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The nation's remarkable new Museum of West African Art (Mowaa) has ended up in the middle of local power politics during the time it was scheduled to – but did not manage – to open its doors to the public for the initial occasion.

The Grand Vision

The six-hectare facility stands in the heart of the Edo state capital, capital of the southern area of Edo – and features an excavation site and facilities designed by celebrated dual heritage architect Sir David Adjaye, best known for the Smithsonian African American Museum that began operations in Washington DC in 2016.

It has been 60 months in the making – and is envisioned to celebrate both the past and the current era of creativity in the locale renowned for the cultural artifacts, artworks looted from the king's palace by British troops in the nineteenth century.

Readiness and Potential

It is notable – and ahead of the planned opening, Mowaa was active with workers determined to demonstrate it is a place that can compete with established art institutions in the Western world.

Internally art restorers precisely unwrapped art pieces from protective packaging, inspecting each artifact and taking thorough records before placing them on display surfaces and stands.

Specialists adjusted temperature regulation systems. In the research lab, staff members calibrated devices meant to preserve ancient objects.

Investment and Economic Plans

The initiative has been the concept of entrepreneur Phillip Ihenacho – currently Mowaa's executive director.

"I want us to have a substantial financial effect on area populations in this region," he stated to journalists, adding that he hoped to make Benin City "a cultural destination."

Mowaa, a not-for-profit Nigerian institution, aims at creating more than 30,000 direct and indirect jobs and contributing over $80m each year to the regional creative economy through alliances and programming.

Financial Support and Government Issues

It has required $25m to reach this point – money raised from multiple supporters, including the European governments, the British Museum and the regional authorities.

But at present the regional administration has withdrawn support from under it – revoking the utilization of the land on which the facility was constructed.

An Edo state spokesperson stated this was because in the initial documents it had identified as Edo Museum of West African Art – and it had since removed "the state identifier" from its name.

Protests and Political Intervention

This statement was preceded by protests on the weekend, when protesters stormed the facility demanding it be called the Royal Benin Museum.

A boisterous group insulted overseas dignitaries at the facility prior to the inauguration – requiring them to be escorted out under police escort.

National leader Bola Tinubu has also intervened to attempt to settle the tensions, setting up a presidential committee to do some damage control.

Administrative Challenges

But how has this evolved into so controversial – and such a PR disaster?

The majority of it results from internecine rivalries at a local state level, as it was the former state leader Godwin Obaseki – whose administration concluded last year – who was a major backer of the project.

And it appears the government of the current leader, a strong supporter of the regional monarch, referred to as the Oba, may want increased control in the initiative. The protesters on that day, for example, were insisting that the institution be put under the supervision of Oba Ewuare II.

The Cultural Artifacts Debate

This emphasizes the disputed topic of the Benin Bronzes, one of the region's most celebrated historical legacy.

Because even if the institution does eventually begin operations, these bronzes will be clearly not present.

They are brass, elephant tusk and timber artworks that once adorned the king's residence of the Benin Kingdom before colonial troops took them in the colonial era during a military operation.

Today, many stay spread across galleries in Europe and North America -- such as the British Museum, European center and the American museum.

Repatriation Campaigns

Their repatriation has become one of the most debated debates in the international art community. About 150 have presently been returned – and more are scheduled to be repatriated.

When proposals for the museum in the city were initially revealed in 2019, the movers and shakers on Nigeria's art scene hoped it would become their natural home – a modern campus to show them off to the international community.

But the situation became complicated recently after the national authorities announced that the royal leader would be the legal custodian of any returned bronzes – and the monarch's court advocated for a institution under the king's authority, contrary to 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 guardianship – and highlighting its broader vision, which led to|c