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

The Ambitious Project

The 15-acre campus sits in the heart of Benin City, capital of the southern region of Edo – and includes an archaeological dig and facilities designed by renowned British-Ghanaian architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that opened in the US capital in 2016.

It has been 60 months in the creation – and is designed to honor both the past and the modern times of cultural innovation in the locale known for the historic artworks, cultural objects stolen from the royal palace by British troops in the 19th Century.

Preparation and Promise

It is notable – and ahead of the planned opening, Mowaa was buzzing with employees resolved to demonstrate it is a venue that can rival established art institutions in the West.

Within preservation experts precisely opened art pieces from protective packaging, examining each item and taking detailed documentation before arranging them on display surfaces and stands.

Experts adjusted climate control systems. In the materials science laboratory, officers adjusted instruments intended to conserve historical objects.

Financial Backing and Economic Vision

The project has been the brainchild of investor Phillip Ihenacho – currently Mowaa's managing director.

"I aim us to have a major financial effect on local residents around here," he stated to the press, noting that he aspired to make the city "a cultural destination."

Mowaa, a charitable Nigerian institution, envisions itself generating in excess of 30,000 work positions and adding above $80m annually to the regional creative economy through collaborations and programming.

Investment and Administrative Problems

It has taken $25m to achieve this stage – capital raised from various donors, such as the international partners, the London institution and the Edo state government.

But currently the local government has pulled the rug from below it – revoking the occupancy of the site on which the facility was constructed.

An official representative clarified this was because in the early agreements it had referred to itself as the Edo-named institution – and it had since removed "Edo" from its designation.

Protests and Political Intervention

This announcement was preceded by rallies on the weekend, when people invaded the facility demanding it be named the Benin Royal Museum.

A rowdy assembly harassed overseas dignitaries at the venue before the launch – forcing them to be quickly removed under official guard.

National leader Bola Tinubu has also intervened to try and resolve the dispute, establishing a high-level committee to do some damage control.

Political Complexities

But how has this evolved into so controversial – and such a reputation problem?

The majority of it comes down to local power struggles at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose administration ended recently – who was a primary advocate of the museum.

And it seems the government of the recently elected official, a key associate of the local traditional ruler, called the Oba, may want more of a stake in the initiative. The demonstrators on the weekend, for case, were demanding that the museum be put under the control of the royal leader.

The Cultural Artifacts Debate

This emphasizes the controversial matter of the Benin Bronzes, one of the continent's most renowned historical legacy.

Because even if the museum does eventually begin operations, these bronzes will be conspicuously absent.

They are brass, ivory and wooden sculptures that once adorned the royal palace of the historical empire before UK forces looted them in 1897 during a punitive expedition.

Today, many remain distributed across museums in the West -- featuring the British Museum, Berlin's Humboldt Forum and the American museum.

Return Initiatives

Their repatriation has become one of the most debated discussions in the worldwide cultural sector. Approximately 150 have presently made their way home – and further are scheduled to be repatriated.

When proposals for the institution in the urban center were initially revealed in recent years, the influential figures on the country's cultural sector expected it would become their natural home – a state-of-the-art complex to display them to the world.

But the waters were muddied recently after the federal government stated that the traditional ruler would be the proper guardian of returned objects – and the palace pushed for a facility under the king's authority, contrary to the wishes of the former governor.

Strategic Positioning

This placed Mowaa in a delicate position: asserting a definite position on return while staying tactful on ownership – and emphasising its broader vision, which led to|c