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Nigeria's remarkable new Art Museum of West Africa (Mowaa) has landed in the middle of local power politics during the week it was scheduled to – but was unable – to begin operations to the general public for the very first time.

The Ambitious Project

The 15-acre facility sits in the core of Benin City, main city of the southern area of Edo – and features an excavation site and structures created by renowned dual heritage architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that was inaugurated in Washington in 2016.

It has been five years in the creation – and is planned to showcase both the past and the current era of artistic expression in the area known for the Benin Bronzes, historical pieces stolen from the royal palace by British soldiers in the 19th Century.

Setup and Prospects

It is impressive – and prior to the anticipated opening, Mowaa was buzzing with workers resolved to prove it is a institution that can match established cultural centers in the Europe and America.

Internally art restorers carefully opened art pieces from safety materials, checking each artifact and taking thorough documentation before arranging them on walls and stands.

Technicians fine-tuned environmental controls. In the scientific facility, personnel set up equipment intended to conserve centuries-old artefacts.

Investment and Economic Plans

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

"I want us to have a major financial effect on local residents in this region," he told journalists, adding that he hoped to make the city "a cultural destination."

Mowaa, a not-for-profit local organization, sees itself generating over 30,000 work positions and contributing more than $80m per year to the regional creative economy through partnerships and activities.

Financial Support and Government Issues

It has needed $25m to get here – money raised from multiple donors, such as the European governments, the UK museum and the Edo state government.

But currently the regional administration has withdrawn support from below it – revoking the use of the property on which the facility was constructed.

An official representative clarified this was because in the early agreements it had called itself EMOWAA – and it had later removed "Edo" from its name.

Demonstrations and Government Action

This statement came after demonstrations on recently, when protesters stormed the facility insisting it be called the Museum of the Benin Kingdom.

A boisterous assembly confronted foreign guests at the facility before the inauguration – requiring them to be quickly removed under police escort.

President Bola Tinubu has additionally stepped in to work to address the dispute, establishing a high-level committee to manage the situation.

Governance Issues

But why has this become so controversial – and such a public relations crisis?

Much of it stems from internal conflicts at a area administrative level, as it was the ex-administrator Godwin Obaseki – whose term in office concluded last year – who was a major backer of the project.

And it appears the administration of the new governor, a close ally of the local traditional ruler, referred to as the Oba, may desire more of a stake in the venture. The protesters on Sunday, for instance, were insisting that the museum be positioned under the authority of the royal leader.

The Historical Objects Discussion

This brings into focus the disputed topic of the historical artworks, one of Africa's most renowned cultural treasures.

Because even if the institution does finally welcome visitors, these bronzes will be conspicuously absent.

They are metal, ivory and timber carvings that once embellished the king's residence of the Benin Kingdom before UK forces stole them in 1897 during a military operation.

Today, thousands remain spread across galleries in Western nations -- including the UK institution, German museum and the Metropolitan Museum of Art.

Return Initiatives

Their homecoming has become one of the most debated debates in the global art world. Roughly 150 have presently been returned – and additional are expected to return.

When proposals for the institution in Benin City were first announced in 2019, the key players on the national arts community hoped it would become their perfect venue – a state-of-the-art campus to display them to the global audience.

But the waters were muddied two years ago after the federal government declared that the royal leader would be the rightful owner of returned objects – and the monarch's court campaigned for a institution under the monarch's supervision, against the preferences of Obaseki.

Diplomatic Challenges

This left Mowaa in a difficult situation: expressing a clear stance on restitution while being careful on custodianship – and emphasising its broader vision, which led to|c