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Nigeria's remarkable new Art Museum of West Africa (Mowaa) has found itself in the middle of regional political struggles during the week it was supposed to – but did not manage – to welcome visitors to the general public for the initial occasion.

The Grand Vision

The six-hectare campus sits in the core of the Edo state capital, administrative center of the southern state of Edo – and includes an archaeological dig and structures designed by celebrated dual heritage architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that was inaugurated in Washington in 2016.

It has been five years in the making – and is planned to showcase both the history and the modern times of creativity in the area known for the cultural artifacts, historical pieces taken from the city's royal palace by British soldiers in the 19th Century.

Preparation and Promise

It is impressive – and ahead of the scheduled opening, Mowaa was buzzing with employees determined to show it is a venue that can match established cultural centers in the Western world.

Within art restorers carefully unwrapped art pieces from protective packaging, checking each item and taking detailed documentation before positioning them on exhibition areas and bases.

Technicians adjusted environmental controls. In the materials science laboratory, staff members set up instruments meant 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 significant economic impact on communities in the vicinity," he stated to journalists, noting that he hoped to make this urban center "a tourism center."

Mowaa, a non-profit local organization, envisions itself generating more than 30,000 direct and indirect jobs and contributing above $80m per year to the regional creative economy through collaborations and events.

Financial Support and Government Issues

It has required $25m to achieve this stage – capital gathered from multiple contributors, including the European governments, the British Museum and the regional authorities.

But at present the local government has withdrawn support from beneath it – canceling the utilization of the site on which the building was erected.

An Edo state spokesperson clarified this was because in the initial documents it had identified as Edo Museum of West African Art – and it had later dropped "the state identifier" from its title.

Unrest and Official Response

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

A disruptive crowd confronted overseas dignitaries at the museum before the inauguration – compelling them to be escorted out under security protection.

National leader Bola Tinubu has also stepped in to attempt to settle the dispute, creating a special task force to manage the situation.

Governance Issues

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

Much of it comes down to internecine rivalries at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose governance concluded the previous year – who was a major backer of the museum.

And it looks like the government of the current leader, a close ally of the area king, called the traditional leader, may desire more of a stake in the initiative. The activists on the weekend, for case, were insisting that the museum be positioned under the control of Oba Ewuare II.

The Benin Bronzes Controversy

This highlights the contentious issue of the cultural artifacts, one of the continent's most famous cultural treasures.

Because even if the facility does eventually welcome visitors, these objects will be clearly not present.

They are metal, elephant tusk and wooden carvings that once embellished the king's residence of the ancient kingdom before colonial troops stole them in the late nineteenth century during a colonial invasion.

Today, many remain distributed across museums in the West -- featuring the British Museum, European center and the Metropolitan Museum of Art.

Repatriation Campaigns

Their repatriation has become one of the most disputed conversations in the global art world. Roughly 150 have currently been returned – and further are due to follow.

When ideas for the institution in the urban center were initially revealed in 2019, the key players on the country's cultural sector hoped it would become their perfect venue – a state-of-the-art complex to show them off to the world.

But the issues became confused two years ago after the national authorities stated that the Oba would be the legal custodian of repatriated artifacts – and the royal household advocated for a museum under the king's authority, contrary to the desires of the former governor.

Political Navigation

This left Mowaa in a challenging circumstance: expressing a definite position on return while being careful on guardianship – and highlighting its larger purpose, which led to|c