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The nation's stunning new Museum of West African Art (Mowaa) has found itself in the middle of regional political struggles during the week it was expected to – but was unable – to welcome visitors to the public for the very first time.

The Major Initiative

The 15-acre facility sits in the core of the Edo state capital, capital of the southern state of Edo – and contains an archaeological dig and structures planned by renowned Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that was inaugurated in Washington in 2016.

It has been 60 months in the creation – and is envisioned to showcase both the history and the current era of creativity in the area famous for the cultural artifacts, cultural objects stolen from the city's royal palace by British troops in the 19th Century.

Setup and Prospects

It is impressive – and prior to the planned opening, Mowaa was buzzing with staff determined to show it is a institution that can match renowned cultural centers in the Western world.

Within art restorers carefully opened art pieces from secure wrapping, checking each piece and taking thorough documentation before positioning them on exhibition areas and plinths.

Experts adjusted temperature regulation systems. In the materials science laboratory, personnel set up devices meant to conserve centuries-old items.

Investment and Economic Plans

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

"I want us to have a substantial economic benefit on communities around here," he explained to media outlets, mentioning that he aspired to make this urban center "a cultural destination."

Mowaa, a not-for-profit national foundation, aims at establishing over 30,000 direct and indirect jobs and adding more than $80m annually to the local cultural industry through alliances and activities.

Financial Support and Government Issues

It has taken $25m to reach this point – capital gathered from multiple supporters, such as the French and German governments, the UK museum and the Edo state government.

But now the state authorities has pulled the rug from below it – canceling the use of the property on which the museum was built.

An government communicator clarified this was because in the initial documents it had identified as Edo Museum of West African Art – and it had subsequently removed "the state identifier" from its name.

Protests and Political Intervention

This declaration was preceded by demonstrations on the weekend, when people stormed the campus insisting it be designated the Museum of the Benin Kingdom.

A boisterous assembly confronted international visitors at the museum ahead of the launch – compelling them to be quickly removed under official guard.

National leader Bola Tinubu has also stepped in to attempt to settle the conflict, creating a special task force to do some damage control.

Political Complexities

But how has this evolved into so divisive – and such a PR disaster?

The majority of it results 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 primary advocate of the project.

And it appears the leadership of the recently elected official, a key associate of the area king, called the Oba, may seek greater involvement in the venture. The protesters on Sunday, for example, were insisting that the institution be put under the authority of the current Oba.

The Historical Objects Discussion

This brings into focus the controversial matter of the historical artworks, one of the continent's most famous artistic heritage.

Because even if the facility does finally welcome visitors, these bronzes will be clearly not present.

They are brass, elephant tusk and timber artworks that once adorned the king's residence of the ancient kingdom before colonial troops looted them in 1897 during a military operation.

Currently, thousands remain spread across galleries in Europe and North America -- such as the UK institution, European center and the New York institution.

Return Initiatives

Their return has become one of the most disputed debates in the global art world. Approximately 150 have now been returned – and additional are scheduled to be repatriated.

When plans for the facility in the city were initially revealed in recent years, the influential figures on the national arts community anticipated it would become their perfect venue – a modern facility to exhibit them to the world.

But the issues became confused recently after the central administration declared that the traditional ruler would be the legal custodian of any returned bronzes – and the palace pushed for a facility under the royal family's direct control, contrary to the desires of Obaseki.

Diplomatic Challenges

This left Mowaa in a difficult situation: asserting a specific viewpoint on restitution while being careful on ownership – and stressing its larger purpose, which led to|c