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Nigeria's impressive new Museum of West African Art (Mowaa) has landed in the center of regional political struggles during the time it was scheduled to – but was unable – to open its doors to the general public for the first time.

The Grand Vision

The large-scale complex stands in the core of the Edo state capital, administrative center of the southern area of Edo – and includes an excavation site and structures created by celebrated dual heritage architect Sir David Adjaye, best known for the National Museum of African American History and Culture that began operations in Washington in 2016.

It has been five years in the making – and is envisioned to celebrate both the past and the current era of cultural innovation in the region famous for the historic artworks, artworks taken from the royal palace by British soldiers in the nineteenth century.

Preparation and Promise

It is notable – and prior to the scheduled opening, Mowaa was buzzing with employees committed to prove it is a venue that can match renowned cultural centers in the Europe and America.

Inside preservation experts precisely opened cultural items from safety materials, inspecting each artifact and taking detailed records before placing them on exhibition areas and bases.

Experts adjusted temperature regulation systems. In the materials science laboratory, staff members set up equipment intended to maintain ancient objects.

Investment and Economic Plans

The venture has been the brainchild of investor Phillip Ihenacho – presently Mowaa's executive director.

"I want us to have a significant economic impact on communities in this region," he stated to media outlets, mentioning that he aspired to make the city "a tourism center."

Mowaa, a charitable local organization, envisions itself creating more than 30,000 employment opportunities and contributing more than $80m each year to the regional creative economy through collaborations and events.

Investment and Administrative Problems

It has required $25m to reach this point – capital gathered from different contributors, including the international partners, the London institution and the regional authorities.

But currently the local government has withdrawn support from below it – revoking the occupancy of the property on which the building was erected.

An government communicator stated this was because in the early agreements it had referred to itself as the Edo-named institution – and it had since eliminated "Edo" from its title.

Unrest and Official Response

This declaration followed rallies on the weekend, when protesters entered the facility insisting it be named the Museum of the Benin Kingdom.

A disruptive group insulted overseas dignitaries at the venue before the opening – forcing them to be hurried away under official guard.

Head of state Bola Tinubu has also intervened to attempt to settle the tensions, creating a presidential committee to manage the situation.

Governance Issues

But why has this evolved into so controversial – and such a reputation problem?

Much of it comes down to internecine rivalries at a area administrative level, as it was the former state leader Godwin Obaseki – whose governance ended recently – who was a primary advocate of the museum.

And it seems the leadership of the recently elected official, a close ally of the local traditional ruler, referred to as the Oba, may desire greater involvement in the initiative. The activists on Sunday, for instance, were insisting that the facility be put under the authority of the royal leader.

The Cultural Artifacts Debate

This emphasizes the contentious issue of the Benin Bronzes, one of Africa's most famous cultural treasures.

Because even if the institution does ultimately open, these artifacts will be conspicuously absent.

They are metal, elephant tusk and wooden carvings that once decorated the royal palace of the Benin Kingdom before UK forces looted them in 1897 during a colonial invasion.

Today, numerous continue to be scattered across museums in the West -- featuring the London museum, European center and the American museum.

Restitution Efforts

Their return has become one of the most contested discussions in the global art world. Roughly 150 have presently been returned – and additional are scheduled to be repatriated.

When proposals for the facility in the urban center were first announced in the pre-pandemic era, the influential figures on Nigeria's art scene hoped it would become their natural home – a modern facility to show them off to the international community.

But the waters were muddied recently after the federal government announced that the Oba would be the rightful owner of returned objects – and the royal household advocated for a facility under the monarch's supervision, contrary to the desires of the former governor.

Diplomatic Challenges

This placed Mowaa in a difficult situation: expressing a definite position on return while being careful on guardianship – and highlighting its wider mission, which led to|c