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Nigeria's impressive new West African Art Museum (Mowaa) has landed in the center of local power politics during the period it was supposed to – but did not manage – to welcome visitors to the public for the very first time.

The Major Initiative

The large-scale campus is located in the core of Benin's urban center, capital of the southern state of Edo – and features an excavation site and structures designed by celebrated Ghanaian-British architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that opened in the US capital in 2016.

It has been 60 months in the creation – and is envisioned to honor both the history and the current era of cultural innovation in the region famous for the historic artworks, artworks taken from the king's palace by British troops in the 1800s.

Readiness and Potential

It is remarkable – and before the scheduled opening, Mowaa was buzzing with staff determined to demonstrate it is a venue that can rival renowned art institutions in the West.

Inside art restorers precisely unwrapped cultural items from protective packaging, checking each item and taking detailed records before arranging them on walls and bases.

Technicians adjusted temperature regulation systems. In the scientific facility, personnel set up devices designed to maintain centuries-old items.

Funding and Economic Goals

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

"I aim us to have a major financial effect on local residents around here," he told journalists, adding that he hoped to make this urban center "a tourism center."

Mowaa, a charitable Nigerian institution, envisions itself creating more than 30,000 employment opportunities and contributing above $80m per year to the area arts sector through partnerships and activities.

Financial Support and Government Issues

It has required $25m to get here – money collected from different contributors, such as the international partners, the British Museum and the Edo state government.

But currently the state authorities has pulled the rug from under it – terminating the utilization of the property on which the facility was constructed.

An Edo state spokesperson clarified this was because in the early agreements it had called itself Edo Museum of West African Art – and it had later eliminated "the regional name" from its name.

Demonstrations and Government Action

This declaration was preceded by demonstrations on recently, when activists invaded the complex insisting it be named the Benin Royal Museum.

A boisterous group confronted international visitors at the museum prior to the inauguration – forcing them to be quickly removed under police escort.

Head of state Bola Tinubu has additionally intervened to work to address the tensions, establishing a presidential committee to manage the situation.

Governance Issues

But how has this turned into so divisive – 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 term in office finished the previous year – who was a primary advocate of the museum.

And it appears the leadership of the recently elected official, a key associate of the area king, called the Oba, may want increased control in the venture. The protesters on that day, for instance, were demanding that the facility be put under the supervision of Oba Ewuare II.

The Benin Bronzes Controversy

This brings into focus the controversial matter of the Benin Bronzes, one of the region's most celebrated cultural treasures.

Because even if the museum does ultimately begin operations, these objects will be clearly not present.

They are brass, ivory and wooden sculptures that once decorated the king's residence of the ancient kingdom before colonial troops looted them in the late nineteenth century during a colonial invasion.

Currently, thousands stay scattered across museums in the West -- such as the London museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Restitution Efforts

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

When plans for the facility in the urban center were initially revealed in the pre-pandemic era, the movers and shakers on the national arts community anticipated it would become their ideal location – a state-of-the-art complex to show them off to the global audience.

But the issues became confused recently after the national authorities stated that the royal leader would be the proper guardian of repatriated artifacts – and the royal household advocated for a institution under the royal family's direct control, contrary to the wishes of the former governor.

Strategic Positioning

This left Mowaa in a difficult situation: expressing a clear stance on restitution while remaining diplomatic on ownership – and highlighting its wider mission, which led to|c