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The nation's stunning new West African Art Museum (Mowaa) has found itself in the crosshairs of regional political struggles during the time it was supposed to – but failed – to begin operations to the general public for the very first time.

The Major Initiative

The six-hectare complex sits in the center of the Edo state capital, main city of the southern region of Edo – and features an historical dig and facilities designed by celebrated Ghanaian-British architect Sir David Adjaye, best known for the Washington African American Museum that opened in the US capital in 2016.

It has been 60 months in the creation – and is designed to showcase both the history and the modern times of artistic expression in the region renowned for the historic artworks, artworks stolen from the city's royal palace by British soldiers in the nineteenth century.

Setup and Prospects

It is remarkable – and before the scheduled opening, Mowaa was active with employees determined to prove it is a institution that can compete with established cultural centers in the Western world.

Within art restorers carefully unwrapped artworks from protective packaging, checking each artifact and taking meticulous documentation before positioning them on walls and bases.

Specialists fine-tuned environmental controls. In the research lab, personnel adjusted instruments intended to preserve ancient items.

Investment and Economic Plans

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

"I aim us to have a major economic impact on area populations in the vicinity," he stated to the press, adding that he wanted to make Benin City "an arts hub."

Mowaa, a not-for-profit national foundation, envisions itself creating more than 30,000 employment opportunities and providing over $80m per year to the local cultural industry through collaborations and activities.

Investment and Administrative Problems

It has needed $25m to reach this point – capital gathered from multiple contributors, including the French and German governments, the London institution and the regional authorities.

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

An Edo state spokesperson stated this was because in the initial documents it had referred to itself as EMOWAA – and it had since dropped "the regional name" from its designation.

Unrest and Official Response

This announcement was preceded by rallies on Sunday, when activists invaded the campus insisting it be called the Royal Benin Museum.

A rowdy assembly confronted foreign guests at the venue ahead of the launch – compelling them to be escorted out under security protection.

Head of state Bola Tinubu has also intervened to work to address the conflict, setting up a presidential committee to do some damage control.

Administrative Challenges

But how has this turned into so divisive – and such a reputation problem?

The majority of it comes down to internecine rivalries at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose administration concluded the previous year – who was a major backer of the project.

And it looks like the administration of the current leader, a key associate of the local traditional ruler, known as the Oba, may desire greater involvement in the venture. The protesters on that day, for case, were demanding that the museum be put under the control of the royal leader.

The Cultural Artifacts Debate

This brings into focus the contentious issue of the Benin Bronzes, one of Africa's most renowned artistic heritage.

Because although the museum does finally open, these artifacts will be noticeably missing.

They are brass, ivory and timber artworks that once embellished the monarch's home of the ancient kingdom before colonial troops stole them in 1897 during a military operation.

Today, thousands continue to be scattered across museums in Western nations -- including the British Museum, German museum and the New York institution.

Repatriation Campaigns

Their homecoming has become one of the most debated conversations in the worldwide cultural sector. About 150 have currently made their way home – and more are scheduled to be repatriated.

When plans for the facility in Benin City were initially revealed in the pre-pandemic era, the movers and shakers on the country's cultural sector hoped it would become their perfect venue – a modern campus to show them off to the global audience.

But the issues became confused two years ago after the central administration announced that the royal leader would be the proper guardian of returned objects – and the monarch's court campaigned for a museum under the royal family's direct control, contrary to the preferences of Obaseki.

Political Navigation

This placed Mowaa in a challenging circumstance: expressing a clear stance on return while staying tactful on custodianship – and emphasising its larger purpose, which led to|c