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The nation's impressive new West African Art Museum (Mowaa) has landed in the middle of regional political struggles during the time it was supposed to – but was unable – to open its doors to the visitors for the first time.

The Grand Vision

The six-hectare complex sits in the center of Benin's urban center, capital of the southern state of Edo – and contains an archaeological dig and facilities planned by high-profile Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that opened in Washington DC in 2016.

It has been 60 months in the development – and is designed to showcase both the past and the present of cultural innovation in the region famous for the cultural artifacts, artworks taken from the royal palace by UK forces in the 19th Century.

Preparation and Promise

It is impressive – and ahead of the scheduled opening, Mowaa was buzzing with employees committed to demonstrate it is a place that can compete with established cultural centers in the Europe and America.

Inside art restorers meticulously revealed art pieces from protective packaging, inspecting each piece and taking thorough records before placing them on walls and stands.

Specialists calibrated climate control systems. In the research lab, personnel calibrated devices designed to conserve historical objects.

Financial Backing and Economic Vision

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

"I want us to have a major economic benefit on communities in this region," he explained to journalists, mentioning that he hoped to make this urban center "a cultural destination."

Mowaa, a not-for-profit local organization, aims at generating over 30,000 direct and indirect jobs and contributing more than $80m annually to the local cultural industry through alliances and events.

Funding Sources and Political Challenges

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

But at present the regional administration has withdrawn support from under it – revoking the utilization of the property on which the museum was built.

An Edo state spokesperson stated this was because in the early agreements it had called itself EMOWAA – and it had since dropped "the state identifier" from its name.

Unrest and Official Response

This statement followed demonstrations on Sunday, when people invaded the campus demanding it be called the Royal Benin Museum.

A boisterous group confronted foreign guests at the venue ahead of the opening – compelling them to be quickly removed under police escort.

National leader Bola Tinubu has also intervened to work to address the tensions, establishing a high-level committee to address the controversy.

Governance Issues

But how has this evolved into so politicised – and such a public relations crisis?

Much of it comes down to internecine rivalries at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose term in office concluded recently – who was a key supporter of the museum.

And it seems the government of the new governor, a close ally of the area king, called the traditional leader, may desire greater involvement in the venture. The activists on the weekend, for example, were insisting that the facility be placed under the authority of the royal leader.

The Cultural Artifacts Debate

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

Because although the facility does eventually begin operations, these objects will be conspicuously absent.

They are metal, elephant tusk and timber artworks that once decorated the monarch's home of the historical empire before British soldiers looted them in 1897 during a colonial invasion.

Nowadays, thousands remain distributed across institutions in Western nations -- such as the London museum, German museum and the New York institution.

Repatriation Campaigns

Their return has become one of the most disputed debates in the global art world. Roughly 150 have now been returned – and additional are due to follow.

When plans for the museum in Benin City were first announced in the pre-pandemic era, the key players on the country's cultural sector hoped it would become their ideal location – a advanced facility to exhibit them to the global audience.

But the waters were muddied some time back after the national authorities declared that the traditional ruler would be the legal custodian of repatriated artifacts – and the royal household advocated for a facility under the monarch's supervision, contrary to the desires of the former governor.

Political Navigation

This left Mowaa in a challenging circumstance: maintaining a definite position on restitution while being careful on guardianship – and emphasising its broader vision, which led to|c