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Nigeria's impressive new Museum of West African Art (Mowaa) has ended up in the crosshairs of regional political struggles during the period it was supposed to – but did not manage – to open its doors to the general public for the first time.

The Major Initiative

The large-scale complex sits in the heart of the Edo state capital, main city of the southern area of Edo – and features an excavation site and structures created by high-profile Ghanaian-British architect Sir David Adjaye, best known for the Smithsonian African American Museum that opened in the US capital in 2016.

It has been five years in the making – and is designed to celebrate both the heritage and the modern times of creativity in the area renowned for the historic artworks, artworks stolen from the royal palace by British soldiers in the nineteenth century.

Preparation and Promise

It is remarkable – and prior to the scheduled opening, Mowaa was energetic with staff determined to demonstrate it is a place that can rival established art institutions in the Europe and America.

Within conservators meticulously opened cultural items from secure wrapping, inspecting each item and taking detailed records before arranging them on exhibition areas and bases.

Technicians adjusted temperature regulation systems. In the scientific facility, personnel calibrated equipment meant to conserve centuries-old items.

Financial Backing and Economic Vision

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

"I aim us to have a substantial financial effect on local residents in this region," he stated to journalists, noting that he hoped to make Benin City "a cultural destination."

Mowaa, a not-for-profit national foundation, sees itself generating over 30,000 employment opportunities and adding more than $80m annually to the area arts sector through collaborations and activities.

Financial Support and Government Issues

It has required $25m to reach this point – capital collected from multiple contributors, including the European governments, the British Museum and the local administration.

But now the state authorities has revoked permission from beneath it – terminating the occupancy of the property on which the facility was constructed.

An Edo state spokesperson stated this was because in the initial documents it had identified as the Edo-named institution – and it had later eliminated "the state identifier" from its name.

Protests and Political Intervention

This announcement came after rallies on the weekend, when protesters entered the complex insisting it be called the Benin Royal Museum.

A rowdy group insulted overseas dignitaries at the museum before the inauguration – compelling them to be quickly removed under official guard.

National leader Bola Tinubu has additionally stepped in to try and resolve the conflict, creating a presidential committee to address the controversy.

Administrative Challenges

But why has this turned into so controversial – and such a PR disaster?

The majority of it comes down to internecine rivalries at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office concluded last year – who was a major backer of the museum.

And it seems the administration of the recently elected official, a close ally of the regional monarch, called the Oba, may want greater involvement in the project. The demonstrators on the weekend, for instance, were insisting that the museum be put under the authority of the royal leader.

The Cultural Artifacts Debate

This emphasizes the disputed topic of the Benin Bronzes, one of Africa's most renowned cultural treasures.

Because even if the facility does finally open, these objects will be clearly not present.

They are metal, ivory and timber artworks that once decorated the king's residence of the ancient kingdom before colonial troops looted them in the colonial era during a punitive expedition.

Nowadays, numerous remain spread across institutions in the West -- such as the British Museum, European center and the New York institution.

Return Initiatives

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

When proposals for the facility in Benin City were initially revealed in recent years, the movers and shakers on Nigeria's art scene hoped it would become their natural home – a state-of-the-art facility to show them off to the international community.

But the issues became confused two years ago after the central administration announced that the royal leader would be the rightful owner of returned objects – and the royal household pushed for a institution under the monarch's supervision, contrary to the desires of Obaseki.

Strategic Positioning

This placed Mowaa in a delicate position: maintaining a clear stance on repatriation while remaining diplomatic on ownership – and stressing its larger purpose, which led to|c