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Nigeria's stunning new West African Art Museum (Mowaa) has landed in the middle of area political conflicts during the week it was supposed to – but failed – to welcome visitors to the public for the initial occasion.

The Ambitious Project

The 15-acre campus stands in the heart of the Edo state capital, administrative center of the southern state of Edo – and contains an excavation site and buildings planned by celebrated dual heritage architect Sir David Adjaye, best known for the Washington African American Museum that opened in Washington DC in 2016.

It has been half a decade in the development – and is planned to honor both the past and the current era of artistic expression in the locale known for the Benin Bronzes, artworks looted from the king's palace by UK forces in the 1800s.

Readiness and Potential

It is notable – and ahead of the planned opening, Mowaa was active with workers committed to prove it is a institution that can match renowned art institutions in the Western world.

Internally art restorers carefully opened art pieces from protective packaging, checking each artifact and taking meticulous records before arranging them on display surfaces and plinths.

Specialists adjusted environmental controls. In the materials science laboratory, officers adjusted devices intended to preserve historical objects.

Investment and Economic Plans

The project has been the brainchild of investor Phillip Ihenacho – currently Mowaa's managing director.

"I hope us to have a substantial economic benefit on area populations around here," he told journalists, noting that he hoped to make the city "an arts hub."

Mowaa, a not-for-profit local organization, envisions itself generating over 30,000 work positions and adding above $80m annually to the local cultural industry through alliances and programming.

Investment and Administrative Problems

It has required $25m to reach this point – capital raised from various donors, such as the French and German governments, the British Museum and the Edo state government.

But at present the local government has withdrawn support from below it – canceling the use of the land on which the museum was built.

An official representative stated this was because in the initial documents it had identified as the Edo-named institution – and it had later eliminated "the regional name" from its title.

Protests and Political Intervention

This announcement followed demonstrations on Sunday, when people entered the facility calling for it be called the Royal Benin Museum.

A boisterous group insulted overseas dignitaries at the museum before the inauguration – compelling them to be escorted out under security protection.

National leader Bola Tinubu has even become involved to try and resolve the conflict, setting up a high-level committee to do some damage control.

Governance Issues

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

Much of it stems from internal conflicts at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose administration ended last year – who was a primary advocate of the project.

And it appears the leadership of the current leader, a close ally of the local traditional ruler, referred to as the Oba, may seek increased control in the venture. The protesters on Sunday, for instance, were insisting that the institution be positioned under the control of Oba Ewuare II.

The Benin Bronzes Controversy

This brings into focus the controversial matter of the historical artworks, one of the continent's most renowned cultural treasures.

Because although the facility does ultimately open, these objects will be conspicuously absent.

They are metal, elephant tusk and wooden carvings that once decorated the royal palace of the ancient kingdom before British soldiers took them in 1897 during a military operation.

Nowadays, thousands stay scattered across galleries in Europe and North America -- featuring the British Museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Repatriation Campaigns

Their homecoming has become one of the most debated debates in the worldwide cultural sector. About 150 have currently come back – and more are due to follow.

When ideas for the museum in the urban center were originally proposed in recent years, the influential figures on the national arts community expected it would become their perfect venue – a modern facility to exhibit them to the global audience.

But the situation became complicated recently after the federal government declared that the traditional ruler would be the rightful owner of any returned bronzes – and the royal household campaigned for a institution under the monarch's supervision, against the desires of Obaseki.

Strategic Positioning

This placed Mowaa in a difficult situation: maintaining a definite position on repatriation while being careful on custodianship – and highlighting its wider mission, which led to|c