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Nigeria's stunning new West African Art Museum (Mowaa) has ended up in the crosshairs of regional political struggles during the week it was supposed to – but was unable – to begin operations to the general public for the first time.

The Ambitious Project

The large-scale complex is located in the heart of Benin's urban center, main city of the southern region of Edo – and features an excavation site and buildings created by celebrated British-Ghanaian architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that was inaugurated in Washington in 2016.

It has been five years in the making – and is planned to celebrate both the past and the current era of artistic expression in the region famous for the cultural artifacts, artworks stolen from the city's royal palace by British soldiers in the 1800s.

Preparation and Promise

It is notable – and prior to the planned opening, Mowaa was energetic with employees resolved to show it is a place that can compete with established museums and galleries in the West.

Inside preservation experts precisely unwrapped artworks from secure wrapping, checking each artifact and taking meticulous notes before positioning them on display surfaces and bases.

Experts fine-tuned temperature regulation systems. In the research lab, staff members set up devices designed to maintain ancient objects.

Investment and Economic Plans

The venture has been the brainchild of businessman Phillip Ihenacho – presently Mowaa's chief executive.

"I hope us to have a substantial economic impact on local residents in this region," he told journalists, noting that he hoped to make Benin City "a cultural destination."

Mowaa, a not-for-profit national foundation, sees itself creating more than 30,000 direct and indirect jobs and providing over $80m annually to the regional creative economy through alliances and activities.

Investment and Administrative Problems

It has required $25m to achieve this stage – money gathered from various donors, featuring the European governments, the London institution and the regional authorities.

But at present the local government has revoked permission from under it – terminating the utilization of the site on which the museum was built.

An official representative explained this was because in the original paperwork it had identified as Edo Museum of West African Art – and it had since dropped "Edo" from its name.

Unrest and Official Response

This declaration came after rallies on the weekend, when protesters entered the complex demanding it be designated the Royal Benin Museum.

A boisterous assembly harassed international visitors at the museum before the opening – compelling them to be escorted out under security protection.

President Bola Tinubu has also intervened to work to address the dispute, creating a high-level committee to address the controversy.

Administrative Challenges

But in what way has this become so politicised – and such a PR disaster?

Much of it results from internal conflicts at a regional government level, as it was the former state leader Godwin Obaseki – whose governance finished recently – who was a primary advocate of the museum.

And it appears the administration of the new governor, a strong supporter of the local traditional ruler, called the Oba, may seek increased control in the initiative. The activists on Sunday, for example, were calling for that the institution be placed under the supervision of the current Oba.

The Benin Bronzes Controversy

This highlights the controversial matter of the cultural artifacts, one of the region's most renowned historical legacy.

Because although the institution does ultimately welcome visitors, these artifacts will be clearly not present.

They are brass, elephant tusk and timber sculptures that once decorated the king's residence of the Benin Kingdom before British soldiers took them in 1897 during a colonial invasion.

Nowadays, many remain spread across galleries in Europe and North America -- such as the London museum, Berlin's Humboldt Forum and the New York institution.

Repatriation Campaigns

Their return has become one of the most disputed discussions in the global art world. Roughly 150 have presently been returned – and more are due to follow.

When plans for the museum in the city were initially revealed in the pre-pandemic era, the movers and shakers on the national arts community anticipated it would become their perfect venue – a state-of-the-art campus to show them off to the global audience.

But the waters were muddied some time back after the central administration declared that the traditional ruler would be the legal custodian of returned objects – and the royal household campaigned for a facility under the king's authority, against the wishes of the ex-leader.

Strategic Positioning

This left Mowaa in a difficult situation: asserting a clear stance on restitution while being careful on custodianship – and emphasising its wider mission, which led to|c