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Nigeria's stunning new Museum of West African Art (Mowaa) has ended up in the center of local power politics during the week it was scheduled to – but did not manage – to open its doors to the public for the very first time.

The Major Initiative

The six-hectare facility stands in the heart of Benin's urban center, main city of the southern region of Edo – and includes an historical dig and facilities planned by high-profile Ghanaian-British architect Sir David Adjaye, most famous for the Smithsonian African American Museum that opened in the US capital in 2016.

It has been half a decade in the creation – and is designed to celebrate both the past and the current era of artistic expression in the area known for the Benin Bronzes, artworks stolen from the king's palace by UK forces in the nineteenth century.

Setup and Prospects

It is impressive – and prior to the scheduled opening, Mowaa was energetic with workers committed to prove it is a venue that can match renowned museums and galleries in the Western world.

Within art restorers meticulously revealed cultural items from safety materials, inspecting each item and taking meticulous documentation before positioning them on display surfaces and bases.

Technicians fine-tuned climate control systems. In the scientific facility, personnel set up instruments intended to preserve ancient artefacts.

Investment and Economic Plans

The initiative has been the brainchild of investor Phillip Ihenacho – now Mowaa's managing director.

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

Mowaa, a non-profit Nigerian institution, aims at generating over 30,000 work positions and contributing above $80m per year to the regional creative economy through collaborations and activities.

Investment and Administrative Problems

It has needed $25m to get here – capital gathered from multiple supporters, such as the European governments, the UK museum and the local administration.

But at present the state authorities has revoked permission from under it – terminating the use of the site on which the facility was constructed.

An government communicator stated this was because in the initial documents it had identified as EMOWAA – and it had subsequently dropped "the state identifier" from its title.

Protests and Political Intervention

This statement followed demonstrations on recently, when activists invaded the campus insisting it be designated the Benin Royal Museum.

A disruptive group harassed foreign guests at the facility prior to the launch – forcing them to be quickly removed under official guard.

National leader Bola Tinubu has additionally stepped in to try and resolve the dispute, establishing a special task force to do some damage control.

Political Complexities

But how has this turned into so controversial – and such a public relations crisis?

Much of it results from local power struggles at a local state level, as it was Edo's previous governor Godwin Obaseki – whose governance ended last year – who was a key supporter of the museum.

And it looks like the government of the recently elected official, a key associate of the local traditional ruler, called the royal figure, may want greater involvement in the venture. The protesters on the weekend, for instance, were calling for that the institution be placed under the authority of the current Oba.

The Benin Bronzes Controversy

This highlights the controversial matter of the cultural artifacts, one of the continent's most famous artistic heritage.

Because even if the facility does eventually welcome visitors, these bronzes will be noticeably missing.

They are metal, elephant tusk and timber carvings that once embellished the king's residence of the historical empire before UK forces stole them in 1897 during a colonial invasion.

Today, numerous continue to be spread across museums in Europe and North America -- such as the UK institution, European center and the Metropolitan Museum of Art.

Return Initiatives

Their return has become one of the most debated debates in the international art community. Roughly 150 have presently been returned – and additional are scheduled to be repatriated.

When plans for the museum in Benin City were initially revealed in 2019, the key players on the country's cultural sector hoped it would become their ideal location – a advanced campus to show them off to the international community.

But the situation became complicated two years ago after the central administration announced that the traditional ruler would be the proper guardian of repatriated artifacts – and the royal household campaigned for a museum under the monarch's supervision, against the wishes of Obaseki.

Diplomatic Challenges

This placed Mowaa in a challenging circumstance: maintaining a specific viewpoint on repatriation while being careful on guardianship – and emphasising its wider mission, which led to|c