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The nation's impressive new West African Art Museum (Mowaa) has found itself in the center of area political conflicts during the time it was supposed to – but was unable – to begin operations to the public for the very first time.

The Ambitious Project

The large-scale facility stands in the center of Benin City, capital of the southern region of Edo – and contains an excavation site and facilities planned by renowned Ghanaian-British 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 half a decade in the creation – and is designed to celebrate both the past and the current era of creativity in the locale famous for the Benin Bronzes, historical pieces taken from the city's royal palace by UK forces in the nineteenth century.

Readiness and Potential

It is notable – and before the anticipated opening, Mowaa was buzzing with employees resolved to prove it is a venue that can compete with established art institutions in the Europe and America.

Within conservators carefully opened cultural items from secure wrapping, inspecting each piece and taking thorough notes before positioning them on exhibition areas and stands.

Technicians adjusted temperature regulation systems. In the research lab, officers set up equipment intended to maintain ancient items.

Financial Backing and Economic Vision

The venture has been the idea of entrepreneur Phillip Ihenacho – currently Mowaa's executive director.

"I hope us to have a substantial financial effect on communities in this region," he explained to the press, adding that he hoped to make Benin City "a cultural destination."

Mowaa, a non-profit national foundation, envisions itself creating over 30,000 work positions and providing more than $80m annually to the local cultural industry through partnerships and events.

Investment and Administrative Problems

It has taken $25m to achieve this stage – money gathered from different supporters, featuring the European governments, the London institution and the Edo state government.

But currently the state authorities has pulled the rug from below it – revoking the use of the property on which the museum was built.

An official representative stated this was because in the original paperwork it had identified as Edo Museum of West African Art – and it had since removed "the regional name" from its title.

Demonstrations and Government Action

This statement was preceded by protests on recently, when protesters entered the facility insisting it be called the Museum of the Benin Kingdom.

A boisterous assembly confronted foreign guests at the venue before the launch – compelling them to be quickly removed under police escort.

National leader Bola Tinubu has even become involved to attempt to settle the dispute, establishing a high-level committee to manage the situation.

Governance Issues

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

Much of it stems from internal conflicts at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose administration concluded last year – who was a key supporter of the museum.

And it seems the government of the new governor, a strong supporter of the local traditional ruler, referred to as the royal figure, may want greater involvement in the initiative. The demonstrators on that day, for example, were insisting that the facility be placed under the control of Oba Ewuare II.

The Benin Bronzes Controversy

This highlights the contentious issue of the Benin Bronzes, one of the region's most celebrated cultural treasures.

Because even if the facility does finally welcome visitors, these artifacts will be conspicuously absent.

They are brass, elephant tusk and wooden sculptures that once adorned the royal palace of the historical empire before colonial troops took them in 1897 during a colonial invasion.

Today, thousands stay spread across galleries in Europe and North America -- including the London museum, European center and the New York institution.

Repatriation Campaigns

Their homecoming has become one of the most debated conversations in the global art world. Approximately 150 have presently been returned – and further are scheduled to be repatriated.

When proposals for the facility in the city were first announced in the pre-pandemic era, the key players on Nigeria's art scene anticipated it would become their ideal location – a modern complex to display them to the international community.

But the waters were muddied some time back after the central administration stated that the traditional ruler would be the legal custodian of returned objects – and the royal household pushed for a institution under the king's authority, contrary to the preferences of the ex-leader.

Strategic Positioning

This placed Mowaa in a delicate position: expressing a specific viewpoint on restitution while being careful on guardianship – and stressing its wider mission, which led to|c