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

The Ambitious Project

The six-hectare complex stands in the core of Benin City, main city of the southern state of Edo – and contains an historical dig and structures planned by renowned dual heritage architect Sir David Adjaye, best known for the National Museum of African American History and Culture that opened in Washington DC in 2016.

It has been five years in the creation – and is envisioned to celebrate both the past and the current era of creativity in the area famous for the Benin Bronzes, cultural objects taken from the royal palace by British troops in the 1800s.

Setup and Prospects

It is remarkable – and ahead of the anticipated opening, Mowaa was buzzing with employees committed to prove it is a venue that can compete with established art institutions in the West.

Within art restorers meticulously unwrapped artworks from protective packaging, checking each item and taking meticulous notes before arranging them on walls and stands.

Experts adjusted temperature regulation systems. In the research lab, personnel set up equipment meant to maintain historical objects.

Funding and Economic Goals

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

"I hope us to have a significant economic impact on local residents around here," he told media outlets, mentioning that he aspired to make the city "a cultural destination."

Mowaa, a charitable Nigerian institution, envisions itself generating more than 30,000 direct and indirect jobs and contributing more than $80m per year to the area arts sector through collaborations and activities.

Funding Sources and Political Challenges

It has taken $25m to achieve this stage – capital raised from various supporters, such as the international partners, the London institution and the Edo state government.

But at present the regional administration has withdrawn support from under it – canceling the occupancy of the site on which the facility was constructed.

An Edo state spokesperson stated this was because in the original paperwork it had called itself the Edo-named institution – and it had since dropped "the regional name" from its title.

Demonstrations and Government Action

This statement came after rallies on recently, when activists invaded the campus demanding it be designated the Benin Royal Museum.

A disruptive assembly confronted international visitors at the facility before the opening – requiring them to be hurried away under police escort.

President Bola Tinubu has also become involved to try and resolve the tensions, setting up a high-level committee to address the controversy.

Political Complexities

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

A great deal of it results from local power struggles at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished the previous year – who was a primary advocate of the museum.

And it appears the administration of the recently elected official, a close ally of the local traditional ruler, called the traditional leader, may want greater involvement in the initiative. The protesters on that day, for instance, were demanding that the facility be put under the control of the royal leader.

The Historical Objects Discussion

This emphasizes the contentious issue of the Benin Bronzes, one of the region's most celebrated artistic heritage.

Because even if the facility does eventually open, these bronzes will be noticeably missing.

They are metal, ivory and wooden sculptures that once adorned the king's residence of the ancient kingdom before colonial troops took them in the colonial era during a punitive expedition.

Today, thousands continue to be scattered across galleries in Europe and North America -- such as the UK institution, European center and the American museum.

Repatriation Campaigns

Their repatriation has become one of the most disputed debates in the worldwide cultural sector. Approximately 150 have now made their way home – and additional are expected to return.

When proposals for the institution in Benin City were initially revealed in the pre-pandemic era, the influential figures on the national arts community hoped it would become their ideal location – a modern campus to display them to the international community.

But the issues became confused recently after the national authorities announced that the Oba would be the rightful owner of returned objects – and the royal household advocated for a facility under the monarch's supervision, opposing the desires of Obaseki.

Diplomatic Challenges

This left Mowaa in a challenging circumstance: asserting a specific viewpoint on return while staying tactful on custodianship – and stressing its wider mission, which led to|c