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The nation's remarkable new Art Museum of West Africa (Mowaa) has found itself in the crosshairs of local power politics during the week it was supposed to – but failed – to begin operations to the public for the very first time.

The Major Initiative

The six-hectare complex sits in the center of the Edo state capital, administrative center of the southern area of Edo – and features an historical dig and facilities created by renowned Ghanaian-British architect Sir David Adjaye, best known for the Smithsonian African American Museum that opened in Washington DC in 2016.

It has been half a decade in the making – and is planned to honor both the history and the current era of artistic expression in the region known for the historic artworks, historical pieces stolen from the royal palace by UK forces in the 1800s.

Readiness and Potential

It is impressive – and before the scheduled opening, Mowaa was energetic with staff determined to show it is a place that can compete with renowned museums and galleries in the West.

Inside preservation experts meticulously opened art pieces from protective packaging, inspecting each artifact and taking meticulous documentation before positioning them on exhibition areas and stands.

Experts calibrated climate control systems. In the scientific facility, staff members set up devices meant to conserve ancient objects.

Financial Backing and Economic Vision

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

"I aim us to have a significant financial effect on area populations in this region," he explained to journalists, adding that he wanted to make the city "a cultural destination."

Mowaa, a charitable Nigerian institution, aims at generating in excess of 30,000 direct and indirect jobs and contributing more than $80m each year to the local cultural industry through collaborations and events.

Investment and Administrative Problems

It has required $25m to achieve this stage – funds gathered from multiple donors, including the European governments, the British Museum and the local administration.

But currently the local government has withdrawn support from below it – terminating the use of the site on which the museum was built.

An Edo state spokesperson explained this was because in the initial documents it had referred to itself as Edo Museum of West African Art – and it had later eliminated "the regional name" from its name.

Protests and Political Intervention

This announcement was preceded by rallies on Sunday, when protesters entered the campus insisting it be called the Museum of the Benin Kingdom.

A boisterous crowd harassed foreign guests at the facility ahead of the inauguration – requiring them to be hurried away under police escort.

President Bola Tinubu has also stepped in to work to address the dispute, setting up a high-level committee to do some damage control.

Administrative Challenges

But why has this become so divisive – and such a reputation problem?

A great deal of it stems from internal conflicts at a local state level, as it was the ex-administrator Godwin Obaseki – whose governance finished recently – who was a major backer of the project.

And it looks like the leadership of the recently elected official, a strong supporter of the regional monarch, referred to as the royal figure, may want greater involvement in the project. The demonstrators on the weekend, for example, were calling for that the museum be positioned under the supervision of the current Oba.

The Historical Objects Discussion

This brings into focus the disputed topic of the historical artworks, one of Africa's most famous artistic heritage.

Because although the museum does ultimately open, these objects will be clearly not present.

They are metal, ivory and timber sculptures that once adorned the king's residence of the Benin Kingdom before UK forces took them in 1897 during a colonial invasion.

Today, many continue to be distributed across galleries in Europe and North America -- including the UK institution, German museum and the American museum.

Restitution Efforts

Their repatriation has become one of the most debated debates in the international art community. Approximately 150 have now come back – and further are expected to return.

When plans for the facility in the city were first announced in 2019, the movers and shakers on the country's cultural sector expected it would become their perfect venue – a modern facility to display them to the world.

But the issues became confused some time back after the national authorities stated that the Oba would be the rightful owner of repatriated artifacts – and the palace campaigned for a museum under the monarch's supervision, against the preferences of Obaseki.

Strategic Positioning

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