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Nigeria's stunning new Art Museum of West Africa (Mowaa) has found itself in the crosshairs of area political conflicts during the period it was scheduled to – but failed – to open its doors to the general public for the initial occasion.

The Ambitious Project

The six-hectare facility is located in the core of the Edo state capital, main city of the southern region of Edo – and includes an historical dig and structures designed by renowned Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that was inaugurated in the US capital in 2016.

It has been 60 months in the development – and is designed to celebrate both the past and the current era of artistic expression in the area famous for the cultural artifacts, cultural objects looted from the city's royal palace by British soldiers in the 19th Century.

Preparation and Promise

It is impressive – and ahead of the scheduled opening, Mowaa was active with staff committed to prove it is a place that can compete with established art institutions in the Western world.

Inside preservation experts precisely unwrapped art pieces from safety materials, inspecting each piece and taking detailed notes before arranging them on walls and stands.

Technicians fine-tuned temperature regulation systems. In the research lab, officers set up equipment designed to conserve centuries-old items.

Investment and Economic Plans

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

"I hope us to have a significant economic impact on communities in the vicinity," he stated to the press, adding that he aspired to make this urban center "a cultural destination."

Mowaa, a not-for-profit local organization, sees itself generating over 30,000 employment opportunities and contributing more than $80m per year to the local cultural industry through alliances and activities.

Investment and Administrative Problems

It has taken $25m to get here – money collected from multiple contributors, such as the European governments, the London institution and the regional authorities.

But currently the state authorities has revoked permission from under it – canceling the use of the site on which the museum was built.

An government communicator clarified this was because in the initial documents it had referred to itself as the Edo-named institution – and it had subsequently eliminated "the state identifier" from its designation.

Protests and Political Intervention

This announcement followed protests on the weekend, when activists entered the complex demanding it be named the Royal Benin Museum.

A rowdy group confronted overseas dignitaries at the museum before the launch – forcing them to be escorted out under police escort.

National leader Bola Tinubu has even intervened to work to address the tensions, creating a special task force to do some damage control.

Political Complexities

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

Much of it comes down to internecine rivalries at a area administrative level, as it was the former state leader Godwin Obaseki – whose administration concluded last year – who was a key supporter of the initiative.

And it seems the administration of the new governor, a strong supporter of the regional monarch, referred to as the royal figure, may want more of a stake in the project. The demonstrators on Sunday, for example, were demanding that the museum be positioned under the control of the royal leader.

The Historical Objects Discussion

This highlights the contentious issue of the Benin Bronzes, one of the region's most famous artistic heritage.

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

They are metal, ivory and timber artworks that once decorated the monarch's home of the ancient kingdom before UK forces looted them in the late nineteenth century during a military operation.

Nowadays, numerous continue to be distributed across institutions in Western nations -- such as the British Museum, German museum and the New York institution.

Return Initiatives

Their repatriation has become one of the most debated debates in the international art community. Roughly 150 have now been returned – and further are expected to return.

When plans for the museum in the urban center were originally proposed in recent years, the influential figures on the country's cultural sector anticipated it would become their ideal location – a modern campus to display them to the global audience.

But the situation became complicated two years ago after the federal government declared that the traditional ruler would be the legal custodian of any returned bronzes – and the palace advocated for a facility under the monarch's supervision, opposing the preferences of the ex-leader.

Diplomatic Challenges

This left Mowaa in a challenging circumstance: asserting a clear stance on restitution while staying tactful on guardianship – and stressing its wider mission, which led to|c