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The nation's remarkable new Museum of West African Art (Mowaa) has landed in the middle of local power politics during the period it was scheduled to – but failed – to open its doors to the public for the first time.

The Major Initiative

The 15-acre complex stands in the heart of Benin City, main city of the southern state of Edo – and includes an historical dig and structures designed by high-profile Ghanaian-British architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that opened in Washington in 2016.

It has been half a decade in the making – and is designed to showcase both the heritage and the modern times of cultural innovation in the locale renowned for the cultural artifacts, cultural objects stolen from the royal palace by UK forces in the 1800s.

Readiness and Potential

It is remarkable – and prior to the planned opening, Mowaa was buzzing with workers determined to demonstrate it is a venue that can compete with renowned art institutions in the Western world.

Inside art restorers meticulously opened cultural items from safety materials, inspecting each artifact and taking thorough records before placing them on exhibition areas and stands.

Specialists fine-tuned climate control systems. In the scientific facility, officers set up instruments meant to conserve centuries-old items.

Funding and Economic Goals

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

"I want us to have a major economic impact on local residents in the vicinity," he told journalists, noting that he wanted to make Benin City "a tourism center."

Mowaa, a non-profit national foundation, envisions itself creating in excess of 30,000 direct and indirect jobs and contributing above $80m each year to the regional creative economy through partnerships and activities.

Investment and Administrative Problems

It has taken $25m to reach this point – capital raised from different contributors, including the international partners, the London institution and the local administration.

But at present the state authorities has pulled the rug from below it – canceling the use of the land on which the facility was constructed.

An official representative clarified this was because in the initial documents it had referred to itself as Edo Museum of West African Art – and it had subsequently dropped "the regional name" from its title.

Protests and Political Intervention

This declaration followed protests on recently, when activists stormed the campus insisting it be named the Museum of the Benin Kingdom.

A boisterous group insulted international visitors at the museum before the inauguration – forcing them to be escorted out under security protection.

Head of state Bola Tinubu has also become involved to try and resolve the tensions, establishing a special task force to do some damage control.

Governance Issues

But in what way has this evolved into so divisive – and such a reputation problem?

The majority of it comes down to local power struggles at a local state level, as it was Edo's previous governor Godwin Obaseki – whose governance ended recently – who was a primary advocate of the project.

And it appears the administration of the current leader, a key associate of the area king, known as the Oba, may seek increased control in the initiative. The activists on that day, for instance, were calling for that the facility be put under the supervision of Oba Ewuare II.

The Historical Objects Discussion

This brings into focus the contentious issue of the historical artworks, one of Africa's most famous artistic heritage.

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

They are brass, elephant tusk and wooden artworks that once decorated the monarch's home of the ancient kingdom before UK forces took them in 1897 during a punitive expedition.

Today, numerous remain scattered across museums in Europe and North America -- featuring the London museum, European center and the New York institution.

Restitution Efforts

Their homecoming has become one of the most contested discussions in the international art community. Approximately 150 have presently made their way home – and further are expected to return.

When plans for the museum in the urban center were initially revealed in recent years, the influential figures on the country's cultural sector hoped it would become their ideal location – a advanced campus to display them to the global audience.

But the waters were muddied recently after the national authorities announced that the royal leader would be the proper guardian of returned objects – and the palace advocated for a facility under the king's authority, against the preferences of the former governor.

Strategic Positioning

This placed Mowaa in a challenging circumstance: maintaining a clear stance on repatriation while being careful on ownership – and highlighting its wider mission, which led to|c