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The nation's remarkable new West African Art Museum (Mowaa) has landed in the crosshairs of area political conflicts during the week it was scheduled to – but failed – to open its doors to the general public for the first time.

The Ambitious Project

The 15-acre facility sits in the center of Benin's urban center, administrative center of the southern state of Edo – and contains an excavation site and facilities created by high-profile dual heritage architect Sir David Adjaye, best known for the Washington African American Museum that opened in Washington DC in 2016.

It has been half a decade in the creation – and is envisioned to showcase both the history and the modern times of creativity in the region famous for the historic artworks, artworks taken from the king's palace by British soldiers in the 1800s.

Readiness and Potential

It is remarkable – and ahead of the anticipated opening, Mowaa was active with staff determined to show it is a venue that can match established art institutions in the West.

Internally art restorers precisely opened art pieces from safety materials, inspecting each item and taking detailed documentation before placing them on exhibition areas and bases.

Technicians adjusted temperature regulation systems. In the scientific facility, officers set up equipment intended to maintain centuries-old objects.

Investment and Economic Plans

The initiative has been the idea of entrepreneur Phillip Ihenacho – currently Mowaa's managing director.

"I aim us to have a significant economic benefit on area populations around here," he told the press, mentioning that he wanted to make Benin City "an arts hub."

Mowaa, a charitable national foundation, envisions itself creating in excess of 30,000 employment opportunities and contributing more than $80m annually to the area arts sector through partnerships and programming.

Investment and Administrative Problems

It has needed $25m to reach this point – funds collected from different supporters, including the European governments, the UK museum and the regional authorities.

But at present the state authorities has pulled the rug from below it – revoking the occupancy of the land on which the museum was built.

An official representative stated this was because in the original paperwork it had referred to itself as EMOWAA – and it had since removed "the regional name" from its designation.

Protests and Political Intervention

This announcement followed demonstrations on the weekend, when activists entered the campus calling for it be named the Museum of the Benin Kingdom.

A rowdy assembly insulted overseas dignitaries at the museum before the launch – forcing them to be hurried away under official guard.

Head of state Bola Tinubu has even become involved to attempt to settle the tensions, setting up a high-level committee to manage the situation.

Governance Issues

But why has this evolved into so politicised – and such a PR disaster?

A great deal of it stems from internecine rivalries at a local state level, as it was Edo's previous governor Godwin Obaseki – whose administration finished last year – who was a key supporter of the project.

And it seems the government of the recently elected official, a close ally of the local traditional ruler, known as the Oba, may want increased control in the initiative. The protesters on that day, for instance, were calling for that the facility be put under the control of the current Oba.

The Cultural Artifacts Debate

This brings into focus the contentious issue of the Benin Bronzes, one of the region's most renowned historical legacy.

Because even if the facility does finally begin operations, these artifacts will be clearly not present.

They are brass, ivory and wooden sculptures that once decorated the royal palace of the Benin Kingdom before colonial troops stole them in the colonial era during a colonial invasion.

Nowadays, numerous remain scattered across galleries in the West -- such as the London museum, Berlin's Humboldt Forum and the American museum.

Return Initiatives

Their homecoming has become one of the most debated discussions in the worldwide cultural sector. About 150 have currently been returned – and additional are due to follow.

When ideas for the museum in Benin City were first announced in recent years, the influential figures on Nigeria's art scene anticipated it would become their ideal location – a modern complex to display them to the global audience.

But the issues became confused two years ago after the federal government announced that the traditional ruler would be the rightful owner of any returned bronzes – and the palace campaigned for a facility under the king's authority, contrary to the desires of the ex-leader.

Strategic Positioning

This placed Mowaa in a difficult situation: asserting a clear stance on return while staying tactful on guardianship – and stressing its broader vision, which led to|c