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The nation's stunning new Museum of West African Art (Mowaa) has found itself in the center of regional political struggles during the time it was supposed to – but did not manage – to begin operations to the public for the first time.

The Ambitious Project

The large-scale campus sits in the center of Benin City, capital of the southern region of Edo – and features an excavation site and facilities created by celebrated dual heritage architect Sir David Adjaye, particularly noted for the Washington African American Museum that was inaugurated in Washington DC in 2016.

It has been 60 months in the creation – and is planned to showcase both the past and the present of artistic expression in the region known for the historic artworks, cultural objects stolen from the royal palace by British soldiers in the 1800s.

Setup and Prospects

It is impressive – and before the anticipated opening, Mowaa was buzzing with staff committed to demonstrate it is a place that can match well-known art institutions in the Western world.

Within preservation experts precisely revealed artworks from safety materials, checking each piece and taking detailed records before positioning them on walls and stands.

Technicians fine-tuned temperature regulation systems. In the scientific facility, staff members calibrated equipment meant to conserve centuries-old objects.

Investment and Economic Plans

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

"I want us to have a substantial economic benefit on area populations in the vicinity," he explained to media outlets, mentioning that he wanted to make the city "a cultural destination."

Mowaa, a charitable local organization, sees itself generating more than 30,000 direct and indirect jobs and providing over $80m each year to the area arts sector through alliances and activities.

Funding Sources and Political Challenges

It has taken $25m to get here – capital raised from multiple contributors, such as the French and German governments, the British Museum and the local administration.

But currently the regional administration has pulled the rug from under it – canceling the utilization of the property on which the building was erected.

An government communicator explained this was because in the initial documents it had identified as Edo Museum of West African Art – and it had since removed "the state identifier" from its designation.

Demonstrations and Government Action

This statement was preceded by protests on the weekend, when protesters stormed the campus insisting it be named the Royal Benin Museum.

A boisterous group confronted international visitors at the facility prior to the opening – forcing them to be hurried away under security protection.

National leader Bola Tinubu has also intervened to try and resolve the dispute, setting up a high-level committee to address the controversy.

Political Complexities

But in what way has this evolved into so divisive – and such a public relations crisis?

Much of it stems from local power struggles at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished recently – who was a major backer of the project.

And it looks like the government of the new governor, a strong supporter of the area king, known as the royal figure, may desire greater involvement in the venture. The activists on the weekend, for example, were insisting that the facility be positioned under the supervision of the royal leader.

The Historical Objects Discussion

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

Because although the facility does eventually open, these artifacts will be noticeably missing.

They are metal, elephant tusk and wooden carvings that once decorated the royal palace of the Benin Kingdom before British soldiers stole them in the late nineteenth century during a colonial invasion.

Currently, thousands remain spread across museums in the West -- such as the London museum, German museum and the American museum.

Repatriation Campaigns

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

When ideas for the facility in the urban center were first announced in recent years, the influential figures on the country's cultural sector hoped it would become their ideal location – a modern facility to display them to the international community.

But the waters were muddied recently after the national authorities announced that the Oba would be the rightful owner of repatriated artifacts – and the palace pushed for a facility under the king's authority, against the desires of the ex-leader.

Diplomatic Challenges

This placed Mowaa in a challenging circumstance: expressing a definite position on restitution while remaining diplomatic on guardianship – and highlighting its wider mission, which led to|c