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Nigeria's impressive new Museum of West African Art (Mowaa) has landed in the crosshairs of area political conflicts during the period it was expected to – but was unable – to begin operations to the public for the very first time.

The Ambitious Project

The 15-acre campus stands in the core of Benin City, administrative center of the southern area of Edo – and includes an archaeological dig and facilities created by renowned dual heritage 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 creation – and is designed to showcase both the history and the modern times of artistic expression in the area famous for the Benin Bronzes, cultural objects taken from the city's royal palace by British soldiers in the 1800s.

Setup and Prospects

It is impressive – and ahead of the anticipated opening, Mowaa was energetic with workers committed to demonstrate it is a place that can compete with renowned art institutions in the Western world.

Inside conservators precisely opened art pieces from protective packaging, inspecting each item and taking detailed notes before arranging them on display surfaces and stands.

Experts calibrated temperature regulation systems. In the research lab, officers adjusted equipment intended to conserve historical artefacts.

Investment and Economic Plans

The initiative has been the idea of entrepreneur Phillip Ihenacho – now Mowaa's chief executive.

"I want us to have a significant economic benefit on communities around here," he told journalists, adding that he aspired to make Benin City "a cultural destination."

Mowaa, a charitable Nigerian institution, envisions itself establishing more than 30,000 direct and indirect jobs and providing above $80m annually to the local cultural industry through alliances and programming.

Financial Support and Government Issues

It has required $25m to get here – capital collected from multiple supporters, featuring the French and German governments, the British 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But now the local government has withdrawn support from under it – revoking the use of the land on which the building was erected.

An government communicator explained this was because in the initial documents it had called itself EMOWAA – and it had subsequently dropped "the state identifier" from its designation.

Demonstrations and Government Action

This statement was preceded by protests on Sunday, when protesters stormed the facility insisting it be designated the Benin Royal Museum.

A rowdy assembly insulted international visitors at the museum before the opening – requiring them to be quickly removed under police escort.

Head of state Bola Tinubu has even stepped in to work to address the conflict, setting up a high-level committee to address the controversy.

Administrative Challenges

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

The majority of it comes down to internecine rivalries at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose term in office ended last year – who was a primary advocate of the museum.

And it looks like the leadership of the recently elected official, a strong supporter of the area king, referred to as the traditional leader, may want increased control in the project. The protesters on the weekend, for instance, were insisting that the museum be placed under the control of Oba Ewuare II.

The Benin Bronzes Controversy

This emphasizes the contentious issue of the cultural artifacts, one of the continent's most celebrated cultural treasures.

Because though the institution does finally begin operations, these bronzes will be conspicuously absent.

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

Today, thousands stay scattered across institutions in Western nations -- featuring the London museum, European center and the New York institution.

Repatriation Campaigns

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

When ideas for the museum in Benin City were initially revealed in the pre-pandemic era, the movers and shakers on the national arts community hoped it would become their ideal location – a state-of-the-art campus to exhibit them to the international community.

But the situation became complicated recently after the federal government announced that the traditional ruler would be the rightful owner of repatriated artifacts – and the monarch's court pushed for a museum under the king's authority, contrary to the wishes of Obaseki.

Strategic Positioning

This left Mowaa in a delicate position: expressing a specific viewpoint on return while remaining diplomatic on guardianship – and stressing its wider mission, which led to|c