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Nigeria's stunning new Art Museum of West Africa (Mowaa) has found itself in the crosshairs of local power politics during the week it was supposed to – but did not manage – to begin operations to the general public for the first time.

The Grand Vision

The 15-acre campus stands in the core of Benin's urban center, capital of the southern area of Edo – and includes an archaeological dig and buildings created by high-profile Ghanaian-British architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that was inaugurated in Washington DC in 2016.

It has been five years in the making – and is envisioned to celebrate both the history and the present of cultural innovation in the locale renowned for the cultural artifacts, historical pieces looted from the king's palace by British soldiers in the 1800s.

Preparation and Promise

It is impressive – and before the planned opening, Mowaa was energetic with employees determined to prove it is a institution that can match established museums and galleries in the Western world.

Internally art restorers meticulously unwrapped art pieces from secure wrapping, inspecting each piece and taking meticulous documentation before arranging them on display surfaces and plinths.

Experts calibrated environmental controls. In the materials science laboratory, officers calibrated instruments designed to preserve centuries-old artefacts.

Investment and Economic Plans

The initiative has been the concept of investor Phillip Ihenacho – presently Mowaa's chief executive.

"I hope us to have a substantial economic benefit on local residents around here," he told the press, mentioning that he hoped to make this urban center "an arts hub."

Mowaa, a not-for-profit national foundation, aims at generating over 30,000 direct and indirect jobs and adding over $80m each year to the area arts sector through partnerships and programming.

Financial Support and Government Issues

It has needed $25m to reach this point – capital gathered from different contributors, such as the European governments, the UK museum and the regional authorities.

But now the local government has pulled the rug from under it – revoking the occupancy of the property on which the building was erected.

An official representative stated this was because in the initial documents it had identified as Edo Museum of West African Art – and it had since removed "the regional name" from its designation.

Protests and Political Intervention

This statement was preceded by protests on the weekend, when activists invaded the campus calling for it be designated the Benin Royal Museum.

A rowdy group confronted foreign guests at the facility before the inauguration – requiring them to be escorted out under security protection.

National leader Bola Tinubu has even become involved to attempt to settle the conflict, establishing a high-level committee to do some damage control.

Administrative Challenges

But why has this evolved into so politicised – and such a PR disaster?

Much of it stems from internecine rivalries at a regional government level, as it was the former state leader Godwin Obaseki – whose governance ended the previous year – who was a major backer of the museum.

And it seems the government of the current leader, a strong supporter of the local traditional ruler, known as the Oba, may desire increased control in the initiative. The protesters on Sunday, for example, were calling for that the institution be placed under the authority of Oba Ewuare II.

The Benin Bronzes Controversy

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

Because although the museum does finally begin operations, these bronzes will be conspicuously absent.

They are metal, ivory and wooden sculptures that once adorned the royal palace of the ancient kingdom before colonial troops took them in 1897 during a colonial invasion.

Today, thousands continue to be spread across galleries in Europe and North America -- featuring the British Museum, German museum and the American museum.

Return Initiatives

Their homecoming has become one of the most contested conversations in the global art world. Roughly 150 have now been returned – and more are scheduled to be repatriated.

When ideas for the institution in the city were first announced in the pre-pandemic era, the influential figures on the country's cultural sector expected it would become their natural home – a advanced campus to exhibit them to the international community.

But the waters were muddied some time back after the national authorities stated that the Oba would be the rightful owner of returned objects – and the monarch's court campaigned for a facility under the monarch's supervision, against the desires of the former governor.

Diplomatic Challenges

This placed Mowaa in a challenging circumstance: expressing a clear stance on repatriation while being careful on guardianship – and highlighting its larger purpose, which led to|c