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The nation's impressive new West African Art Museum (Mowaa) has ended up in the middle of local power politics during the time it was supposed to – but was unable – to begin operations to the public for the very first time.

The Major Initiative

The six-hectare facility stands in the heart of Benin City, administrative center of the southern region of Edo – and contains an archaeological dig and buildings designed by celebrated Ghanaian-British architect Sir David Adjaye, most famous for the Washington African American Museum that was inaugurated in the US capital in 2016.

It has been 60 months in the making – and is envisioned to honor both the past and the modern times of creativity in the area known for the cultural artifacts, artworks looted from the king's palace by British soldiers in the 1800s.

Setup and Prospects

It is impressive – and prior to the scheduled opening, Mowaa was active with workers resolved to demonstrate it is a place that can compete with well-known art institutions in the Europe and America.

Inside art restorers carefully opened cultural items from safety materials, examining each item and taking thorough notes before arranging them on walls and stands.

Technicians calibrated environmental controls. In the materials science laboratory, officers set up instruments intended to maintain historical items.

Investment and Economic Plans

The project has been the concept of businessman Phillip Ihenacho – currently Mowaa's chief executive.

"I aim us to have a substantial financial effect on communities in this region," he stated to journalists, mentioning that he aspired to make this urban center "an arts hub."

Mowaa, a not-for-profit national foundation, sees itself establishing over 30,000 work positions and contributing more than $80m per year to the area arts sector through partnerships and activities.

Financial Support and Government Issues

It has needed $25m to reach this point – money gathered from various donors, featuring the European governments, the UK museum and the Edo state government.

But currently the regional administration has withdrawn support from under it – terminating the occupancy of the property on which the building was erected.

An government communicator clarified this was because in the early agreements it had called itself EMOWAA – and it had later eliminated "Edo" from its title.

Protests and Political Intervention

This statement was preceded by rallies on Sunday, when people invaded the facility insisting it be called the Museum of the Benin Kingdom.

A boisterous assembly insulted foreign guests at the museum prior to the inauguration – compelling them to be quickly removed under official guard.

Head of state Bola Tinubu has even intervened to attempt to settle the conflict, establishing a special task force to address the controversy.

Governance Issues

But in what way has this become so divisive – and such a public relations crisis?

The majority of it stems from internal conflicts at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose term in office concluded the previous year – who was a key supporter of the project.

And it appears the administration of the new governor, a close ally of the local traditional ruler, called the royal figure, may want greater involvement in the project. The activists on the weekend, for example, were insisting that the institution be placed under the authority of the royal leader.

The Benin Bronzes Controversy

This brings into focus the disputed topic of the cultural artifacts, one of the region's most celebrated artistic heritage.

Because although the institution does eventually open, these bronzes will be conspicuously absent.

They are brass, elephant tusk and wooden carvings that once decorated the monarch's home of the Benin Kingdom before British soldiers stole them in 1897 during a colonial invasion.

Today, numerous continue to be distributed across galleries in Europe and North America -- featuring the British Museum, European center and the Metropolitan Museum of Art.

Repatriation Campaigns

Their repatriation has become one of the most contested debates in the international art community. Approximately 150 have now made their way home – and further are expected to return.

When proposals for the museum in the urban center were initially revealed in recent years, the influential figures on the national arts community anticipated it would become their natural home – a state-of-the-art complex to exhibit them to the world.

But the situation became complicated two years ago after the central administration declared that the Oba would be the legal custodian of repatriated artifacts – and the palace advocated for a museum under the royal family's direct control, against the preferences of the ex-leader.

Strategic Positioning

This left Mowaa in a challenging circumstance: expressing a clear stance on restitution while being careful on guardianship – and stressing its wider mission, which led to|c