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Nigeria's stunning new Museum of West African Art (Mowaa) has found itself in the crosshairs of local power politics during the period it was expected to – but was unable – to open its doors to the general public for the very first time.

The Grand Vision

The large-scale campus is located in the center of Benin's urban center, main city of the southern state of Edo – and contains an archaeological dig and structures created by renowned British-Ghanaian architect Sir David Adjaye, best known for the Smithsonian African American Museum that began operations in Washington DC in 2016.

It has been five years in the development – and is envisioned to celebrate both the heritage and the modern times of artistic expression in the region known for the cultural artifacts, historical pieces taken from the king's palace by UK forces in the 1800s.

Setup and Prospects

It is notable – and prior to the anticipated opening, Mowaa was active with workers determined to show it is a place that can rival well-known cultural centers in the Western world.

Internally conservators meticulously revealed artworks from safety materials, checking each item and taking meticulous documentation before arranging them on display surfaces and stands.

Specialists adjusted temperature regulation systems. In the materials science laboratory, staff members calibrated instruments intended to preserve ancient artefacts.

Financial Backing and Economic Vision

The project has been the idea of investor Phillip Ihenacho – currently Mowaa's executive director.

"I aim us to have a significant economic benefit on local residents around here," he told media outlets, noting that he wanted to make Benin City "a cultural destination."

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

Investment and Administrative Problems

It has needed $25m to get here – funds gathered from various donors, including the international partners, the UK museum and the regional authorities.

But currently the regional administration has withdrawn support from below it – terminating the occupancy of the property on which the facility was constructed.

An official representative explained this was because in the early agreements it had identified as EMOWAA – and it had since removed "the regional name" from its name.

Unrest and Official Response

This announcement followed demonstrations on Sunday, when people entered the complex demanding it be designated the Benin Royal Museum.

A boisterous group confronted overseas dignitaries at the museum ahead of the opening – forcing them to be escorted out under security protection.

National leader Bola Tinubu has additionally stepped in to work to address the tensions, creating a high-level committee to do some damage control.

Administrative Challenges

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

Much of it comes down to local power struggles at a area administrative level, as it was the former state leader Godwin Obaseki – whose term in office concluded the previous year – who was a key supporter of the museum.

And it appears the government of the recently elected official, a strong supporter of the regional monarch, known as the royal figure, may desire greater involvement in the initiative. The activists on that day, for case, were calling for that the institution be put under the control of the royal leader.

The Benin Bronzes Controversy

This highlights the controversial matter of the Benin Bronzes, one of Africa's most renowned cultural treasures.

Because although the facility does finally welcome visitors, these artifacts will be noticeably missing.

They are metal, ivory and timber sculptures that once embellished the royal palace of the Benin Kingdom before colonial troops took them in 1897 during a punitive expedition.

Currently, thousands remain scattered across galleries in the West -- including the British Museum, Berlin's Humboldt Forum and the New York institution.

Return Initiatives

Their return has become one of the most disputed debates in the global art world. Roughly 150 have presently come back – and more are scheduled to be repatriated.

When proposals for the facility in Benin City were first announced in the pre-pandemic era, the movers and shakers on the country's cultural sector anticipated it would become their perfect venue – a state-of-the-art complex to show them off to the international community.

But the situation became complicated recently after the federal government declared that the traditional ruler would be the rightful owner of returned objects – and the royal household pushed for a museum under the king's authority, against the wishes of Obaseki.

Diplomatic Challenges

This left Mowaa in a delicate position: expressing a definite position on return while being careful on ownership – and stressing its broader vision, which led to|c