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The nation's remarkable new West African Art Museum (Mowaa) has found itself in the middle of regional political struggles during the time it was supposed to – but did not manage – to open its doors to the public for the very first time.

The Ambitious Project

The six-hectare campus stands in the core of Benin's urban center, main city of the southern state of Edo – and features an archaeological dig and structures designed by celebrated British-Ghanaian architect Sir David Adjaye, most famous for the Washington African American Museum that began operations in Washington in 2016.

It has been 60 months in the development – and is envisioned to showcase both the past and the present of artistic expression in the area famous for the Benin Bronzes, cultural objects looted from the royal palace by British troops in the 1800s.

Setup and Prospects

It is impressive – and before the anticipated opening, Mowaa was active with workers determined to show it is a place that can compete with well-known art institutions in the West.

Within conservators carefully unwrapped art pieces from protective packaging, examining each item and taking meticulous records before arranging them on display surfaces and stands.

Technicians calibrated temperature regulation systems. In the scientific facility, officers calibrated equipment designed to maintain ancient objects.

Funding and Economic Goals

The project has been the brainchild of businessman Phillip Ihenacho – currently Mowaa's managing director.

"I aim us to have a substantial financial effect on area populations around here," he explained to journalists, mentioning that he aspired to make the city "a tourism center."

Mowaa, a not-for-profit local organization, sees itself establishing in excess of 30,000 direct and indirect jobs and adding over $80m per year to the regional creative economy through partnerships and events.

Financial Support and Government Issues

It has required $25m to reach this point – funds collected from different supporters, featuring the international partners, the British Museum and the local administration.

But now the regional administration has withdrawn support from under it – terminating the use of the site on which the facility was constructed.

An Edo state spokesperson explained this was because in the initial documents it had called itself EMOWAA – and it had since dropped "the state identifier" from its designation.

Unrest and Official Response

This declaration was preceded by rallies on recently, when protesters invaded the campus calling for it be named the Benin Royal Museum.

A rowdy group confronted foreign guests at the facility before the inauguration – forcing them to be escorted out under police escort.

Head of state Bola Tinubu has even intervened to try and resolve the tensions, setting up a high-level committee to address the controversy.

Administrative Challenges

But why has this become so divisive – and such a reputation problem?

A great deal of it comes down to local power struggles at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose term in office concluded the previous year – who was a key supporter of the museum.

And it appears the government of the recently elected official, a close ally of the local traditional ruler, known as the traditional leader, may seek more of a stake in the initiative. The demonstrators on the weekend, for case, were demanding that the institution be placed under the supervision of the royal leader.

The Benin Bronzes Controversy

This emphasizes the controversial matter of the cultural artifacts, one of the continent's most renowned cultural treasures.

Because though the museum does eventually welcome visitors, these bronzes will be noticeably missing.

They are brass, ivory and wooden carvings that once decorated the king's residence of the ancient kingdom before British soldiers looted them in the colonial era during a military operation.

Nowadays, numerous stay scattered across institutions in Europe and North America -- including the London museum, European center and the New York institution.

Restitution Efforts

Their homecoming has become one of the most contested debates in the international art community. About 150 have now made their way home – and additional are due to follow.

When plans for the institution in the city were originally proposed in the pre-pandemic era, the movers and shakers on Nigeria's art scene anticipated it would become their perfect venue – a state-of-the-art complex to show them off to the world.

But the situation became complicated some time back after the central administration announced that the traditional ruler would be the rightful owner of returned objects – and the palace pushed for a museum under the king's authority, opposing the preferences of the former governor.

Strategic Positioning

This placed Mowaa in a delicate position: asserting a definite position on restitution while being careful on ownership – and emphasising its broader vision, which led to|c