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Nigeria's stunning new Museum of West African Art (Mowaa) has landed in the crosshairs of regional political struggles during the time it was supposed to – but failed – to open its doors to the public for the first time.

The Grand Vision

The large-scale complex sits in the heart of Benin's urban center, capital of the southern region of Edo – and includes an archaeological dig and buildings planned by renowned Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that opened in Washington in 2016.

It has been half a decade in the development – and is planned to showcase both the past and the present of creativity in the region renowned for the Benin Bronzes, historical pieces looted from the king's palace by British soldiers in the nineteenth century.

Preparation and Promise

It is remarkable – and before the anticipated opening, Mowaa was energetic with workers resolved to demonstrate it is a place that can match renowned cultural centers in the Western world.

Inside conservators carefully revealed cultural items from secure wrapping, checking each item and taking meticulous records before positioning them on exhibition areas and bases.

Specialists fine-tuned environmental controls. In the research lab, personnel adjusted devices intended to maintain centuries-old items.

Investment and Economic Plans

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

"I hope us to have a major economic impact on area populations around here," he stated to journalists, adding that he wanted to make this urban center "a cultural destination."

Mowaa, a charitable national foundation, envisions itself generating over 30,000 direct and indirect jobs and contributing above $80m each year to the local cultural industry through collaborations and activities.

Funding Sources and Political Challenges

It has taken $25m to reach this point – capital gathered from multiple supporters, including the French and German governments, the UK museum and the regional authorities.

But now the local government has withdrawn support from under it – revoking the use of the land on which the museum was built.

An official representative explained this was because in the original paperwork it had referred to itself as Edo Museum of West African Art – and it had subsequently dropped "the regional name" from its name.

Protests and Political Intervention

This declaration came after protests on the weekend, when activists invaded the facility insisting it be designated the Royal Benin Museum.

A rowdy group harassed foreign guests at the museum ahead of the opening – requiring them to be hurried away under official guard.

President Bola Tinubu has additionally stepped in to attempt to settle the tensions, establishing a high-level committee to do some damage control.

Political Complexities

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

Much of it comes down to local power struggles at a area administrative level, as it was the former state leader Godwin Obaseki – whose governance finished recently – who was a primary advocate of the project.

And it appears the leadership of the new governor, a close ally of the regional monarch, referred to as the traditional leader, may desire greater involvement in the project. The activists on Sunday, for instance, were demanding that the museum be put under the supervision of the current Oba.

The Historical Objects Discussion

This highlights the contentious issue of the Benin Bronzes, one of Africa's most famous artistic heritage.

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

They are metal, elephant tusk and timber sculptures that once adorned the king's residence of the ancient kingdom before British soldiers took them in 1897 during a colonial invasion.

Nowadays, thousands remain spread across museums in the West -- featuring the London museum, German museum and the New York institution.

Restitution Efforts

Their homecoming has become one of the most disputed debates in the global art world. Approximately 150 have now been returned – and additional are due to follow.

When ideas for the facility in Benin City were initially revealed in recent years, the movers and shakers on Nigeria's art scene expected it would become their perfect venue – a state-of-the-art campus to exhibit them to the international community.

But the situation became complicated some time back after the national authorities announced that the traditional ruler would be the legal custodian of any returned bronzes – and the monarch's court campaigned for a institution under the royal family's direct control, contrary to the desires of Obaseki.

Strategic Positioning

This placed Mowaa in a delicate position: maintaining a definite position on return while remaining diplomatic on ownership – and highlighting its larger purpose, which led to|c