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Nigeria's remarkable new West African Art Museum (Mowaa) has landed in the crosshairs of local power politics during the period it was supposed to – but failed – to welcome visitors to the general public for the initial occasion.

The Ambitious Project

The large-scale campus is located in the center of Benin City, administrative center of the southern region of Edo – and contains an excavation site and buildings created by renowned Ghanaian-British 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 half a decade in the making – and is planned to honor both the past and the modern times of cultural innovation in the locale famous for the historic artworks, historical pieces stolen from the royal palace by British troops in the 1800s.

Readiness and Potential

It is impressive – and prior to the planned opening, Mowaa was buzzing with staff resolved to demonstrate it is a place that can rival well-known museums and galleries in the Western world.

Inside art restorers carefully unwrapped artworks from protective packaging, examining each artifact and taking thorough notes before arranging them on walls and bases.

Technicians fine-tuned temperature regulation systems. In the research lab, staff members set up instruments intended to conserve historical items.

Financial Backing and Economic Vision

The project has been the idea of entrepreneur Phillip Ihenacho – now Mowaa's chief executive.

"I aim us to have a significant financial effect on communities in the vicinity," he told the press, adding that he wanted to make Benin City "an arts hub."

Mowaa, a non-profit local organization, envisions itself establishing more than 30,000 direct and indirect jobs and providing more than $80m annually to the area arts sector through partnerships and programming.

Funding Sources and Political Challenges

It has required $25m to reach this point – funds collected from various contributors, such as the European governments, the British Museum and the regional authorities.

But at present the state authorities has withdrawn support from below it – terminating the occupancy of the property on which the facility was constructed.

An Edo state spokesperson explained this was because in the initial documents it had called itself EMOWAA – and it had subsequently dropped "Edo" from its designation.

Demonstrations and Government Action

This statement followed demonstrations on the weekend, when people invaded the campus insisting it be named the Museum of the Benin Kingdom.

A disruptive assembly confronted foreign guests at the venue prior to the launch – compelling them to be escorted out under security protection.

National leader Bola Tinubu has also become involved to work to address the tensions, establishing a high-level committee to do some damage control.

Governance Issues

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

The majority of it results from local power struggles at a local state level, as it was Edo's previous governor Godwin Obaseki – whose governance finished last year – who was a major backer of the museum.

And it looks like the government of the new governor, a close ally of the area king, known as the Oba, may want more of a stake in the project. The protesters on that day, for instance, were insisting that the facility be put under the control of the royal leader.

The Cultural Artifacts Debate

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

Because even if the museum does eventually open, these artifacts will be conspicuously absent.

They are brass, elephant tusk and timber carvings that once embellished the royal palace of the ancient kingdom before colonial troops stole them in the late nineteenth century during a military operation.

Currently, thousands stay distributed across museums in Europe and North America -- including the UK institution, German museum and the Metropolitan Museum of Art.

Return Initiatives

Their return has become one of the most debated discussions in the international art community. Approximately 150 have presently come back – and more are due to follow.

When proposals for the museum in the urban center were initially revealed in 2019, the key players on the national arts community anticipated it would become their perfect venue – a state-of-the-art complex to display them to the international community.

But the situation became complicated recently after the federal government declared that the royal leader would be the rightful owner of returned objects – and the monarch's court pushed for a institution under the monarch's supervision, opposing the wishes of the ex-leader.

Political Navigation

This left Mowaa in a delicate position: asserting a clear stance on repatriation while remaining diplomatic on ownership – and emphasising its broader vision, which led to|c