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Nigeria's stunning new Museum of West African Art (Mowaa) has landed in the center of regional political struggles during the week it was scheduled to – but failed – to begin operations to the public for the first time.

The Major Initiative

The 15-acre campus sits in the heart of Benin City, administrative center of the southern state of Edo – and contains an archaeological dig and buildings planned by renowned British-Ghanaian architect Sir David Adjaye, best known for the Washington African American Museum that began operations in Washington in 2016.

It has been half a decade in the development – and is planned to honor both the heritage and the current era of cultural innovation in the area known for the Benin Bronzes, cultural objects looted from the royal palace by British troops in the nineteenth century.

Readiness and Potential

It is remarkable – and before the scheduled opening, Mowaa was buzzing with employees determined to demonstrate it is a venue that can compete with renowned art institutions in the West.

Inside art restorers carefully opened cultural items from safety materials, inspecting each item and taking detailed documentation before positioning them on walls and bases.

Technicians adjusted climate control systems. In the research lab, officers calibrated instruments designed to conserve ancient items.

Investment and Economic Plans

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

"I aim us to have a substantial economic benefit on communities in the vicinity," he told media outlets, mentioning that he wanted to make Benin City "a cultural destination."

Mowaa, a not-for-profit local organization, envisions itself generating more than 30,000 employment opportunities and adding above $80m annually to the local cultural industry through partnerships and programming.

Financial Support and Government Issues

It has taken $25m to reach this point – money raised from various supporters, featuring the international partners, the UK museum and the Edo state government.

But currently the regional administration has revoked permission from beneath it – revoking the occupancy of the site on which the museum was built.

An government communicator stated this was because in the initial documents it had identified as the Edo-named institution – and it had later removed "Edo" from its title.

Unrest and Official Response

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

A rowdy assembly confronted international visitors at the venue before the inauguration – compelling them to be hurried away under police escort.

Head of state Bola Tinubu has additionally become involved to try and resolve the tensions, setting up a high-level committee to do some damage control.

Administrative Challenges

But in what way has this become so politicised – and such a PR disaster?

The majority of it comes down to local power struggles at a local state level, as it was the former state leader Godwin Obaseki – whose term in office finished last year – who was a major backer of the project.

And it seems the leadership of the recently elected official, a key associate of the area king, referred to as the Oba, may want greater involvement in the initiative. The protesters on Sunday, for case, were calling for that the museum be put under the control of the current Oba.

The Historical Objects Discussion

This brings into focus the contentious issue of the historical artworks, one of the region's most famous historical legacy.

Because though the museum does eventually welcome visitors, these objects will be conspicuously absent.

They are brass, elephant tusk and wooden sculptures that once embellished the monarch's home of the ancient kingdom before UK forces looted them in the colonial era during a military operation.

Currently, many remain distributed across galleries in the West -- including the UK institution, European center and the American museum.

Return Initiatives

Their repatriation has become one of the most disputed debates in the global art world. About 150 have currently been returned – and more are scheduled to be repatriated.

When proposals for the institution in the urban center were first announced in 2019, the influential figures on the country's cultural sector hoped it would become their perfect venue – a advanced facility to display them to the international community.

But the situation became complicated some time back after the national authorities announced that the Oba would be the proper guardian of repatriated artifacts – and the palace pushed for a museum under the monarch's supervision, opposing the wishes of the former governor.

Political Navigation

This left Mowaa in a challenging circumstance: maintaining a definite position on restitution while being careful on ownership – and highlighting its wider mission, which led to|c