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Nigeria's stunning new Museum of West African Art (Mowaa) has found itself in the middle of local power politics during the week it was supposed to – but was unable – to open its doors to the general public for the very first time.

The Grand Vision

The six-hectare complex is located in the heart of Benin's urban center, main city of the southern area of Edo – and includes an historical dig and buildings created by celebrated British-Ghanaian architect Sir David Adjaye, best known for the Washington African American Museum that began operations in Washington DC in 2016.

It has been five years in the development – and is envisioned to showcase both the history and the modern times of creativity in the region famous for the Benin Bronzes, historical pieces looted from the royal palace by British soldiers in the 19th Century.

Readiness and Potential

It is remarkable – and ahead of the scheduled opening, Mowaa was energetic with employees determined to prove it is a place that can match well-known cultural centers in the West.

Within conservators precisely revealed artworks from safety materials, checking each piece and taking detailed records before placing them on display surfaces and plinths.

Experts adjusted climate control systems. In the materials science laboratory, personnel calibrated equipment meant to preserve historical objects.

Financial Backing and Economic Vision

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

"I hope us to have a significant economic impact on area populations in the vicinity," he explained to the press, noting that he wanted to make this urban center "a tourism center."

Mowaa, a non-profit Nigerian institution, sees itself generating more than 30,000 employment opportunities and providing above $80m per year to the area arts sector through alliances and programming.

Investment and Administrative Problems

It has taken $25m to achieve this stage – funds raised from various supporters, including the European governments, the UK museum and the local administration.

But at present the regional administration has withdrawn support from under it – terminating the utilization of the land on which the museum was built.

An government communicator stated this was because in the early agreements it had referred to itself as EMOWAA – and it had subsequently removed "Edo" from its name.

Demonstrations and Government Action

This statement came after demonstrations on Sunday, when protesters invaded the complex demanding it be called the Museum of the Benin Kingdom.

A rowdy crowd confronted overseas dignitaries at the museum prior to the opening – compelling them to be hurried away under police escort.

President Bola Tinubu has also become involved to try and resolve the tensions, setting up a special task force to do some damage control.

Administrative Challenges

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

The majority of it comes down to internecine rivalries at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose governance ended last year – who was a key supporter of the museum.

And it looks like the leadership of the new governor, a close ally of the local traditional ruler, called the royal figure, may desire greater involvement in the project. The protesters on that day, for example, were calling for that the institution be positioned under the supervision of Oba Ewuare II.

The Benin Bronzes Controversy

This brings into focus the disputed topic of the historical artworks, one of Africa's most celebrated artistic heritage.

Because even if the institution does ultimately welcome visitors, these objects will be noticeably missing.

They are brass, ivory and wooden sculptures that once adorned the monarch's home of the ancient kingdom before UK forces stole them in the late nineteenth century during a punitive expedition.

Today, many stay spread across institutions in Europe and North America -- such as the British Museum, Berlin's Humboldt Forum and the American museum.

Restitution Efforts

Their return has become one of the most disputed conversations in the international art community. Roughly 150 have presently made their way home – and more are due to follow.

When plans for the facility in the city were first announced in recent years, the influential figures on the country's cultural sector expected it would become their ideal location – a state-of-the-art campus to exhibit them to the world.

But the situation became complicated two years ago after the federal government declared that the royal leader would be the legal custodian of returned objects – and the palace campaigned for a museum under the monarch's supervision, opposing the wishes of Obaseki.

Diplomatic Challenges

This placed Mowaa in a difficult situation: maintaining a definite position on repatriation while remaining diplomatic on guardianship – and highlighting its larger purpose, which led to|c