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The nation's remarkable new West African Art Museum (Mowaa) has found itself in the center of regional political struggles during the period it was expected to – but did not manage – to welcome visitors to the general public for the very first time.

The Grand Vision

The large-scale facility sits in the heart of Benin City, administrative center of the southern area of Edo – and features an historical dig and buildings created by high-profile Ghanaian-British architect Sir David Adjaye, particularly noted for the Washington African American Museum that began operations in Washington DC in 2016.

It has been 60 months in the making – and is designed to honor both the history and the modern times of cultural innovation in the locale renowned for the historic artworks, artworks stolen from the city's royal palace by British troops in the 1800s.

Preparation and Promise

It is impressive – and before the planned opening, Mowaa was active with staff resolved to demonstrate it is a place that can compete with renowned art institutions in the Europe and America.

Inside art restorers carefully unwrapped cultural items from secure wrapping, checking each piece and taking thorough documentation before placing them on exhibition areas and stands.

Technicians fine-tuned climate control systems. In the research lab, personnel calibrated equipment meant to conserve historical items.

Funding and Economic Goals

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

"I want us to have a major economic benefit on area populations around here," he stated to journalists, noting that he wanted to make the city "an arts hub."

Mowaa, a charitable national foundation, sees itself establishing in excess of 30,000 direct and indirect jobs and contributing above $80m annually to the local cultural industry through partnerships and activities.

Investment and Administrative Problems

It has taken $25m to reach this point – capital raised from various contributors, including the French and German governments, the UK museum and the local administration.

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

An official representative stated this was because in the original paperwork it had called itself the Edo-named institution – and it had later removed "the regional name" from its designation.

Unrest and Official Response

This announcement came after protests on the weekend, when activists invaded the facility insisting it be designated the Royal Benin Museum.

A rowdy crowd insulted overseas dignitaries at the facility prior to the inauguration – forcing them to be hurried away under police escort.

Head of state Bola Tinubu has even intervened to try and resolve the tensions, setting up a presidential committee to address the controversy.

Political Complexities

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

The majority of it comes down to internal conflicts at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished the previous year – who was a key supporter of the initiative.

And it looks like the administration of the recently elected official, a close ally of the local traditional ruler, called the royal figure, may want greater involvement in the project. The activists on that day, for example, were demanding that the museum be positioned under the control of the current Oba.

The Historical Objects Discussion

This highlights the controversial matter of the Benin Bronzes, one of Africa's most famous cultural treasures.

Because even if the institution does finally open, these artifacts will be noticeably missing.

They are metal, elephant tusk and wooden artworks that once embellished the king's residence of the historical empire before UK forces stole them in the colonial era during a military operation.

Currently, numerous stay scattered across galleries in the West -- including the UK institution, European center and the New York institution.

Restitution Efforts

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

When plans for the institution in the urban center were first announced in 2019, the influential figures on the country's cultural sector anticipated it would become their natural home – a state-of-the-art facility to show them off to the global audience.

But the issues became confused two years ago after the national authorities declared that the royal leader would be the rightful owner of repatriated artifacts – and the royal household advocated for a facility under the royal family's direct control, contrary to the wishes of the ex-leader.

Diplomatic Challenges

This placed Mowaa in a delicate position: maintaining a clear stance on repatriation while staying tactful on guardianship – and highlighting its larger purpose, which led to|c