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Nigeria's stunning new West African Art Museum (Mowaa) has found itself in the crosshairs of regional political struggles during the week it was expected to – but failed – to welcome visitors to the visitors for the initial occasion.

The Ambitious Project

The 15-acre complex is located in the core of Benin's urban center, main city of the southern state of Edo – and includes an archaeological dig and buildings created by high-profile British-Ghanaian architect Sir David Adjaye, best known for the Smithsonian African American Museum that opened in Washington DC in 2016.

It has been half a decade in the making – and is envisioned to celebrate both the past and the present of artistic expression in the region famous for the Benin Bronzes, cultural objects stolen from the king's palace by British troops in the nineteenth century.

Preparation and Promise

It is notable – and ahead of the anticipated opening, Mowaa was energetic with staff resolved to show it is a place that can rival established art institutions in the Europe and America.

Inside art restorers precisely unwrapped artworks from secure wrapping, checking each item and taking detailed notes before positioning them on walls and bases.

Specialists fine-tuned temperature regulation systems. In the scientific facility, staff members set up equipment meant to conserve centuries-old objects.

Investment and Economic Plans

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

"I aim us to have a significant economic benefit on local residents in the vicinity," he told journalists, adding that he aspired to make Benin City "an arts hub."

Mowaa, a non-profit Nigerian institution, aims at creating over 30,000 employment opportunities and contributing more than $80m annually to the local cultural industry through partnerships and programming.

Financial Support and Government Issues

It has needed $25m to reach this point – money collected from multiple donors, featuring the French and German governments, the London institution and the regional authorities.

But at present the regional administration has withdrawn support from beneath it – revoking the occupancy of the site on which the building was erected.

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

Unrest and Official Response

This statement followed protests on recently, when people entered the campus demanding it be designated the Benin Royal Museum.

A disruptive assembly harassed overseas dignitaries at the venue prior to the inauguration – forcing them to be escorted out under official guard.

Head of state Bola Tinubu has additionally intervened to attempt to settle the dispute, establishing a presidential committee to manage the situation.

Governance Issues

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

The majority of it results from internecine rivalries at a regional government level, as it was the ex-administrator Godwin Obaseki – whose term in office finished recently – who was a major backer of the museum.

And it appears the administration of the recently elected official, a key associate of the regional monarch, referred to as the traditional leader, may want increased control in the initiative. The protesters on the weekend, for case, were demanding that the institution be placed under the control of Oba Ewuare II.

The Benin Bronzes Controversy

This highlights the contentious issue of the historical artworks, one of the region's most renowned artistic heritage.

Because even if the institution does finally open, these artifacts will be clearly not present.

They are brass, ivory and wooden sculptures that once decorated the monarch's home of the historical empire before UK forces looted them in the colonial era during a military operation.

Currently, many remain spread across galleries in Europe and North America -- such as the British Museum, Berlin's Humboldt Forum and the American museum.

Restitution Efforts

Their homecoming has become one of the most disputed discussions in the worldwide cultural sector. Approximately 150 have now made their way home – and further are due to follow.

When proposals for the facility in Benin City were first announced in the pre-pandemic era, the movers and shakers on the national arts community anticipated it would become their perfect venue – a modern campus to display them to the global audience.

But the issues became confused some time back after the federal government announced that the Oba would be the legal custodian of repatriated artifacts – and the royal household advocated for a facility under the king's authority, against the preferences of the former governor.

Diplomatic Challenges

This left Mowaa in a difficult situation: expressing a definite position on repatriation while being careful on custodianship – and emphasising its larger purpose, which led to|c