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Nigeria's remarkable new Art Museum of West Africa (Mowaa) has ended up in the crosshairs of regional political struggles during the time it was scheduled to – but failed – to begin operations to the general public for the first time.

The Ambitious Project

The 15-acre complex sits in the center of Benin's urban center, main city of the southern state of Edo – and contains an archaeological dig and buildings designed by high-profile British-Ghanaian architect Sir David Adjaye, best known for the Washington African American Museum that opened in Washington in 2016.

It has been half a decade in the making – and is designed to showcase both the past and the current era of artistic expression in the area famous for the historic artworks, artworks taken from the city's royal palace by British troops in the 19th Century.

Setup and Prospects

It is notable – and prior to the scheduled opening, Mowaa was energetic with workers committed to show it is a institution that can rival renowned museums and galleries in the Western world.

Within art restorers precisely revealed artworks from protective packaging, examining each piece and taking detailed documentation before arranging them on walls and stands.

Specialists adjusted climate control systems. In the scientific facility, personnel set up devices intended to maintain historical artefacts.

Financial Backing and Economic Vision

The venture has been the concept of entrepreneur Phillip Ihenacho – currently Mowaa's chief executive.

"I want us to have a significant economic impact on communities around here," he explained to journalists, noting that he wanted to make the city "a cultural destination."

Mowaa, a non-profit national foundation, envisions itself generating more than 30,000 work positions and adding more than $80m annually to the regional creative economy through partnerships and activities.

Financial Support and Government Issues

It has needed $25m to achieve this stage – money gathered from various supporters, such as the European governments, the London institution and the local administration.

But now the regional administration has pulled the rug from beneath it – terminating the occupancy of the land on which the building was erected.

An official representative stated this was because in the original paperwork it had called itself Edo Museum of West African Art – and it had since eliminated "the state identifier" from its designation.

Unrest and Official Response

This declaration followed rallies on recently, when protesters stormed the complex insisting it be named the Royal Benin Museum.

A disruptive group confronted overseas dignitaries at the facility before the inauguration – compelling them to be hurried away under official guard.

Head of state Bola Tinubu has even become involved to work to address the conflict, establishing a special task force to manage the situation.

Political Complexities

But how has this turned into so divisive – and such a public relations crisis?

A great deal of it comes down to internal conflicts at a regional government level, as it was the former state leader Godwin Obaseki – whose administration ended the previous year – who was a major backer of the project.

And it seems the leadership of the current leader, a strong supporter of the local traditional ruler, called the Oba, may desire more of a stake in the initiative. The activists on the weekend, for case, were demanding that the facility be put under the supervision of the current Oba.

The Benin Bronzes Controversy

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

Because though the institution does eventually open, these bronzes will be conspicuously absent.

They are metal, ivory and wooden carvings that once decorated the king's residence of the ancient kingdom before UK forces looted them in the colonial era during a colonial invasion.

Today, numerous continue to be distributed across museums in the West -- such as the London museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Repatriation Campaigns

Their repatriation has become one of the most contested debates in the international art community. Approximately 150 have now made their way home – and further are due to follow.

When ideas for the museum in the city were initially revealed in recent years, the key players on Nigeria's art scene anticipated it would become their ideal location – a modern campus to exhibit them to the world.

But the situation became complicated some time back after the national authorities declared that the traditional ruler would be the legal custodian of repatriated artifacts – and the royal household pushed for a institution under the royal family's direct control, opposing the preferences of the former governor.

Strategic Positioning

This left Mowaa in a difficult situation: maintaining a definite position on repatriation while remaining diplomatic on custodianship – and highlighting its wider mission, which led to|c