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Nigeria's impressive new Museum of West African Art (Mowaa) has found itself in the center of regional political struggles during the week it was supposed to – but did not manage – to open its doors to the public for the initial occasion.

The Major Initiative

The 15-acre complex sits in the core of the Edo state capital, main city of the southern area of Edo – and features an excavation site 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 making – and is designed to showcase both the past and the present of artistic expression in the region known for the historic artworks, cultural objects stolen from the royal palace by British soldiers in the nineteenth century.

Setup and Prospects

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

Internally preservation experts meticulously unwrapped artworks from safety materials, inspecting each piece and taking detailed notes before placing them on exhibition areas and plinths.

Technicians calibrated climate control systems. In the scientific facility, personnel set up equipment meant to maintain ancient objects.

Investment and Economic Plans

The initiative has been the concept of investor Phillip Ihenacho – presently Mowaa's executive director.

"I hope us to have a substantial economic benefit on area populations in this region," he told media outlets, noting that he hoped to make Benin City "a tourism center."

Mowaa, a not-for-profit Nigerian institution, envisions itself generating over 30,000 direct and indirect jobs and providing over $80m annually to the area arts sector through alliances and programming.

Funding Sources and Political Challenges

It has required $25m to achieve this stage – capital raised from different contributors, featuring the international partners, the UK museum and the local administration.

But currently the local government has pulled the rug from below it – terminating the utilization of the land on which the building was erected.

An Edo state spokesperson explained this was because in the early agreements it had called itself EMOWAA – and it had subsequently eliminated "Edo" from its designation.

Demonstrations and Government Action

This statement came after rallies on Sunday, when people invaded the complex calling for it be designated the Benin Royal Museum.

A rowdy assembly harassed international visitors at the museum ahead of the inauguration – forcing them to be quickly removed under official guard.

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

Governance Issues

But how has this evolved into so divisive – and such a PR disaster?

The majority of it stems from local power struggles at a regional government level, as it was the former state leader Godwin Obaseki – whose administration ended last year – who was a major backer of the initiative.

And it appears the leadership of the current leader, a close ally of the regional monarch, called the traditional leader, may want increased control in the project. The protesters on that day, for case, were insisting that the museum be positioned under the supervision of the current Oba.

The Benin Bronzes Controversy

This brings into focus the disputed topic of the cultural artifacts, one of the continent's most famous artistic heritage.

Because although the museum does ultimately open, these artifacts will be conspicuously absent.

They are metal, elephant tusk and timber carvings that once embellished the royal palace of the historical empire before British soldiers stole them in 1897 during a punitive expedition.

Nowadays, many continue to be spread across galleries in Western nations -- such as the London museum, European center and the New York institution.

Repatriation Campaigns

Their repatriation has become one of the most disputed conversations in the worldwide cultural sector. Roughly 150 have now been returned – and more are scheduled to be repatriated.

When ideas for the facility in the city were originally proposed in recent years, the movers and shakers on the national arts community hoped it would become their natural home – a modern complex to exhibit them to the international community.

But the issues became confused two years ago after the federal government announced that the Oba would be the rightful owner of returned objects – and the palace pushed for a facility under the monarch's supervision, contrary to the wishes of the ex-leader.

Strategic Positioning

This placed Mowaa in a difficult situation: asserting a definite position on restitution while being careful on guardianship – and stressing its broader vision, which led to|c