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Nigeria's stunning new Art Museum of West Africa (Mowaa) has ended up in the middle of local power politics during the period it was scheduled to – but was unable – to welcome visitors to the public for the very first time.

The Ambitious Project

The 15-acre complex is located in the center of Benin City, capital of the southern area of Edo – and contains an historical dig and buildings designed by high-profile Ghanaian-British architect Sir David Adjaye, most famous for the Washington African American Museum that opened in the US capital in 2016.

It has been five years in the development – and is planned to celebrate both the heritage and the modern times of cultural innovation in the area known for the historic artworks, artworks stolen from the king's palace by UK forces in the 19th Century.

Preparation and Promise

It is impressive – and before the planned opening, Mowaa was active with workers determined to demonstrate it is a place that can match well-known museums and galleries in the Western world.

Within art restorers carefully unwrapped artworks from safety materials, inspecting each artifact and taking meticulous records before positioning them on walls and stands.

Experts calibrated temperature regulation systems. In the scientific facility, personnel adjusted instruments meant to conserve historical items.

Funding and Economic Goals

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

"I hope us to have a major economic benefit on area populations in the vicinity," he explained to media outlets, mentioning that he hoped to make Benin City "a tourism center."

Mowaa, a non-profit local organization, envisions itself generating in excess of 30,000 employment opportunities and adding above $80m per year to the local cultural industry through collaborations and activities.

Investment and Administrative Problems

It has required $25m to get here – funds raised from various supporters, including the European governments, the UK museum and the regional authorities.

But now the local government has revoked permission from under it – terminating the use of the site on which the facility was constructed.

An official representative explained this was because in the initial documents it had called itself EMOWAA – and it had subsequently dropped "the regional name" from its name.

Demonstrations and Government Action

This statement followed demonstrations on recently, when protesters stormed the complex demanding it be named the Benin Royal Museum.

A rowdy crowd harassed foreign guests at the facility before the opening – compelling them to be quickly removed under police escort.

National leader Bola Tinubu has also become involved to try and resolve the conflict, setting up a high-level committee to do some damage control.

Governance Issues

But in what way has this become so politicised – and such a PR disaster?

The majority of it stems from local power struggles at a regional government level, as it was the ex-administrator Godwin Obaseki – whose governance ended last year – who was a major backer of the project.

And it seems the government of the recently elected official, a strong supporter of the area king, referred to as the traditional leader, may desire more of a stake in the project. The protesters on Sunday, for example, were demanding that the museum be placed under the authority of the current Oba.

The Cultural Artifacts Debate

This highlights the disputed topic of the cultural artifacts, one of the continent's most renowned artistic heritage.

Because even if the facility does finally welcome visitors, these objects will be noticeably missing.

They are metal, elephant tusk and wooden sculptures that once adorned the monarch's home of the ancient kingdom before British soldiers stole them in the colonial era during a punitive expedition.

Nowadays, many continue to be spread across institutions in Europe and North America -- including the UK institution, Berlin's Humboldt Forum and the American museum.

Restitution Efforts

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

When plans for the museum in the urban center were initially revealed in the pre-pandemic era, the influential figures on the country's cultural sector expected it would become their ideal location – a modern complex to show them off to the international community.

But the situation became complicated two years ago after the national authorities declared that the royal leader would be the proper guardian of returned objects – and the royal household pushed for a institution under the monarch's supervision, opposing the desires of Obaseki.

Political Navigation

This left Mowaa in a delicate position: expressing a definite position on return while staying tactful on guardianship – and stressing its broader vision, which led to|c