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The nation's remarkable new West African Art Museum (Mowaa) has found itself in the center of local power politics during the time it was expected to – but was unable – to welcome visitors to the general public for the first time.

The Grand Vision

The six-hectare campus stands in the center of the Edo state capital, capital of the southern area of Edo – and contains an excavation site and buildings designed by celebrated Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that began operations in Washington in 2016.

It has been five years in the making – and is envisioned to celebrate both the heritage and the modern times of artistic expression in the locale renowned for the Benin Bronzes, historical pieces taken from the city's royal palace by UK forces in the 19th Century.

Readiness and Potential

It is remarkable – and ahead of the anticipated opening, Mowaa was buzzing with employees resolved to show it is a institution that can compete with established art institutions in the Europe and America.

Internally conservators precisely revealed cultural items from secure wrapping, inspecting each artifact and taking thorough documentation before arranging them on display surfaces and stands.

Specialists calibrated temperature regulation systems. In the scientific facility, personnel calibrated devices intended to conserve historical items.

Investment and Economic Plans

The project has been the brainchild of investor Phillip Ihenacho – now Mowaa's chief executive.

"I aim us to have a substantial economic impact on communities in the vicinity," he told journalists, noting that he hoped to make Benin City "a cultural destination."

Mowaa, a charitable national foundation, aims at generating in excess of 30,000 work positions and contributing more than $80m annually to the local cultural industry through collaborations and events.

Financial Support and Government Issues

It has needed $25m to get here – capital gathered from various contributors, such as the international partners, the London institution and the regional authorities.

But now the regional administration has revoked permission from under it – canceling the occupancy of the property on which the building was erected.

An official representative stated this was because in the early agreements it had identified as EMOWAA – and it had subsequently removed "Edo" from its designation.

Unrest and Official Response

This announcement followed protests on recently, when people stormed the campus demanding it be designated the Museum of the Benin Kingdom.

A rowdy group insulted foreign guests at the museum prior to the launch – compelling them to be escorted out under official guard.

Head of state Bola Tinubu has also stepped in to try and resolve the dispute, creating a presidential committee to do some damage control.

Governance Issues

But why has this evolved into so divisive – and such a public relations crisis?

The majority of it stems from local power struggles at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose governance finished recently – who was a primary advocate of the initiative.

And it seems the administration of the new governor, a key associate of the area king, called the traditional leader, may desire increased control in the project. The protesters on the weekend, for instance, were demanding that the museum be placed under the supervision of the royal leader.

The Benin Bronzes Controversy

This brings into focus the controversial matter of the historical artworks, one of Africa's most renowned artistic heritage.

Because although the museum does eventually open, these objects will be conspicuously absent.

They are metal, ivory and wooden sculptures that once decorated the king's residence of the historical empire before British soldiers stole them in the colonial era during a military operation.

Today, many remain spread across institutions in Europe and North America -- including the London museum, European center and the American museum.

Repatriation Campaigns

Their homecoming has become one of the most contested debates in the global art world. About 150 have presently made their way home – and more are scheduled to be repatriated.

When plans for the institution in the city were first announced in 2019, the key players on Nigeria's art scene expected it would become their natural home – a advanced campus to exhibit them to the global audience.

But the waters were muddied recently after the national authorities declared that the traditional ruler would be the rightful owner of repatriated artifacts – and the royal household pushed for a institution under the king's authority, contrary to the desires of the former governor.

Strategic Positioning

This placed Mowaa in a difficult situation: asserting a specific viewpoint on repatriation while remaining diplomatic on custodianship – and stressing its wider mission, which led to|c