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The nation's impressive new West African Art Museum (Mowaa) has landed in the crosshairs of regional political struggles during the period it was expected to – but failed – to begin operations to the general public for the very first time.

The Grand Vision

The large-scale facility stands in the core of Benin City, capital of the southern state of Edo – and includes an archaeological dig and facilities created by high-profile Ghanaian-British 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 making – and is envisioned to honor both the past and the modern times of artistic expression in the locale known for the historic artworks, historical pieces taken from the royal palace by British soldiers in the 19th Century.

Readiness and Potential

It is notable – and before the planned opening, Mowaa was buzzing with workers determined to prove it is a place that can rival established museums and galleries in the West.

Inside art restorers meticulously unwrapped art pieces from protective packaging, inspecting each artifact and taking detailed records before positioning them on exhibition areas and plinths.

Technicians adjusted environmental controls. In the scientific facility, personnel set up devices meant to maintain ancient items.

Financial Backing and Economic Vision

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

"I aim us to have a significant economic benefit on area populations around here," he told journalists, mentioning that he wanted to make Benin City "a cultural destination."

Mowaa, a non-profit Nigerian institution, aims at creating over 30,000 direct and indirect jobs and contributing above $80m annually to the area arts sector through alliances and events.

Funding Sources and Political Challenges

It has required $25m to reach this point – capital raised from various contributors, featuring the French and German governments, the London institution and the regional authorities.

But at present the regional administration has withdrawn support from under it – canceling the use of the site on which the facility was constructed.

An official representative clarified this was because in the initial documents it had called itself the Edo-named institution – and it had since dropped "the regional name" from its designation.

Demonstrations and Government Action

This announcement followed protests on the weekend, when protesters entered the campus insisting it be called the Royal Benin Museum.

A rowdy group insulted international visitors at the facility before the opening – compelling them to be hurried away under security protection.

Head of state Bola Tinubu has additionally become involved to attempt to settle the conflict, establishing a high-level committee to address the controversy.

Governance Issues

But how has this evolved into so politicised – and such a reputation problem?

The majority of it results from internecine rivalries at a local state level, as it was the ex-administrator Godwin Obaseki – whose governance ended the previous year – who was a primary advocate of the museum.

And it looks like the leadership of the current leader, a strong supporter of the regional monarch, referred to as the Oba, may seek greater involvement in the project. The activists on the weekend, for example, were demanding that the facility be placed under the supervision of Oba Ewuare II.

The Cultural Artifacts Debate

This brings into focus the disputed topic of the historical artworks, one of Africa's most renowned cultural treasures.

Because even if the museum does ultimately begin operations, these artifacts will be conspicuously absent.

They are metal, ivory and wooden sculptures that once decorated the monarch's home of the Benin Kingdom before British soldiers stole them in the colonial era during a colonial invasion.

Today, thousands remain distributed across institutions in Europe and North America -- featuring the British Museum, European center and the New York institution.

Restitution Efforts

Their repatriation has become one of the most debated conversations in the international art community. Approximately 150 have currently been returned – and further are due to follow.

When plans for the museum in the urban center were originally proposed in recent years, the influential figures on the country's cultural sector expected it would become their perfect venue – a state-of-the-art facility to display them to the international community.

But the situation became complicated some time back after the central administration stated that the traditional ruler would be the rightful owner of returned objects – and the palace campaigned for a institution under the royal family's direct control, contrary to the wishes of the ex-leader.

Strategic Positioning

This left Mowaa in a challenging circumstance: asserting a specific viewpoint on restitution while being careful on custodianship – and stressing its wider mission, which led to|c