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Nigeria's remarkable new West African Art Museum (Mowaa) has found itself in the crosshairs of regional political struggles during the week it was scheduled to – but failed – to welcome visitors to the public for the very first time.

The Major Initiative

The 15-acre facility sits in the heart of the Edo state capital, administrative center of the southern region of Edo – and includes an historical dig and buildings designed by celebrated British-Ghanaian architect Sir David Adjaye, particularly noted for the Washington African American Museum that was inaugurated in Washington in 2016.

It has been 60 months in the creation – and is designed to showcase both the heritage and the modern times of creativity in the area known for the cultural artifacts, artworks stolen from the royal palace by British soldiers in the nineteenth century.

Readiness and Potential

It is remarkable – and before the scheduled opening, Mowaa was buzzing with employees committed to prove it is a place that can match well-known cultural centers in the Europe and America.

Within conservators precisely unwrapped artworks from secure wrapping, inspecting each piece and taking thorough notes before positioning them on exhibition areas and stands.

Specialists adjusted climate control systems. In the research lab, staff members adjusted equipment designed to maintain historical artefacts.

Investment and Economic Plans

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

"I want us to have a significant economic benefit on local residents in the vicinity," he explained to the press, adding that he aspired to make the city "a tourism center."

Mowaa, a charitable local organization, envisions itself establishing in excess of 30,000 work positions and contributing more than $80m each year to the regional creative economy through collaborations and events.

Financial Support and Government Issues

It has required $25m to achieve this stage – money collected from multiple donors, including the French and German governments, the London institution and the Edo state government.

But now the regional administration has withdrawn support from below it – revoking the occupancy of the property on which the facility was constructed.

An Edo state spokesperson explained this was because in the original paperwork it had called itself Edo Museum of West African Art – and it had later removed "the state identifier" from its title.

Unrest and Official Response

This declaration was preceded by rallies on the weekend, when people stormed the facility insisting it be named the Royal Benin Museum.

A boisterous assembly harassed foreign guests at the museum prior to the inauguration – compelling them to be escorted out under security protection.

National leader Bola Tinubu has also become involved to try and resolve the dispute, setting up a high-level committee to address the controversy.

Administrative Challenges

But in what way has this evolved into so divisive – and such a PR disaster?

A great deal of it comes down to local power struggles at a local state level, as it was Edo's previous governor Godwin Obaseki – whose governance concluded recently – who was a key supporter of the museum.

And it looks like the administration of the new governor, a key associate of the regional monarch, referred to as the Oba, may desire increased control in the initiative. The protesters on that day, for case, were insisting that the institution be positioned under the authority of Oba Ewuare II.

The Benin Bronzes Controversy

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

Because though the institution does eventually welcome visitors, these artifacts will be noticeably missing.

They are metal, ivory and timber artworks that once adorned the royal palace of the historical empire before colonial troops took them in the colonial era during a colonial invasion.

Nowadays, thousands continue to be spread across museums in Europe and North America -- featuring the UK institution, European center and the American museum.

Repatriation Campaigns

Their return has become one of the most debated discussions in the global art world. Approximately 150 have now come back – and additional are due to follow.

When plans for the institution in Benin City were originally proposed in recent years, the movers and shakers on the national arts community anticipated it would become their ideal location – a state-of-the-art campus to exhibit them to the global audience.

But the situation became complicated recently after the federal government announced that the Oba would be the legal custodian of repatriated artifacts – and the monarch's court campaigned for a institution under the royal family's direct control, against the wishes of the ex-leader.

Political Navigation

This placed Mowaa in a delicate position: asserting a specific viewpoint on restitution while staying tactful on custodianship – and stressing its larger purpose, which led to|c