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Nigeria's stunning new Museum of West African Art (Mowaa) has ended up in the crosshairs of regional political struggles during the time it was scheduled to – but failed – to open its doors to the general public for the very first time.

The Ambitious Project

The six-hectare complex stands in the center of Benin City, administrative center of the southern state of Edo – and features an archaeological dig and buildings planned by celebrated dual heritage architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that opened in the US capital in 2016.

It has been five years in the development – and is planned to honor both the heritage and the modern times of cultural innovation in the area known for the historic artworks, historical pieces stolen from the royal palace by UK forces in the 1800s.

Preparation and Promise

It is impressive – and before the anticipated opening, Mowaa was buzzing with staff resolved to prove it is a place that can compete with well-known museums and galleries in the Western world.

Internally art restorers precisely revealed cultural items from protective packaging, examining each item and taking detailed notes before placing them on walls and bases.

Technicians adjusted climate control systems. In the materials science laboratory, officers adjusted instruments intended to conserve ancient items.

Funding and Economic Goals

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

"I hope us to have a major financial effect on local residents in the vicinity," he told the press, adding that he wanted to make this urban center "an arts hub."

Mowaa, a non-profit Nigerian institution, aims at creating over 30,000 direct and indirect jobs and adding over $80m annually to the local cultural industry through alliances and events.

Funding Sources and Political Challenges

It has taken $25m to achieve this stage – money collected from various donors, featuring the French and German governments, the British Museum and the regional authorities.

But at present the regional administration has withdrawn support from under it – canceling the use of the land on which the museum was built.

An official representative stated this was because in the original paperwork it had referred to itself as EMOWAA – and it had since dropped "the state identifier" from its title.

Protests and Political Intervention

This declaration followed protests on the weekend, when protesters invaded the campus insisting it be designated the Museum of the Benin Kingdom.

A rowdy crowd confronted international visitors at the facility prior to the opening – compelling them to be escorted out under police escort.

Head of state Bola Tinubu has even stepped in to attempt to settle the conflict, establishing a presidential committee to address the controversy.

Administrative Challenges

But why has this become so divisive – and such a public relations crisis?

Much of it stems from local power struggles at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose governance concluded last year – who was a major backer of the project.

And it appears the leadership of the current leader, a key associate of the local traditional ruler, called the royal figure, may desire increased control in the initiative. The demonstrators on the weekend, for example, were demanding that the facility be put under the supervision of the current Oba.

The Cultural Artifacts Debate

This brings into focus the contentious issue of the Benin Bronzes, one of the continent's most renowned cultural treasures.

Because even if the facility does eventually begin operations, these artifacts will be noticeably missing.

They are metal, ivory and wooden artworks that once adorned the royal palace of the ancient kingdom before UK forces stole them in the colonial era during a colonial invasion.

Currently, thousands stay distributed across institutions in Western nations -- featuring the London museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Repatriation Campaigns

Their homecoming has become one of the most contested discussions in the international art community. About 150 have presently come back – and further are due to follow.

When plans for the facility in the urban center were initially revealed in the pre-pandemic era, the influential figures on the national arts community hoped it would become their ideal location – a advanced facility to show them off to the global audience.

But the situation became complicated recently after the central administration declared that the royal leader would be the rightful owner of any returned bronzes – and the monarch's court advocated for a museum under the king's authority, contrary to the wishes of the former governor.

Diplomatic Challenges

This placed Mowaa in a difficult situation: expressing a definite position on restitution while being careful on ownership – and stressing its wider mission, which led to|c