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Nigeria's remarkable new West African Art Museum (Mowaa) has landed in the center of local power politics during the period it was supposed to – but failed – to open its doors to the general public for the very first time.

The Grand Vision

The six-hectare complex stands in the core of the Edo state capital, administrative center of the southern region of Edo – and includes an archaeological dig and facilities designed by renowned British-Ghanaian architect Sir David Adjaye, best known for the Washington African American Museum that opened in Washington DC in 2016.

It has been five years in the creation – and is designed to honor both the heritage and the current era of cultural innovation in the region famous for the Benin Bronzes, cultural objects taken from the royal palace by UK forces in the nineteenth century.

Preparation and Promise

It is remarkable – and before the planned opening, Mowaa was energetic with workers committed to prove it is a place that can rival well-known museums and galleries in the Europe and America.

Inside art restorers carefully opened art pieces from safety materials, checking each item and taking detailed records before positioning them on exhibition areas and plinths.

Technicians fine-tuned temperature regulation systems. In the research lab, officers calibrated devices designed to conserve centuries-old objects.

Funding and Economic Goals

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

"I want us to have a major economic benefit on local residents around here," he explained to media outlets, adding that he wanted to make the city "a cultural destination."

Mowaa, a not-for-profit national foundation, envisions itself creating over 30,000 direct and indirect jobs and providing above $80m annually to the local cultural industry through collaborations and programming.

Financial Support and Government Issues

It has taken $25m to reach this point – money raised from multiple supporters, including the European governments, the UK museum and the Edo state government.

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

An Edo state spokesperson explained this was because in the original paperwork it had called itself EMOWAA – and it had subsequently removed "the state identifier" from its name.

Protests and Political Intervention

This declaration was preceded by rallies on recently, when activists stormed the complex demanding it be called the Museum of the Benin Kingdom.

A boisterous crowd confronted international visitors at the venue prior to the inauguration – requiring them to be escorted out under security protection.

President Bola Tinubu has additionally stepped in to try and resolve the tensions, creating a high-level committee to address the controversy.

Governance Issues

But in what way has this evolved into so controversial – and such a public relations crisis?

A great deal of it results from local power struggles at a regional government level, as it was the former state leader Godwin Obaseki – whose governance ended the previous year – who was a major backer of the museum.

And it looks like the leadership of the new governor, a strong supporter of the local traditional ruler, referred to as the traditional leader, may want more of a stake in the initiative. The activists on Sunday, for example, were calling for that the museum be placed under the authority of the royal leader.

The Benin Bronzes Controversy

This brings into focus the contentious issue of the historical artworks, one of the continent's most renowned cultural treasures.

Because even if the institution does finally open, these objects will be noticeably missing.

They are metal, elephant tusk and wooden sculptures that once adorned the royal palace of the ancient kingdom before UK forces stole them in the colonial era during a military operation.

Currently, numerous continue to be scattered across institutions in the West -- featuring the British Museum, German museum and the New York institution.

Return Initiatives

Their return has become one of the most disputed discussions in the worldwide cultural sector. About 150 have currently made their way home – and further are scheduled to be repatriated.

When ideas for the facility in the city were first announced in recent years, the movers and shakers on Nigeria's art scene hoped it would become their ideal location – a state-of-the-art complex to display them to the international community.

But the waters were muddied two years ago after the federal government announced that the Oba would be the legal custodian of returned objects – and the palace advocated for a museum under the royal family's direct control, contrary to the preferences of Obaseki.

Diplomatic Challenges

This left Mowaa in a challenging circumstance: asserting a clear stance on restitution while staying tactful on guardianship – and stressing its wider mission, which led to|c