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Nigeria's remarkable new Art Museum of West Africa (Mowaa) has landed in the crosshairs of local power politics during the time it was supposed to – but did not manage – to open its doors to the general public for the very first time.

The Grand Vision

The 15-acre complex is located in the core of Benin City, capital of the southern region of Edo – and includes an historical dig and facilities planned by celebrated dual heritage architect Sir David Adjaye, best known for the National Museum of African American History and Culture that opened in Washington DC in 2016.

It has been five years in the making – and is planned to showcase both the history and the present of creativity in the area renowned for the Benin Bronzes, cultural objects looted from the king's palace by UK forces in the 1800s.

Preparation and Promise

It is remarkable – and prior to the anticipated opening, Mowaa was energetic with workers determined to demonstrate it is a institution that can rival established art institutions in the Western world.

Within art restorers precisely opened art pieces from protective packaging, inspecting each artifact and taking meticulous documentation before arranging them on exhibition areas and bases.

Technicians calibrated temperature regulation systems. In the materials science laboratory, personnel adjusted devices designed to preserve ancient objects.

Financial Backing and Economic Vision

The venture has been the brainchild of businessman Phillip Ihenacho – now Mowaa's executive director.

"I aim us to have a major economic benefit on communities around here," he explained to media outlets, noting that he hoped to make Benin City "an arts hub."

Mowaa, a charitable Nigerian institution, envisions itself generating over 30,000 employment opportunities and providing above $80m per year to the area arts sector through collaborations and events.

Funding Sources and Political Challenges

It has required $25m to get here – capital gathered from multiple donors, including the French and German governments, the British Museum and the regional authorities.

But currently the state authorities has revoked permission from below it – canceling the use of the property on which the building was erected.

An Edo state spokesperson stated this was because in the initial documents it had referred to itself as Edo Museum of West African Art – and it had subsequently eliminated "the state identifier" from its designation.

Demonstrations and Government Action

This statement came after demonstrations on recently, when activists stormed the facility demanding it be named the Royal Benin Museum.

A rowdy group insulted foreign guests at the museum ahead of the launch – forcing them to be quickly removed under security protection.

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

Administrative Challenges

But how has this become so politicised – and such a PR disaster?

The majority of it results from local power struggles at a local state level, as it was the former state leader Godwin Obaseki – whose term in office concluded last year – who was a major backer of the museum.

And it seems the leadership of the recently elected official, a key associate of the regional monarch, referred to as the traditional leader, may want more of a stake in the initiative. The protesters on the weekend, for case, were demanding that the museum be positioned under the supervision of the current Oba.

The Benin Bronzes Controversy

This highlights the disputed topic of the Benin Bronzes, one of the region's most renowned cultural treasures.

Because although the museum does ultimately welcome visitors, these artifacts will be clearly not present.

They are metal, elephant tusk and timber sculptures that once embellished the royal palace of the Benin Kingdom before UK forces looted them in the late nineteenth century during a colonial invasion.

Currently, numerous continue to be spread across institutions in Western nations -- such as the UK institution, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Return Initiatives

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

When ideas for the institution in Benin City were initially revealed in the pre-pandemic era, the key players on the national arts community hoped it would become their perfect venue – a state-of-the-art complex to display them to the world.

But the issues became confused two years ago after the federal government announced that the traditional ruler would be the proper guardian of returned objects – and the monarch's court pushed for a facility under the royal family's direct control, against the desires of Obaseki.

Strategic Positioning

This placed Mowaa in a delicate position: maintaining a clear stance on repatriation while remaining diplomatic on custodianship – and highlighting its wider mission, which led to|c