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Nigeria's impressive new West African Art Museum (Mowaa) has ended up in the middle of regional political struggles during the period it was scheduled to – but failed – to open its doors to the visitors for the initial occasion.

The Grand Vision

The six-hectare complex is located in the core of Benin City, capital of the southern area of Edo – and includes an historical dig and structures planned by celebrated Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that began operations in the US capital in 2016.

It has been half a decade in the creation – and is designed to celebrate both the heritage and the present of creativity in the locale renowned for the cultural artifacts, historical pieces looted from the king's palace by British troops in the 19th Century.

Preparation and Promise

It is remarkable – and before the scheduled opening, Mowaa was buzzing with staff resolved to show it is a place that can match renowned art institutions in the Western world.

Internally art restorers meticulously unwrapped artworks from protective packaging, examining each artifact and taking detailed documentation before placing them on walls and bases.

Technicians fine-tuned environmental controls. In the scientific facility, personnel adjusted equipment meant to preserve centuries-old objects.

Investment and Economic Plans

The venture has been the concept of investor Phillip Ihenacho – now Mowaa's managing director.

"I want us to have a major financial effect on communities in the vicinity," he explained to the press, adding that he aspired to make this urban center "an arts hub."

Mowaa, a not-for-profit national foundation, sees itself creating more than 30,000 direct and indirect jobs and adding above $80m per year to the area arts sector through alliances and events.

Investment and Administrative Problems

It has needed $25m to achieve this stage – funds gathered from different supporters, such as the French and German governments, the British Museum and the regional authorities.

But currently the local government has pulled the rug from below it – canceling the occupancy of the property on which the building was erected.

An Edo state spokesperson clarified this was because in the initial documents it had referred to itself as the Edo-named institution – and it had subsequently eliminated "the regional name" from its name.

Unrest and Official Response

This announcement was preceded by demonstrations on recently, when people entered the facility calling for it be called the Royal Benin Museum.

A boisterous group harassed international visitors at the museum prior to the launch – compelling them to be hurried away under official guard.

President Bola Tinubu has additionally become involved to try and resolve the dispute, setting up a special task force to address the controversy.

Administrative Challenges

But in what way has this become so politicised – and such a public relations crisis?

Much of it stems from internal conflicts 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 museum.

And it appears the government of the recently elected official, a key associate of the area king, known as the traditional leader, may seek increased control in the project. The activists on Sunday, for example, were demanding that the museum be put under the supervision of the current Oba.

The Benin Bronzes Controversy

This brings into focus the controversial matter of the historical artworks, one of the region's most renowned artistic heritage.

Because though the institution does ultimately open, these objects will be clearly not present.

They are metal, ivory and wooden sculptures that once embellished the monarch's home of the historical empire before colonial troops looted them in 1897 during a punitive expedition.

Nowadays, numerous remain distributed across galleries in the West -- featuring the UK institution, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Restitution Efforts

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

When ideas for the institution in Benin City were originally proposed in 2019, the key players on the national arts community expected it would become their ideal location – a state-of-the-art facility to show them off to the international community.

But the issues became confused recently after the national authorities declared that the traditional ruler would be the rightful owner of returned objects – and the monarch's court pushed for a museum under the monarch's supervision, against the desires of the ex-leader.

Diplomatic Challenges

This placed Mowaa in a delicate position: asserting a clear stance on repatriation while staying tactful on custodianship – and emphasising its larger purpose, which led to|c