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Nigeria's stunning new West African Art Museum (Mowaa) has ended up in the middle of local power politics during the time it was supposed to – but was unable – to open its doors to the general public for the very first time.

The Major Initiative

The six-hectare campus sits in the center of Benin City, main city of the southern region of Edo – and features an archaeological dig and buildings designed by celebrated Ghanaian-British architect Sir David Adjaye, best known for the Smithsonian African American Museum that was inaugurated in Washington DC in 2016.

It has been 60 months in the development – and is designed to showcase both the past and the modern times of cultural innovation in the region renowned for the cultural artifacts, artworks taken from the king's palace by British soldiers in the 19th Century.

Readiness and Potential

It is remarkable – and before the anticipated opening, Mowaa was buzzing with workers resolved to show it is a venue that can match well-known museums and galleries in the West.

Internally preservation experts meticulously revealed cultural items from secure wrapping, examining each piece and taking thorough documentation before positioning them on walls and plinths.

Experts adjusted environmental controls. In the materials science laboratory, staff members adjusted instruments designed to preserve ancient objects.

Investment and Economic Plans

The project has been the idea of entrepreneur Phillip Ihenacho – presently Mowaa's chief executive.

"I aim us to have a substantial financial effect on area populations around here," he told the press, mentioning that he aspired to make this urban center "a tourism center."

Mowaa, a charitable local organization, aims at generating in excess of 30,000 employment opportunities and providing above $80m per year to the area arts sector through alliances and programming.

Investment and Administrative Problems

It has taken $25m to get here – capital raised from multiple supporters, including the international partners, the London institution and the Edo state government.

But now the state authorities has withdrawn support from under it – canceling the use of the site on which the facility was constructed.

An Edo state spokesperson clarified this was because in the initial documents it had called itself the Edo-named institution – and it had subsequently removed "Edo" from its designation.

Unrest and Official Response

This announcement was preceded by demonstrations on Sunday, when people stormed the campus calling for it be called the Royal Benin Museum.

A boisterous assembly insulted foreign guests at the venue before the inauguration – requiring them to be quickly removed under security protection.

Head of state Bola Tinubu has also intervened to attempt to settle the dispute, setting up a special task force to do some damage control.

Administrative Challenges

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

A great deal of it results from local power struggles at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office ended the previous year – who was a major backer of the initiative.

And it appears the leadership of the recently elected official, a key associate of the local traditional ruler, known as the Oba, may desire increased control in the initiative. The protesters on the weekend, for case, were calling for that the museum be put under the authority of the royal leader.

The Historical Objects Discussion

This brings into focus the disputed topic of the historical artworks, one of the continent's most celebrated historical legacy.

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

They are brass, elephant tusk and timber artworks that once decorated the monarch's home of the ancient kingdom before British soldiers stole them in the late nineteenth century during a colonial invasion.

Currently, thousands continue to be scattered across institutions in Western nations -- featuring the London museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Restitution Efforts

Their homecoming has become one of the most disputed conversations in the international art community. Approximately 150 have now been returned – and more are expected to return.

When proposals for the institution in the city were first announced in recent years, the movers and shakers on Nigeria's art scene expected it would become their natural home – a state-of-the-art campus to exhibit them to the international community.

But the issues became confused some time back after the national authorities stated that the Oba would be the rightful owner of returned objects – and the royal household campaigned for a museum under the royal family's direct control, opposing the preferences of Obaseki.

Diplomatic Challenges

This placed Mowaa in a difficult situation: maintaining a definite position on repatriation while staying tactful on custodianship – and stressing its larger purpose, which led to|c