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The nation's stunning new Art Museum of West Africa (Mowaa) has ended up in the crosshairs of regional political struggles during the time it was expected to – but did not manage – to begin operations to the general public for the first time.

The Grand Vision

The large-scale campus stands in the center of Benin City, capital of the southern region of Edo – and features an archaeological dig and facilities created by high-profile British-Ghanaian architect Sir David Adjaye, most famous for the Smithsonian African American Museum that opened in Washington in 2016.

It has been five years in the development – and is planned to showcase both the history and the current era of cultural innovation in the locale known for the historic artworks, artworks looted from the royal palace by British soldiers in the 1800s.

Setup and Prospects

It is impressive – and before the planned opening, Mowaa was active with workers committed to demonstrate it is a institution that can rival renowned art institutions in the Europe and America.

Inside conservators meticulously revealed cultural items from safety materials, checking each item and taking detailed notes before positioning them on exhibition areas and stands.

Specialists adjusted temperature regulation systems. In the scientific facility, personnel calibrated devices meant to maintain ancient artefacts.

Investment and Economic Plans

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

"I hope us to have a significant financial effect on local residents in this region," he explained to media outlets, noting that he aspired to make this urban center "an arts hub."

Mowaa, a non-profit local organization, sees itself generating in excess of 30,000 employment opportunities and providing more than $80m each year to the local cultural industry through collaborations and events.

Financial Support and Government Issues

It has needed $25m to reach this point – money collected from various contributors, including the French and German governments, the British Museum and the regional authorities.

But now the regional administration has pulled the rug from below it – canceling the occupancy of the land on which the facility was constructed.

An official representative clarified this was because in the early agreements it had referred to itself as Edo Museum of West African Art – and it had subsequently eliminated "the regional name" from its name.

Unrest and Official Response

This statement followed demonstrations on the weekend, when protesters stormed the campus insisting it be called the Royal Benin Museum.

A boisterous group confronted foreign guests at the museum ahead of the launch – compelling them to be quickly removed under police escort.

President Bola Tinubu has also stepped in to try and resolve the conflict, creating a presidential committee to address the controversy.

Governance Issues

But in what way has this become so controversial – and such a reputation problem?

The majority of it results from internecine rivalries at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose governance ended the previous year – who was a key supporter of the project.

And it appears the administration of the current leader, a key associate of the local traditional ruler, known as the Oba, may desire more of a stake in the venture. The activists on Sunday, for instance, were calling for that the museum be positioned under the authority of the current Oba.

The Benin Bronzes Controversy

This brings into focus the controversial matter of the cultural artifacts, one of Africa's most famous artistic heritage.

Because although the institution does eventually open, these bronzes will be conspicuously absent.

They are brass, ivory and wooden artworks that once embellished the monarch's home of the Benin Kingdom before UK forces looted them in the colonial era during a military operation.

Today, many continue to be spread across galleries in the West -- including the London museum, European center and the American museum.

Restitution Efforts

Their homecoming has become one of the most debated discussions in the global art world. About 150 have currently come back – and more are scheduled to be repatriated.

When ideas for the facility in the city were originally proposed in the pre-pandemic era, the influential figures on Nigeria's art scene anticipated it would become their natural home – a modern campus to exhibit them to the international community.

But the waters were muddied recently after the national authorities declared that the traditional ruler would be the legal custodian of returned objects – and the palace campaigned for a institution under the king's authority, opposing the preferences of Obaseki.

Strategic Positioning

This left Mowaa in a difficult situation: expressing a specific viewpoint on repatriation while remaining diplomatic on ownership – and stressing its larger purpose, which led to|c