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Nigeria's impressive new Art Museum of West Africa (Mowaa) has ended up in the middle of local power politics during the period it was scheduled to – but was unable – to welcome visitors to the public for the first time.

The Ambitious Project

The large-scale facility is located in the heart of Benin's urban center, main city of the southern region of Edo – and features an archaeological dig and facilities created by renowned Ghanaian-British architect Sir David Adjaye, best known for the Washington African American Museum that was inaugurated in Washington in 2016.

It has been 60 months in the making – and is envisioned to celebrate both the heritage and the current era of artistic expression in the region known for the historic artworks, cultural objects looted from the royal palace by UK forces in the 19th Century.

Preparation and Promise

It is remarkable – and prior to the planned opening, Mowaa was buzzing with workers resolved to prove it is a venue that can match well-known art institutions in the Western world.

Within preservation experts meticulously opened cultural items from safety materials, checking each item and taking detailed records before placing them on exhibition areas and plinths.

Experts calibrated climate control systems. In the materials science laboratory, officers set up equipment meant to conserve historical objects.

Investment and Economic Plans

The venture has been the brainchild of investor Phillip Ihenacho – presently Mowaa's chief executive.

"I aim us to have a substantial economic impact on communities around here," he told the press, noting that he wanted to make Benin City "an arts hub."

Mowaa, a not-for-profit Nigerian institution, aims at generating in excess of 30,000 work positions and adding over $80m annually to the regional creative economy through collaborations and activities.

Funding Sources and Political Challenges

It has taken $25m to get here – money raised from various supporters, such as the French and German governments, the UK museum and the regional authorities.

But at present the regional administration has revoked permission from beneath it – terminating the occupancy of the property on which the building was erected.

An official representative stated this was because in the initial documents it had referred to itself as the Edo-named institution – and it had later eliminated "the regional name" from its designation.

Protests and Political Intervention

This announcement followed protests on Sunday, when protesters entered the facility calling for it be called the Benin Royal Museum.

A disruptive crowd insulted international visitors at the museum ahead of the opening – compelling them to be escorted out under security protection.

Head of state Bola Tinubu has even become involved to attempt to settle the dispute, establishing a high-level committee to do some damage control.

Governance Issues

But why has this become so politicised – and such a public relations crisis?

Much of it stems from internecine rivalries at a local state level, as it was Edo's previous governor Godwin Obaseki – whose term in office concluded last year – who was a primary advocate of the project.

And it looks like the administration of the new governor, a strong supporter of the local traditional ruler, known as the Oba, may seek more of a stake in the project. The demonstrators on Sunday, for instance, were calling for that the museum be put under the supervision of the current Oba.

The Historical Objects Discussion

This highlights the disputed topic of the cultural artifacts, one of the region's most famous historical legacy.

Because even if the facility does eventually welcome visitors, these objects will be conspicuously absent.

They are brass, elephant tusk and timber carvings that once decorated the king's residence of the historical empire before colonial troops took them in the colonial era during a military operation.

Nowadays, numerous stay scattered across galleries in Europe and North America -- including the British Museum, German museum and the New York institution.

Restitution Efforts

Their repatriation has become one of the most contested conversations in the worldwide cultural sector. Roughly 150 have currently been returned – and additional are due to follow.

When plans for the facility in Benin City were initially revealed in recent years, the key players on the national arts community anticipated it would become their natural home – a modern facility to show them off to the world.

But the issues became confused some time back after the federal government declared that the traditional ruler would be the proper guardian of repatriated artifacts – and the palace advocated for a facility under the royal family's direct control, against the wishes of the ex-leader.

Strategic Positioning

This left Mowaa in a delicate position: expressing a specific viewpoint on return while being careful on custodianship – and highlighting its larger purpose, which led to|c