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Nigeria's stunning new Museum of West African Art (Mowaa) has landed in the crosshairs of regional political struggles during the week it was scheduled to – but did not manage – to welcome visitors to the general public for the very first time.

The Grand Vision

The six-hectare campus is located in the heart of the Edo state capital, administrative center of the southern area of Edo – and contains an excavation site and facilities created by celebrated dual heritage architect Sir David Adjaye, best known for the Smithsonian African American Museum that was inaugurated in the US capital in 2016.

It has been half a decade in the development – and is planned to showcase both the past and the present of creativity in the region known for the historic artworks, historical pieces stolen from the king's palace by British troops in the 19th Century.

Preparation and Promise

It is impressive – and ahead of the anticipated opening, Mowaa was energetic with employees committed to prove it is a institution that can rival renowned cultural centers in the Western world.

Inside preservation experts meticulously unwrapped artworks from protective packaging, examining each artifact and taking detailed notes before positioning them on walls and bases.

Specialists fine-tuned climate control systems. In the research lab, staff members adjusted equipment intended to conserve centuries-old artefacts.

Financial Backing and Economic Vision

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

"I aim us to have a significant economic impact on area populations in this region," he explained to journalists, mentioning that he aspired to make this urban center "an arts hub."

Mowaa, a non-profit Nigerian institution, envisions itself generating over 30,000 employment opportunities and adding over $80m annually to the area arts sector through collaborations and activities.

Funding Sources and Political Challenges

It has needed $25m to achieve this stage – capital raised from different supporters, such as the French and German governments, the London institution and the regional authorities.

But at present the local government has pulled the rug from under it – terminating the occupancy of the site on which the facility was constructed.

An Edo state spokesperson stated this was because in the early agreements it had referred to itself as Edo Museum of West African Art – and it had subsequently dropped "the state identifier" from its name.

Demonstrations and Government Action

This announcement was preceded by rallies on Sunday, when protesters stormed the campus insisting it be called the Benin Royal Museum.

A boisterous group insulted foreign guests at the facility ahead of the launch – requiring them to be quickly removed under police escort.

National leader Bola Tinubu has additionally become involved to try and resolve the tensions, setting up a presidential committee to address the controversy.

Governance Issues

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

The majority of it results from internal conflicts at a local state level, as it was the former state leader Godwin Obaseki – whose governance concluded last year – who was a key supporter of the museum.

And it seems the government of the new governor, a close ally of the regional monarch, known as the royal figure, may want greater involvement in the initiative. The protesters on Sunday, for case, were insisting that the institution be placed under the control of Oba Ewuare II.

The Benin Bronzes Controversy

This emphasizes the controversial matter of the historical artworks, one of the region's most famous artistic heritage.

Because though the institution does finally begin operations, these artifacts will be noticeably missing.

They are brass, ivory and timber sculptures that once decorated the king's residence of the historical empire before British soldiers stole them in the colonial era during a military operation.

Currently, thousands remain scattered across galleries in Western nations -- featuring the UK institution, European center and the New York institution.

Return Initiatives

Their homecoming has become one of the most contested debates in the international art community. Approximately 150 have currently made their way home – and additional are expected to return.

When plans for the facility in the city were initially revealed in recent years, the key players on Nigeria's art scene hoped it would become their ideal location – a modern complex to exhibit them to the world.

But the waters were muddied two years ago after the central administration declared that the Oba would be the proper guardian of any returned bronzes – and the palace pushed for a museum under the royal family's direct control, against the preferences of the former governor.

Strategic Positioning

This left Mowaa in a challenging circumstance: expressing a specific viewpoint on restitution while staying tactful on guardianship – and stressing its larger purpose, which led to|c