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Nigeria's stunning new West African Art Museum (Mowaa) has landed in the middle of local power politics during the week it was expected to – but failed – to open its doors to the public for the initial occasion.

The Ambitious Project

The 15-acre facility sits in the center of the Edo state capital, main city of the southern state of Edo – and includes an archaeological dig and buildings designed by high-profile Ghanaian-British architect Sir David Adjaye, most famous for the Washington African American Museum that was inaugurated in Washington DC in 2016.

It has been five years in the creation – and is planned to honor both the history and the modern times of artistic expression in the region renowned for the historic artworks, artworks taken from the king's palace by British soldiers in the 1800s.

Setup and Prospects

It is remarkable – and prior to the planned opening, Mowaa was energetic with staff committed to prove it is a venue that can rival established cultural centers in the Europe and America.

Internally preservation experts carefully unwrapped art pieces from secure wrapping, checking each item and taking detailed notes before arranging them on walls and bases.

Experts fine-tuned temperature regulation systems. In the materials science laboratory, officers adjusted devices intended to maintain centuries-old items.

Funding and Economic Goals

The initiative has been the brainchild of businessman Phillip Ihenacho – now Mowaa's executive director.

"I hope us to have a substantial economic benefit on area populations in the vicinity," he told journalists, mentioning that he wanted to make the city "a cultural destination."

Mowaa, a non-profit Nigerian institution, aims at creating over 30,000 employment opportunities and providing above $80m per year to the local cultural industry through alliances and activities.

Financial Support and Government Issues

It has required $25m to get here – funds collected from different donors, such as the European governments, the London institution and the local administration.

But currently the state authorities has withdrawn support from below it – revoking the occupancy of the site on which the museum was built.

An Edo state spokesperson clarified this was because in the early agreements it had identified as the Edo-named institution – and it had subsequently dropped "the regional name" from its title.

Protests and Political Intervention

This declaration came after rallies on the weekend, when protesters entered the campus calling for it be named the Royal Benin Museum.

A disruptive group harassed foreign guests at the museum ahead of the launch – compelling them to be hurried away under police escort.

National leader Bola Tinubu has even stepped in to try and resolve the tensions, establishing a special task force to address the controversy.

Administrative Challenges

But how has this evolved into so politicised – and such a public relations crisis?

A great deal of it comes down to internecine rivalries at a regional government level, as it was the former state leader Godwin Obaseki – whose governance finished last year – who was a major backer of the initiative.

And it appears the government of the new governor, a strong supporter of the regional monarch, called the royal figure, may want increased control in the project. The activists on Sunday, for example, were calling for that the facility be placed under the authority of the royal leader.

The Cultural Artifacts Debate

This emphasizes the disputed topic of the Benin Bronzes, one of the continent's most renowned cultural treasures.

Because even if the facility does finally begin operations, these objects will be conspicuously absent.

They are metal, ivory and wooden artworks that once adorned the monarch's home of the ancient kingdom before UK forces took them in the colonial era during a punitive expedition.

Today, numerous continue to be distributed across galleries in Europe and North America -- including the British Museum, European center and the New York institution.

Restitution Efforts

Their homecoming has become one of the most disputed debates in the global art world. Approximately 150 have presently made their way home – and further are expected to return.

When proposals for the facility in the city were initially revealed in the pre-pandemic era, the influential figures on Nigeria's art scene anticipated it would become their perfect venue – a modern complex to show them off to the world.

But the issues became confused recently after the central administration stated that the royal leader would be the rightful owner of returned objects – and the royal household pushed for a facility under the king's authority, contrary to the desires of the ex-leader.

Political Navigation

This left Mowaa in a delicate position: expressing a specific viewpoint on restitution while staying tactful on custodianship – and highlighting its larger purpose, which led to|c