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Nigeria's remarkable new Museum of West African Art (Mowaa) has ended up in the center of local power politics during the week it was supposed to – but did not manage – to welcome visitors to the visitors for the very first time.

The Ambitious Project

The large-scale facility is located in the heart of Benin City, capital of the southern area of Edo – and includes an historical dig and structures designed by celebrated dual heritage architect Sir David Adjaye, best known for the Washington African American Museum that opened in Washington DC in 2016.

It has been five years in the development – and is designed to showcase both the past and the current era of creativity in the area known for the cultural artifacts, artworks stolen from the king's palace by British troops in the nineteenth century.

Readiness and Potential

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

Internally conservators precisely opened artworks from secure wrapping, examining each piece and taking detailed notes before arranging them on walls and bases.

Specialists adjusted climate control systems. In the scientific facility, officers calibrated instruments meant to maintain ancient artefacts.

Investment and Economic Plans

The initiative has been the idea of entrepreneur Phillip Ihenacho – presently Mowaa's executive director.

"I hope us to have a substantial economic impact on local residents in the vicinity," he told media outlets, adding that he wanted to make Benin City "a cultural destination."

Mowaa, a non-profit local organization, sees itself generating in excess of 30,000 employment opportunities and adding above $80m annually to the regional creative economy through collaborations and programming.

Financial Support and Government Issues

It has needed $25m to achieve this stage – capital raised from multiple donors, featuring the European governments, the UK museum and the Edo state government.

But at present the local government has pulled the rug from beneath it – terminating the use of the property on which the museum was built.

An Edo state spokesperson clarified this was because in the original paperwork it had called itself the Edo-named institution – and it had since dropped "the regional name" from its name.

Unrest and Official Response

This declaration followed rallies on Sunday, when activists stormed the campus insisting it be called the Royal Benin Museum.

A disruptive group confronted overseas dignitaries at the facility before the opening – forcing them to be escorted out under security protection.

Head of state Bola Tinubu has also become involved to try and resolve the tensions, establishing a presidential committee to do some damage control.

Governance Issues

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

Much of it stems from internecine rivalries at a area administrative level, as it was the former state leader Godwin Obaseki – whose term in office ended last year – who was a key supporter of the initiative.

And it seems the leadership of the recently elected official, a key associate of the local traditional ruler, referred to as the Oba, may seek greater involvement in the initiative. The demonstrators on the weekend, for case, were insisting that the facility be put under the supervision of the royal leader.

The Cultural Artifacts Debate

This highlights the contentious issue of the cultural artifacts, one of the continent's most renowned cultural treasures.

Because though the museum does eventually begin operations, these artifacts will be noticeably missing.

They are brass, elephant tusk and timber artworks that once decorated the royal palace of the ancient kingdom before UK forces took them in the late nineteenth century during a punitive expedition.

Currently, thousands remain scattered across museums in the West -- including the London museum, European center and the New York institution.

Restitution Efforts

Their homecoming has become one of the most disputed discussions in the global art world. Approximately 150 have now been returned – and more are expected to return.

When proposals for the museum in the city were originally proposed in 2019, the influential figures on the country's cultural sector hoped it would become their ideal location – a modern complex to show them off to the world.

But the situation became complicated two years ago after the national authorities declared that the royal leader would be the rightful owner of returned objects – and the palace pushed for a institution under the king's authority, against the preferences of Obaseki.

Strategic Positioning

This placed Mowaa in a delicate position: expressing a definite position on restitution while remaining diplomatic on ownership – and emphasising its wider mission, which led to|c