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Nigeria's impressive new Art Museum of West Africa (Mowaa) has landed in the middle of regional political struggles during the time it was supposed to – but did not manage – to begin operations to the general public for the first time.

The Ambitious Project

The six-hectare complex sits in the heart of the Edo state capital, capital of the southern state of Edo – and features an archaeological dig and structures designed by high-profile British-Ghanaian architect Sir David Adjaye, most famous for the Smithsonian African American Museum that opened in the US capital in 2016.

It has been five years in the making – and is envisioned to showcase both the heritage and the current era of creativity in the locale known for the cultural artifacts, cultural objects taken from the royal palace by British soldiers in the 19th Century.

Readiness and Potential

It is notable – and before the scheduled opening, Mowaa was active with staff committed to prove it is a institution that can match renowned cultural centers in the Europe and America.

Internally art restorers precisely revealed cultural items from protective packaging, checking each piece and taking meticulous notes before placing them on exhibition areas and bases.

Specialists fine-tuned temperature regulation systems. In the materials science laboratory, staff members set up instruments designed to conserve ancient artefacts.

Investment and Economic Plans

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

"I aim us to have a substantial financial effect on local residents in the vicinity," he explained to journalists, mentioning that he aspired to make Benin City "a tourism center."

Mowaa, a non-profit Nigerian institution, aims at establishing more than 30,000 work positions and adding more than $80m annually to the local cultural industry through partnerships and activities.

Financial Support and Government Issues

It has required $25m to reach this point – funds collected from various contributors, such as the European governments, the UK museum and the local administration.

But now the local government has withdrawn support from under it – revoking the occupancy of the land on which the museum was built.

An Edo state spokesperson explained this was because in the initial documents it had identified as Edo Museum of West African Art – and it had later removed "Edo" from its title.

Unrest and Official Response

This statement followed protests on recently, when people stormed the campus insisting it be designated the Museum of the Benin Kingdom.

A boisterous assembly harassed overseas dignitaries at the museum before the inauguration – requiring them to be hurried away under security protection.

Head of state Bola Tinubu has additionally become involved to work to address the tensions, establishing a high-level committee to manage the situation.

Political Complexities

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

Much of it comes down to local power struggles at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office concluded recently – who was a key supporter of the project.

And it seems the government of the recently elected official, a close ally of the local traditional ruler, known as the Oba, may want more of a stake in the venture. The protesters on the weekend, for example, were calling for that the facility be positioned under the authority of Oba Ewuare II.

The Cultural Artifacts Debate

This brings into focus the contentious issue of the historical artworks, one of Africa's most famous cultural treasures.

Because though the institution does ultimately open, these bronzes will be clearly not present.

They are brass, ivory and wooden carvings that once decorated the monarch's home of the historical empire before UK forces stole them in 1897 during a colonial invasion.

Nowadays, many stay spread across galleries in Europe and North America -- such as the UK institution, European center and the American museum.

Restitution Efforts

Their homecoming has become one of the most disputed conversations in the international art community. Approximately 150 have presently come back – and additional are due to follow.

When ideas for the museum in Benin City were first announced in the pre-pandemic era, the influential figures on the country's cultural sector anticipated it would become their ideal location – a state-of-the-art facility to exhibit them to the global audience.

But the issues became confused two years ago after the national authorities stated that the traditional ruler would be the rightful owner of any returned bronzes – and the royal household campaigned for a museum under the royal family's direct control, contrary to the desires of Obaseki.

Strategic Positioning

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