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Nigeria's impressive new Museum of West African Art (Mowaa) has landed in the center of local power politics during the time it was expected to – but did not manage – to begin operations to the visitors for the initial occasion.

The Grand Vision

The large-scale facility is located in the heart of the Edo state capital, capital of the southern region of Edo – and contains an archaeological dig and facilities created by renowned British-Ghanaian architect Sir David Adjaye, most famous for the Washington African American Museum that began operations in the US capital in 2016.

It has been 60 months in the development – and is designed to celebrate both the history and the current era of creativity in the area famous for the cultural artifacts, artworks looted from the king's palace by UK forces in the 19th Century.

Setup and Prospects

It is impressive – and before the anticipated opening, Mowaa was buzzing with staff resolved to show it is a place that can compete with renowned art institutions in the Europe and America.

Internally preservation experts carefully opened cultural items from secure wrapping, checking each item and taking detailed notes before arranging them on display surfaces and stands.

Experts adjusted environmental controls. In the research lab, personnel set up devices meant to preserve ancient artefacts.

Funding and Economic Goals

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

"I hope us to have a significant economic benefit on local residents in this region," he explained to journalists, adding that he hoped to make Benin City "a tourism center."

Mowaa, a charitable local organization, sees itself creating over 30,000 work positions and adding over $80m annually to the regional creative economy through collaborations and events.

Funding Sources and Political Challenges

It has taken $25m to get here – funds collected from various supporters, such as the international partners, the London institution and the regional authorities.

But currently the regional administration has pulled the rug from below it – revoking the use of the site on which the building was erected.

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

Demonstrations and Government Action

This statement followed protests on recently, when activists entered the facility insisting it be called the Royal Benin Museum.

A rowdy crowd insulted foreign guests at the museum before the launch – requiring them to be quickly removed under police escort.

President Bola Tinubu has additionally stepped in to attempt to settle the conflict, setting up a presidential committee to address the controversy.

Administrative Challenges

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

Much of it results from local power struggles at a regional government level, as it was the ex-administrator Godwin Obaseki – whose term in office ended the previous year – who was a key supporter of the project.

And it appears the administration of the current leader, a key associate of the local traditional ruler, called the royal figure, may desire increased control in the project. The protesters on that day, for instance, were insisting that the facility be placed under the authority of the current Oba.

The Benin Bronzes Controversy

This brings into focus the controversial matter of the Benin Bronzes, one of the region's most celebrated historical legacy.

Because although the facility does finally welcome visitors, these artifacts will be clearly not present.

They are brass, ivory and timber sculptures that once adorned the royal palace of the Benin Kingdom before colonial troops looted them in 1897 during a military operation.

Currently, numerous remain distributed across museums in Europe and North America -- featuring the British Museum, Berlin's Humboldt Forum and the American museum.

Return Initiatives

Their return has become one of the most contested conversations in the international art community. Approximately 150 have now come back – and more are due to follow.

When ideas for the facility in Benin City were first announced in the pre-pandemic era, the movers and shakers on Nigeria's art scene hoped it would become their perfect venue – a advanced facility to show them off to the international community.

But the issues became confused some time back after the federal government declared that the royal leader would be the rightful owner of returned objects – and the palace campaigned for a facility under the royal family's direct control, opposing the wishes of the former governor.

Diplomatic Challenges

This left Mowaa in a challenging circumstance: asserting a specific viewpoint on repatriation while being careful on guardianship – and emphasising its broader vision, which led to|c