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Nigeria's impressive new West African Art Museum (Mowaa) has landed in the middle of local power politics during the week it was supposed to – but did not manage – to begin operations to the visitors for the initial occasion.

The Major Initiative

The 15-acre complex stands in the core of Benin City, administrative center of the southern area of Edo – and includes an archaeological dig and buildings planned by celebrated dual heritage architect Sir David Adjaye, best known for the Smithsonian African American Museum that was inaugurated in the US capital in 2016.

It has been 60 months in the making – and is planned to celebrate both the past and the modern times of artistic expression in the region famous for the Benin Bronzes, artworks stolen from the city's royal palace by British troops in the 19th Century.

Readiness and Potential

It is notable – and prior to the planned opening, Mowaa was buzzing with employees determined to demonstrate it is a venue that can rival established art institutions in the Western world.

Within preservation experts precisely opened art pieces from secure wrapping, inspecting each item and taking thorough records before positioning them on display surfaces and plinths.

Experts adjusted climate control systems. In the scientific facility, staff members calibrated instruments meant to maintain historical artefacts.

Investment and Economic Plans

The project has been the concept of entrepreneur Phillip Ihenacho – presently Mowaa's managing director.

"I hope us to have a major economic impact on area populations in the vicinity," he stated to journalists, noting that he wanted to make the city "a tourism center."

Mowaa, a not-for-profit local organization, sees itself generating in excess of 30,000 direct and indirect jobs and contributing more than $80m per year to the area arts sector through alliances and events.

Financial Support and Government Issues

It has taken $25m to get here – funds raised from different supporters, featuring the European governments, the British Museum and the local administration.

But currently the regional administration has pulled the rug from under it – revoking the occupancy of the land on which the facility was constructed.

An government communicator explained this was because in the early agreements it had referred to itself as EMOWAA – and it had later dropped "Edo" from its name.

Unrest and Official Response

This declaration followed rallies on Sunday, when people stormed the complex calling for it be called the Benin Royal Museum.

A boisterous assembly confronted overseas dignitaries at the venue before the launch – compelling them to be hurried away under police escort.

National leader Bola Tinubu has even become involved to attempt to settle the tensions, setting up a high-level committee to do some damage control.

Political Complexities

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

Much of it stems from local power struggles at a regional government level, as it was the former state leader Godwin Obaseki – whose administration finished the previous year – who was a key supporter of the museum.

And it looks like the leadership of the current leader, a close ally of the area king, called the royal figure, may desire greater involvement in the project. The activists on that day, for instance, were insisting that the institution be placed under the authority of the current Oba.

The Cultural Artifacts Debate

This brings into focus the controversial matter of the historical artworks, one of Africa's most renowned historical legacy.

Because although the museum does eventually welcome visitors, these artifacts will be conspicuously absent.

They are metal, ivory and timber sculptures that once decorated the king's residence of the Benin Kingdom before British soldiers looted them in the colonial era during a punitive expedition.

Today, many stay spread across institutions in Europe and North America -- featuring the UK institution, Berlin's Humboldt Forum and the American museum.

Repatriation Campaigns

Their return has become one of the most debated discussions in the international art community. About 150 have currently come back – and further are scheduled to be repatriated.

When ideas for the institution in the urban center were originally proposed in recent years, the movers and shakers on Nigeria's art scene expected it would become their natural home – a state-of-the-art facility to show them off to the world.

But the waters were muddied two years ago after the national authorities declared that the royal leader would be the rightful owner of returned objects – and the monarch's court pushed for a facility under the monarch's supervision, opposing the preferences of Obaseki.

Political Navigation

This placed Mowaa in a challenging circumstance: asserting a definite position on repatriation while staying tactful on guardianship – and emphasising its larger purpose, which led to|c