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Nigeria's stunning new West African Art Museum (Mowaa) has ended up in the center of local power politics during the time it was scheduled to – but failed – to welcome visitors to the public for the first time.

The Grand Vision

The six-hectare campus sits in the center of Benin's urban center, main city of the southern area of Edo – and includes an historical dig and structures designed by renowned British-Ghanaian architect Sir David Adjaye, best known for the Washington African American Museum that opened in the US capital in 2016.

It has been 60 months in the making – and is planned to showcase both the history and the modern times of cultural innovation in the region famous for the cultural artifacts, cultural objects taken from the royal palace by British soldiers in the 1800s.

Preparation and Promise

It is notable – and prior to the scheduled opening, Mowaa was buzzing with staff committed to show it is a institution that can match well-known cultural centers in the Western world.

Inside preservation experts carefully opened cultural items from protective packaging, examining each piece and taking detailed documentation before positioning them on walls and plinths.

Technicians adjusted environmental controls. In the materials science laboratory, staff members adjusted instruments designed to maintain ancient artefacts.

Investment and Economic Plans

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

"I aim us to have a major economic benefit on area populations around here," he explained to journalists, noting that he wanted to make this urban center "a cultural destination."

Mowaa, a not-for-profit Nigerian institution, envisions itself creating more than 30,000 work positions and contributing over $80m per year to the local cultural industry through collaborations and activities.

Funding Sources and Political Challenges

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

But at present the local government has withdrawn support from under it – terminating the use of the property on which the building was erected.

An government communicator explained this was because in the original paperwork it had called itself EMOWAA – and it had subsequently dropped "Edo" from its designation.

Protests and Political Intervention

This declaration followed protests on the weekend, when protesters invaded the facility insisting it be called the Royal Benin Museum.

A rowdy group insulted international visitors at the facility ahead of the opening – compelling them to be escorted out under police escort.

Head of state Bola Tinubu has even become involved to try and resolve the tensions, establishing a high-level committee to manage the situation.

Political Complexities

But why has this evolved into so divisive – and such a reputation problem?

A great deal of it results from local power struggles at a local state level, as it was Edo's previous governor Godwin Obaseki – whose governance finished recently – who was a major backer of the initiative.

And it seems the leadership of the current leader, a close ally of the area king, called the Oba, may seek more of a stake in the project. The protesters on that day, for instance, were insisting that the institution be positioned under the supervision of the current Oba.

The Benin Bronzes Controversy

This emphasizes the contentious issue of the Benin Bronzes, one of the continent's most renowned historical legacy.

Because although the museum does ultimately open, these bronzes will be noticeably missing.

They are brass, elephant tusk and timber carvings that once embellished the royal palace of the Benin Kingdom before colonial troops took them in the colonial era during a punitive expedition.

Nowadays, thousands stay scattered across galleries in the West -- such as the UK institution, Berlin's Humboldt Forum and the American museum.

Repatriation Campaigns

Their return has become one of the most debated debates in the worldwide cultural sector. About 150 have presently been returned – and further are due to follow.

When ideas for the institution in the urban center were originally proposed in recent years, the key players on the national arts community expected it would become their perfect venue – a state-of-the-art complex to display them to the international community.

But the issues became confused two years ago after the federal government declared that the Oba would be the proper guardian of any returned bronzes – and the palace advocated for a museum under the royal family's direct control, opposing the wishes of the ex-leader.

Strategic Positioning

This placed Mowaa in a difficult situation: maintaining a definite position on restitution while being careful on guardianship – and highlighting its larger purpose, which led to|c