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The nation's impressive new Museum of West African Art (Mowaa) has landed in the middle of local power politics during the week it was expected to – but failed – to open its doors to the general public for the initial occasion.

The Major Initiative

The 15-acre facility sits in the center of Benin City, administrative center of the southern state of Edo – and features an excavation site and facilities designed by renowned British-Ghanaian architect Sir David Adjaye, particularly noted 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 planned to celebrate both the past and the current era of creativity in the area famous for the cultural artifacts, historical pieces taken from the king's palace by British soldiers in the 1800s.

Readiness and Potential

It is notable – and ahead of the anticipated opening, Mowaa was active with employees resolved to show it is a place that can rival renowned art institutions in the West.

Within preservation experts meticulously unwrapped artworks from safety materials, inspecting each piece and taking meticulous notes before positioning them on display surfaces and stands.

Experts adjusted environmental controls. In the research lab, personnel adjusted devices intended to maintain historical items.

Investment and Economic Plans

The initiative has been the brainchild of entrepreneur Phillip Ihenacho – currently Mowaa's managing director.

"I hope us to have a significant economic impact on area populations in this region," he explained to media outlets, mentioning that he wanted to make Benin City "an arts hub."

Mowaa, a non-profit local organization, envisions itself generating more than 30,000 work positions and adding over $80m each year to the regional creative economy through collaborations and programming.

Funding Sources and Political Challenges

It has taken $25m to reach this point – funds gathered from multiple supporters, such as the French and German governments, the London institution and the regional authorities.

But currently the local government has withdrawn support from beneath it – revoking the occupancy of the land on which the building was erected.

An official representative explained this was because in the original paperwork it had identified as EMOWAA – and it had since dropped "Edo" from its title.

Demonstrations and Government Action

This declaration followed demonstrations on the weekend, when protesters entered the campus calling for it be called the Royal Benin Museum.

A boisterous group harassed overseas dignitaries at the venue ahead of the inauguration – requiring them to be hurried away under security protection.

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

Political Complexities

But in what way has this turned into so politicised – and such a reputation problem?

A great deal of it results from internal conflicts at a area administrative level, as it was the former state leader Godwin Obaseki – whose administration ended last year – who was a primary advocate of the initiative.

And it seems the administration of the recently elected official, a key associate of the regional monarch, called the Oba, may desire increased control in the venture. The demonstrators on that day, for instance, were demanding that the facility be put under the control of Oba Ewuare II.

The Cultural Artifacts Debate

This highlights the controversial matter of the historical artworks, one of the continent's most renowned artistic heritage.

Because even if the institution does eventually open, these artifacts will be conspicuously absent.

They are metal, elephant tusk and timber sculptures that once adorned the royal palace of the Benin Kingdom before colonial troops looted them in 1897 during a punitive expedition.

Currently, thousands continue to be distributed across galleries in the West -- such as the London museum, European center and the Metropolitan Museum of Art.

Restitution Efforts

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

When ideas for the museum in the city were first announced in recent years, the key players on the national arts community hoped it would become their perfect venue – a state-of-the-art campus to show them off to the global audience.

But the waters were muddied some time back after the federal government stated that the royal leader would be the proper guardian of returned objects – and the palace campaigned for a museum under the king's authority, against the desires of Obaseki.

Political Navigation

This left Mowaa in a delicate position: maintaining a definite position on restitution while remaining diplomatic on custodianship – and stressing its larger purpose, which led to|c