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Nigeria's stunning new Museum of West African Art (Mowaa) has found itself in the crosshairs of area political conflicts during the time it was scheduled to – but was unable – to open its doors to the visitors for the initial occasion.

The Grand Vision

The 15-acre campus is located in the core of Benin's urban center, administrative center of the southern state of Edo – and contains an archaeological dig and buildings designed by celebrated British-Ghanaian architect Sir David Adjaye, particularly noted for the Washington African American Museum that opened in Washington DC in 2016.

It has been five years in the making – and is planned to celebrate both the past and the current era of artistic expression in the locale known for the cultural artifacts, cultural objects stolen from the royal palace by British soldiers in the 1800s.

Setup and Prospects

It is notable – and ahead of the anticipated opening, Mowaa was active with employees committed to prove it is a place that can compete with well-known museums and galleries in the West.

Within preservation experts meticulously unwrapped artworks from protective packaging, examining each item and taking meticulous notes before arranging them on walls and plinths.

Technicians adjusted temperature regulation systems. In the research lab, officers calibrated equipment designed to maintain ancient items.

Investment and Economic Plans

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

"I hope us to have a significant financial effect on area populations in the vicinity," he explained to the press, noting that he wanted to make Benin City "an arts hub."

Mowaa, a not-for-profit national foundation, sees itself creating more than 30,000 employment opportunities and contributing over $80m per year to the local cultural industry through partnerships and activities.

Funding Sources and Political Challenges

It has taken $25m to reach this point – capital raised from various contributors, including the international partners, the London institution and the local administration.

But now the regional administration has revoked permission from under it – terminating the use of the property on which the museum was built.

An government communicator clarified this was because in the original paperwork it had referred to itself as Edo Museum of West African Art – and it had since eliminated "Edo" from its name.

Demonstrations and Government Action

This statement was preceded by demonstrations on recently, when protesters stormed the facility calling for it be named the Royal Benin Museum.

A rowdy group insulted international visitors at the venue prior to the opening – compelling them to be hurried away under security protection.

President Bola Tinubu has additionally become involved to work to address the conflict, setting up a high-level committee to do some damage control.

Governance Issues

But in what way has this turned into so politicised – and such a reputation problem?

A great deal of it stems from local power struggles at a local state level, as it was Edo's previous governor Godwin Obaseki – whose term in office concluded last year – who was a primary advocate of the project.

And it appears the administration of the current leader, a strong supporter of the local traditional ruler, called the traditional leader, may desire more of a stake in the venture. The protesters on the weekend, for example, were insisting that the institution be placed under the control of Oba Ewuare II.

The Benin Bronzes Controversy

This emphasizes the contentious issue of the cultural artifacts, one of Africa's most celebrated historical legacy.

Because though the institution does eventually open, these objects will be conspicuously absent.

They are brass, ivory and wooden carvings that once decorated the monarch's home of the Benin Kingdom before UK forces took them in the late nineteenth century during a military operation.

Currently, thousands remain spread across institutions in the West -- featuring the British Museum, European center and the New York institution.

Repatriation Campaigns

Their repatriation has become one of the most debated debates in the international art community. About 150 have now come back – and additional are due to follow.

When ideas for the institution in Benin City were first announced in 2019, the movers and shakers on the national arts community expected it would become their ideal location – a modern complex to exhibit them to the global audience.

But the issues became confused recently after the national authorities stated that the traditional ruler would be the proper guardian of returned objects – and the royal household advocated for a museum under the king's authority, opposing the preferences of the former governor.

Strategic Positioning

This placed Mowaa in a difficult situation: expressing a specific viewpoint on restitution while remaining diplomatic on guardianship – and highlighting its wider mission, which led to|c