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Nigeria's impressive new West African Art Museum (Mowaa) has landed in the middle of regional political struggles during the time it was expected to – but failed – to welcome visitors to the general public for the very first time.

The Major Initiative

The 15-acre complex stands in the center of the Edo state capital, main city of the southern region of Edo – and contains an archaeological dig and facilities designed by celebrated Ghanaian-British architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that was inaugurated in the US capital in 2016.

It has been half a decade in the making – and is envisioned to honor both the past and the current era of artistic expression in the locale famous for the cultural artifacts, artworks looted from the royal palace by British troops in the 19th Century.

Setup and Prospects

It is notable – and prior to the planned opening, Mowaa was buzzing with employees resolved to demonstrate it is a place that can match established museums and galleries in the Western world.

Internally preservation experts carefully opened artworks from secure wrapping, inspecting each piece and taking thorough notes before arranging them on display surfaces and stands.

Specialists adjusted climate control systems. In the materials science laboratory, officers calibrated equipment meant to maintain ancient artefacts.

Financial Backing and Economic Vision

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

"I want us to have a major financial effect on communities in the vicinity," he stated to the press, mentioning that he wanted to make Benin City "a cultural destination."

Mowaa, a charitable national foundation, sees itself generating more than 30,000 direct and indirect jobs and providing more than $80m annually to the local cultural industry through partnerships and programming.

Funding Sources and Political Challenges

It has needed $25m to reach this point – funds raised from multiple supporters, featuring the European governments, the British Museum and the Edo state government.

But currently the state authorities has revoked permission from below it – terminating the use of the property on which the building was erected.

An Edo state spokesperson clarified this was because in the early agreements it had referred to itself as Edo Museum of West African Art – and it had subsequently dropped "Edo" from its name.

Protests and Political Intervention

This statement was preceded by rallies on Sunday, when protesters invaded the complex insisting it be called the Museum of the Benin Kingdom.

A disruptive assembly confronted foreign guests at the facility before the opening – requiring them to be escorted out under police escort.

Head of state Bola Tinubu has also stepped in to work to address the tensions, establishing a special task force to manage the situation.

Governance Issues

But why has this turned into so politicised – and such a public relations crisis?

A great deal of it stems from internal conflicts at a local state level, as it was Edo's previous governor Godwin Obaseki – whose governance concluded the previous year – who was a key supporter of the museum.

And it seems the government of the current leader, a key associate of the local traditional ruler, referred to as the royal figure, may desire more of a stake in the initiative. The activists on the weekend, for case, were demanding that the institution be put under the supervision of the current Oba.

The Benin Bronzes Controversy

This emphasizes the controversial matter of the cultural artifacts, one of Africa's most famous cultural treasures.

Because even if the facility does ultimately begin operations, these artifacts will be conspicuously absent.

They are metal, ivory and timber sculptures that once decorated the royal palace of the Benin Kingdom before UK forces took them in 1897 during a punitive expedition.

Currently, thousands stay spread across museums in Europe and North America -- such as the UK institution, German museum and the New York institution.

Return Initiatives

Their return has become one of the most contested debates in the global art world. About 150 have currently come back – and additional are due to follow.

When proposals for the museum in Benin City were first announced in recent years, the influential figures on the country's cultural sector anticipated it would become their ideal location – a advanced facility to show them off to the international community.

But the waters were muddied recently after the federal government announced that the Oba would be the rightful owner of repatriated artifacts – and the royal household pushed for a facility under the monarch's supervision, contrary to the desires of the ex-leader.

Political Navigation

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