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The nation's remarkable new Museum of West African Art (Mowaa) has found itself in the crosshairs of local power politics during the period it was supposed to – but was unable – to begin operations to the visitors for the very first time.

The Major Initiative

The six-hectare campus sits in the core of Benin's urban center, main city of the southern region of Edo – and features an historical dig and facilities designed by renowned British-Ghanaian architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that was inaugurated in Washington DC in 2016.

It has been half a decade in the making – and is envisioned to honor both the history and the modern times of artistic expression in the region renowned for the cultural artifacts, artworks taken from the royal palace by British troops in the 19th Century.

Setup and Prospects

It is impressive – and before the planned opening, Mowaa was buzzing with employees committed to prove it is a institution that can match renowned cultural centers in the Western world.

Internally preservation experts precisely opened cultural items from secure wrapping, examining each item and taking thorough records before placing them on exhibition areas and stands.

Technicians calibrated climate control systems. In the research lab, officers adjusted instruments intended to conserve ancient items.

Funding and Economic Goals

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

"I hope us to have a major financial effect on communities in this region," he explained to media outlets, adding that he hoped to make Benin City "a tourism center."

Mowaa, a non-profit Nigerian institution, envisions itself creating more than 30,000 work positions and adding above $80m annually to the regional creative economy through alliances and events.

Investment and Administrative Problems

It has taken $25m to reach this point – capital gathered from various donors, featuring the international partners, the UK museum and the regional authorities.

But currently the state authorities has pulled the rug from under it – revoking the utilization of the land on which the building was erected.

An Edo state spokesperson explained this was because in the original paperwork it had identified as EMOWAA – and it had later dropped "Edo" from its title.

Protests and Political Intervention

This statement came after rallies on recently, when activists stormed the complex insisting it be named the Benin Royal Museum.

A rowdy crowd confronted international visitors at the facility before the inauguration – forcing them to be hurried away under security protection.

Head of state Bola Tinubu has additionally stepped in to try and resolve the tensions, creating a special task force to do some damage control.

Governance Issues

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

Much of it stems from internal conflicts at a regional government level, as it was the former state leader Godwin Obaseki – whose governance ended last year – who was a key supporter of the museum.

And it seems the government of the recently elected official, a close ally of the regional monarch, referred to as the traditional leader, may want more of a stake in the project. The demonstrators on that day, for example, were calling for that the museum be put under the authority of the royal leader.

The Benin Bronzes Controversy

This highlights the disputed topic of the historical artworks, one of Africa's most renowned historical legacy.

Because even if the facility does ultimately open, these artifacts will be conspicuously absent.

They are metal, ivory and timber sculptures that once adorned the royal palace of the Benin Kingdom before British soldiers took them in the late nineteenth century during a military operation.

Currently, many continue to be spread across galleries in the West -- such as the British Museum, European center and the American museum.

Restitution Efforts

Their repatriation has become one of the most disputed debates in the global art world. Roughly 150 have currently made their way home – and more are scheduled to be repatriated.

When plans for the facility in the urban center were originally proposed in 2019, the influential figures on the country's cultural sector anticipated it would become their perfect venue – a modern facility to exhibit them to the international community.

But the situation became complicated recently after the federal government declared that the traditional ruler would be the rightful owner of any returned bronzes – and the monarch's court campaigned for a facility under the monarch's supervision, opposing the desires of Obaseki.

Strategic Positioning

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