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Nigeria's impressive new Museum of West African Art (Mowaa) has found itself in the middle of local power politics during the period it was expected to – but failed – to begin operations to the visitors for the initial occasion.

The Major Initiative

The six-hectare complex is located in the center of the Edo state capital, administrative center of the southern region of Edo – and contains an archaeological dig and structures planned by renowned Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that began operations in Washington DC in 2016.

It has been half a decade in the creation – and is planned to showcase both the history and the current era of artistic expression in the area famous for the historic artworks, historical pieces looted from the city's royal palace by British troops in the nineteenth century.

Preparation and Promise

It is notable – and ahead of the scheduled opening, Mowaa was energetic with employees determined to prove it is a place that can rival established art institutions in the Europe and America.

Inside conservators carefully opened art pieces from protective packaging, checking each item and taking thorough records before arranging them on display surfaces and plinths.

Experts adjusted environmental controls. In the research lab, officers adjusted equipment designed to preserve ancient artefacts.

Funding and Economic Goals

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

"I want us to have a substantial financial effect on local residents in this region," he stated to journalists, noting that he wanted to make Benin City "a cultural destination."

Mowaa, a non-profit national foundation, envisions itself establishing in excess of 30,000 direct and indirect jobs and contributing over $80m per year to the regional creative economy through partnerships and activities.

Financial Support and Government Issues

It has taken $25m to get here – funds gathered from different supporters, featuring the European governments, the British Museum and the regional authorities.

But currently the state authorities has pulled the rug from under it – canceling the occupancy of the land on which the facility was constructed.

An official representative explained this was because in the early agreements it had called itself the Edo-named institution – and it had subsequently removed "the regional name" from its title.

Demonstrations and Government Action

This statement was preceded by demonstrations on Sunday, when activists invaded the complex calling for it be named the Benin Royal Museum.

A rowdy crowd harassed overseas dignitaries at the facility prior to the inauguration – forcing them to be quickly removed under official guard.

National leader Bola Tinubu has also intervened to attempt to settle the conflict, establishing a special task force to do some damage control.

Governance Issues

But why has this turned into so politicised – and such a reputation problem?

A great deal of it stems from internal conflicts at a regional government level, as it was the former state leader Godwin Obaseki – whose governance concluded the previous year – who was a key supporter of the museum.

And it looks like the leadership of the new governor, a close ally of the local traditional ruler, called the royal figure, may want increased control in the project. The demonstrators on that day, for example, were calling for that the museum be put under the control of Oba Ewuare II.

The Benin Bronzes Controversy

This highlights the contentious issue of the cultural artifacts, one of Africa's most renowned artistic heritage.

Because though the institution does eventually begin operations, these objects will be clearly not present.

They are metal, ivory and timber sculptures that once adorned the royal palace of the historical empire before British soldiers looted them in the late nineteenth century during a punitive expedition.

Nowadays, many continue to be scattered across institutions in Europe and North America -- such as the UK institution, German museum and the Metropolitan Museum of Art.

Return Initiatives

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

When plans for the facility in Benin City were originally proposed in recent years, the key players on the national arts community expected it would become their natural home – a state-of-the-art campus to exhibit them to the international community.

But the issues became confused two years ago after the national authorities declared that the royal leader would be the legal custodian of any returned bronzes – and the royal household pushed for a institution under the monarch's supervision, against the wishes of the former governor.

Strategic Positioning

This placed Mowaa in a challenging circumstance: asserting a clear stance on return while being careful on custodianship – and emphasising its wider mission, which led to|c