currently Mowaa's chief executive.

"I want us to have a significant economic impact on communities in the vicinity," he stated to journalists, mentioning that he wanted to make this urban center "an arts hub."

Mowaa, a not-for-profit local organization, aims at creating in excess of 30,000 work positions and adding above $80m per year to the regional creative economy through alliances and programming.

Funding Sources and Political Challenges

It has required $25m to achieve this stage – money collected from various contributors, including the European governments, the British Museum and the regional authorities.

But at present the regional administration has revoked permission from below it – canceling the use of the site on which the museum was built.

An official representative clarified this was because in the original paperwork it had called itself Edo Museum of West African Art – and it had subsequently removed "the regional name" from its designation.

Demonstrations and Government Action

This declaration was preceded by rallies on recently, when activists entered the facility demanding it be named the Royal Benin Museum.

A disruptive crowd harassed international visitors at the museum before the launch – compelling them to be hurried away under police escort.

National leader Bola Tinubu has even intervened to attempt to settle the tensions, establishing a presidential committee to address the controversy.

Governance Issues

But why has this become so divisive – and such a PR disaster?

A great deal of it comes down to internecine rivalries at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished last year – who was a key supporter of the museum.

And it seems the government of the current leader, a strong supporter of the local traditional ruler, known as the Oba, may want increased control in the venture. The activists on Sunday, for example, were calling for that the institution be put under the authority of Oba Ewuare II.

The Cultural Artifacts Debate

This highlights the disputed topic of the historical artworks, one of the continent's most famous artistic heritage.

Because although the museum does ultimately open, these bronzes will be clearly not present.

They are metal, ivory and wooden sculptures that once decorated the king's residence of the Benin Kingdom before colonial troops looted them in the late nineteenth century during a military operation.

Currently, many continue to be scattered across institutions in the West -- such as the London museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Return Initiatives

Their homecoming has become one of the most contested debates in the global art world. About 150 have presently made their way home – and additional are expected to return.

When proposals for the museum in Benin City were initially revealed in 2019, the movers and shakers on the country's cultural sector expected it would become their perfect venue – a state-of-the-art complex to display them to the world.

But the issues became confused two years ago after the federal government announced that the Oba would be the proper guardian of repatriated artifacts – and the royal household pushed for a museum under the monarch's supervision, contrary to the preferences of the ex-leader.

Diplomatic Challenges

This placed Mowaa in a difficult situation: maintaining a clear stance on return while being careful on ownership – and highlighting its broader vision, which led to|c