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Nigeria's impressive new Art Museum of West Africa (Mowaa) has found itself in the center of regional political struggles during the period it was supposed to – but did not manage – to begin operations to the public for the very first time.

The Ambitious Project

The large-scale facility is located in the core of Benin's urban center, main city of the southern region of Edo – and contains an archaeological dig and facilities designed by high-profile British-Ghanaian architect Sir David Adjaye, best known for the Washington African American Museum that opened in Washington DC in 2016.

It has been half a decade in the creation – and is planned to celebrate both the heritage and the current era of creativity in the locale famous for the historic artworks, artworks looted from the king's palace by British soldiers in the 1800s.

Setup and Prospects

It is remarkable – and prior to the anticipated opening, Mowaa was energetic with employees determined to show it is a place that can match well-known cultural centers in the Western world.

Within art restorers meticulously opened artworks from secure wrapping, inspecting each piece and taking thorough notes before positioning them on exhibition areas and stands.

Technicians adjusted temperature regulation systems. In the scientific facility, staff members adjusted equipment meant to conserve centuries-old items.

Investment and Economic Plans

The project has been the idea of investor Phillip Ihenacho – currently Mowaa's executive director.

"I aim us to have a significant economic impact on local residents in this region," he explained to media outlets, noting that he hoped to make the city "an arts hub."

Mowaa, a charitable national foundation, aims at establishing more than 30,000 employment opportunities and adding above $80m annually to the area arts sector through partnerships and programming.

Funding Sources and Political Challenges

It has required $25m to reach this point – funds raised from different donors, featuring the European governments, the British Museum and the regional authorities.

But currently the state authorities has pulled the rug from beneath it – terminating the occupancy of the land on which the facility was constructed.

An government communicator stated this was because in the original paperwork it had referred to itself as the Edo-named institution – and it had subsequently dropped "the regional name" from its designation.

Demonstrations and Government Action

This announcement was preceded by protests on recently, when activists stormed the campus insisting it be designated the Museum of the Benin Kingdom.

A disruptive crowd confronted overseas dignitaries at the venue prior to the inauguration – forcing them to be hurried away under police escort.

National leader Bola Tinubu has additionally become involved to try and resolve the conflict, creating a high-level committee to address the controversy.

Administrative Challenges

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

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

And it appears the government of the new governor, a key associate of the regional monarch, called the traditional leader, may seek greater involvement in the project. The activists on that day, for instance, were demanding that the facility be placed under the control of Oba Ewuare II.

The Benin Bronzes Controversy

This highlights the disputed topic of the Benin Bronzes, one of Africa's most famous artistic heritage.

Because even if the museum does finally welcome visitors, these bronzes will be noticeably missing.

They are metal, elephant tusk and wooden artworks that once decorated the king's residence of the Benin Kingdom before colonial troops stole them in the colonial era during a military operation.

Nowadays, thousands remain distributed across galleries in the West -- featuring the UK institution, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Repatriation Campaigns

Their homecoming has become one of the most debated conversations in the worldwide cultural sector. Roughly 150 have now come back – and further are due to follow.

When plans for the facility in the city were originally proposed in the pre-pandemic era, the movers and shakers on the national arts community hoped it would become their natural home – a state-of-the-art campus to exhibit them to the global audience.

But the waters were muddied two years ago after the central administration declared that the Oba would be the legal custodian of any returned bronzes – and the monarch's court pushed for a institution under the king's authority, against the preferences of the former governor.

Diplomatic Challenges

This placed Mowaa in a delicate position: expressing a definite position on return while staying tactful on custodianship – and highlighting its broader vision, which led to|c