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Nigeria's remarkable new Museum of West African Art (Mowaa) has found itself in the center of regional political struggles during the week it was supposed to – but was unable – to welcome visitors to the general public for the first time.

The Ambitious Project

The six-hectare campus sits in the core of the Edo state capital, administrative center of the southern state of Edo – and features an historical dig and structures created by celebrated Ghanaian-British architect Sir David Adjaye, best known for the Smithsonian African American Museum that opened in the US capital in 2016.

It has been five years in the creation – and is envisioned to celebrate both the history and the modern times of cultural innovation in the area famous for the cultural artifacts, artworks stolen from the city's royal palace by British troops in the 19th Century.

Readiness and Potential

It is remarkable – and prior to the planned opening, Mowaa was active with staff determined to show it is a venue that can rival well-known art institutions in the Western world.

Within preservation experts meticulously opened cultural items from safety materials, inspecting each piece and taking detailed notes before arranging them on walls and plinths.

Experts calibrated environmental controls. In the materials science laboratory, personnel adjusted devices designed to preserve historical items.

Financial Backing and Economic Vision

The initiative has been the brainchild of entrepreneur Phillip Ihenacho – presently Mowaa's managing director.

"I hope us to have a significant economic impact on communities in the vicinity," he stated to media outlets, mentioning that he wanted to make Benin City "a tourism center."

Mowaa, a charitable Nigerian institution, aims at creating over 30,000 work positions and contributing above $80m per year to the regional creative economy through alliances and events.

Investment and Administrative Problems

It has taken $25m to reach this point – money collected from various supporters, including the European governments, the British Museum and the Edo state government.

But currently the state authorities has pulled the rug from below it – revoking the utilization of the land on which the museum was built.

An Edo state spokesperson explained this was because in the early agreements it had referred to itself as Edo Museum of West African Art – and it had later dropped "the state identifier" from its title.

Unrest and Official Response

This announcement was preceded by demonstrations on recently, when activists invaded the campus calling for it be named the Museum of the Benin Kingdom.

A boisterous crowd confronted overseas dignitaries at the museum before the launch – compelling them to be quickly removed under official guard.

National leader Bola Tinubu has additionally intervened to attempt to settle the dispute, establishing a presidential committee to address the controversy.

Governance Issues

But in what way has this turned into so controversial – and such a PR disaster?

The majority of it comes down to internecine rivalries at a local state level, as it was the ex-administrator Godwin Obaseki – whose administration concluded recently – who was a primary advocate of the museum.

And it seems the leadership of the new governor, a strong supporter of the local traditional ruler, referred to as the traditional leader, may seek greater involvement in the venture. The protesters on that day, for case, were demanding that the museum be placed under the control of Oba Ewuare II.

The Cultural Artifacts Debate

This highlights the controversial matter of the historical artworks, one of Africa's most celebrated artistic heritage.

Because even if the facility does ultimately open, these objects will be noticeably missing.

They are brass, elephant tusk and wooden sculptures that once adorned the king's residence of the ancient kingdom before British soldiers stole them in the late nineteenth century during a military operation.

Today, numerous stay scattered across galleries in Europe and North America -- featuring the British Museum, German museum and the Metropolitan Museum of Art.

Repatriation Campaigns

Their homecoming has become one of the most debated discussions in the worldwide cultural sector. About 150 have currently come back – and more are due to follow.

When ideas for the facility in the city were initially revealed in the pre-pandemic era, the movers and shakers on the national arts community expected it would become their ideal location – a state-of-the-art complex to exhibit them to the global audience.

But the waters were muddied recently after the national authorities announced that the royal leader would be the rightful owner of any returned bronzes – and the monarch's court advocated for a institution under the royal family's direct control, contrary to the preferences of the ex-leader.

Diplomatic Challenges

This placed Mowaa in a difficult situation: maintaining a specific viewpoint on restitution while staying tactful on guardianship – and stressing its larger purpose, which led to|c