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Nigeria's stunning new West African Art Museum (Mowaa) has found itself in the middle of regional political struggles during the period it was scheduled to – but did not manage – to open its doors to the public for the initial occasion.

The Ambitious Project

The 15-acre complex stands in the center of the Edo state capital, administrative center of the southern area of Edo – and contains an historical dig and buildings designed by high-profile dual heritage architect Sir David Adjaye, particularly noted for the Washington African American Museum that was inaugurated in Washington in 2016.

It has been five years in the creation – and is envisioned to honor both the heritage and the modern times of creativity in the area known for the Benin Bronzes, cultural objects stolen from the royal palace by British troops in the 19th Century.

Readiness and Potential

It is impressive – and prior to the scheduled opening, Mowaa was buzzing with staff committed to show it is a place that can match well-known cultural centers in the West.

Within preservation experts carefully opened artworks from secure wrapping, checking each artifact and taking meticulous records before placing them on walls and stands.

Specialists fine-tuned climate control systems. In the materials science laboratory, staff members set up devices intended to conserve historical artefacts.

Funding and Economic Goals

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

"I want us to have a major economic impact on communities in the vicinity," he explained to the press, noting that he wanted to make this urban center "a tourism center."

Mowaa, a charitable local organization, envisions itself creating in excess of 30,000 employment opportunities and providing more than $80m annually to the local cultural industry through alliances and events.

Investment and Administrative Problems

It has required $25m to reach this point – capital gathered from multiple donors, including the French and German governments, the UK museum and the Edo state government.

But at present the regional administration has pulled the rug from below it – revoking the occupancy of the land on which the museum was built.

An Edo state spokesperson clarified this was because in the early agreements it had called itself EMOWAA – and it had later dropped "the state identifier" from its title.

Unrest and Official Response

This statement was preceded by demonstrations on Sunday, when protesters invaded the facility calling for it be called the Royal Benin Museum.

A rowdy assembly confronted foreign guests at the facility prior to the opening – compelling them to be quickly removed under police escort.

National leader Bola Tinubu has even stepped in to attempt to settle the dispute, setting up a high-level committee to manage the situation.

Governance Issues

But why has this turned into so divisive – and such a PR disaster?

Much of it comes down to local power struggles at a local state level, as it was Edo's previous governor Godwin Obaseki – whose administration finished recently – who was a primary advocate of the museum.

And it looks like the administration of the recently elected official, a strong supporter of the area king, called the Oba, may seek more of a stake in the project. The demonstrators on Sunday, for case, were calling for that the institution be positioned under the authority of the current Oba.

The Historical Objects Discussion

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

Because even if the facility does finally open, these bronzes will be clearly not present.

They are brass, elephant tusk and timber carvings that once adorned the king's residence of the ancient kingdom before colonial troops looted them in the colonial era during a military operation.

Today, numerous remain scattered across institutions in Europe and North America -- including the London museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Return Initiatives

Their return has become one of the most disputed conversations in the international art community. About 150 have currently come back – and additional are scheduled to be repatriated.

When ideas for the museum in Benin City were first announced in recent years, the movers and shakers on Nigeria's art scene hoped it would become their natural home – a modern facility to exhibit them to the global audience.

But the waters were muddied some time back after the central administration stated that the Oba would be the legal custodian of returned objects – and the monarch's court advocated for a facility under the royal family's direct control, opposing the preferences of Obaseki.

Diplomatic Challenges

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