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Nigeria's impressive new West African Art Museum (Mowaa) has found itself in the center of local power politics during the week it was scheduled to – but failed – to open its doors to the general public for the first time.

The Ambitious Project

The six-hectare complex sits in the center of the Edo state capital, capital of the southern state of Edo – and features an historical dig and buildings planned by high-profile British-Ghanaian architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that was inaugurated in Washington in 2016.

It has been five years in the making – and is designed to showcase both the history and the modern times of creativity in the locale known for the historic artworks, cultural objects stolen from the city's royal palace by British troops in the nineteenth century.

Readiness and Potential

It is notable – and ahead of the scheduled opening, Mowaa was active with employees determined to show it is a institution that can match well-known art institutions in the Europe and America.

Within art restorers meticulously revealed cultural items from secure wrapping, checking each artifact and taking thorough documentation before positioning them on walls and plinths.

Specialists calibrated temperature regulation systems. In the scientific facility, officers set up devices intended to maintain centuries-old artefacts.

Financial Backing and Economic Vision

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

"I hope us to have a substantial financial effect on local residents in the vicinity," he explained to media outlets, noting that he wanted to make Benin City "a tourism center."

Mowaa, a charitable national foundation, sees itself creating over 30,000 employment opportunities and contributing more than $80m per year to the area arts sector through alliances and events.

Funding Sources and Political Challenges

It has required $25m to reach this point – money raised from different supporters, including the international partners, the UK museum and the regional authorities.

But at present the local government has withdrawn support from below it – canceling the use of the property on which the facility was constructed.

An government communicator stated this was because in the early agreements it had referred to itself as the Edo-named institution – and it had subsequently dropped "Edo" from its title.

Unrest and Official Response

This declaration came after demonstrations on recently, when activists invaded the campus insisting it be called the Royal Benin Museum.

A boisterous assembly harassed foreign guests at the venue ahead of the opening – requiring them to be escorted out under official guard.

Head of state Bola Tinubu has even stepped in to work to address the dispute, establishing a special task force to address the controversy.

Administrative Challenges

But in what way has this turned into so politicised – and such a PR disaster?

Much of it comes down to internecine rivalries at a local state level, as it was the ex-administrator Godwin Obaseki – whose term in office ended last year – who was a key supporter of the museum.

And it seems the administration of the recently elected official, a key associate of the area king, known as the royal figure, may desire greater involvement in the venture. The protesters on that day, for instance, were insisting that the facility be placed under the control of the current Oba.

The Benin Bronzes Controversy

This highlights the disputed topic of the Benin Bronzes, one of Africa's most celebrated artistic heritage.

Because although the museum does ultimately welcome visitors, these bronzes will be conspicuously absent.

They are metal, ivory and wooden carvings that once adorned the monarch's home of the ancient kingdom before British soldiers looted them in the colonial era during a punitive expedition.

Currently, thousands continue to be scattered across museums in the West -- including the UK institution, European center 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 made their way home – and additional are due to follow.

When proposals for the facility in the city were first announced in the pre-pandemic era, the influential figures on Nigeria's art scene anticipated it would become their natural home – a advanced complex to show them off to the world.

But the issues became confused some time back after the central administration stated that the royal leader would be the proper guardian of repatriated artifacts – and the royal household advocated for a museum under the king's authority, contrary to the desires of the former governor.

Political Navigation

This placed Mowaa in a delicate position: expressing a specific viewpoint on return while remaining diplomatic on custodianship – and highlighting its broader vision, which led to|c