As an Edo indigene in the diaspora and a critical stakeholder in the affairs of our homeland, I have followed the ongoing controversies surrounding the Museum of West African Art (MOWAA) with keen interest and deep concern. The recent remarks by His Royal Majesty, Oba Ewuare II, and the visit of European envoys to the ancient Benin Kingdom have once again drawn global attention to a matter that is not only cultural but also moral, financial, and political.
Multiple reliable sources have revealed that the German Government, between 2023 and 2024, committed close to one billion dollars to what was initially known as the Benin Royal Museum Project. However, the project’s name and structure were later changed without the Royal Palace’s consent, transforming it into the so-called Museum of West African Art (MOWAA).
At the heart of this controversy are critical questions that the newly established investigation committee, led by Senator Adams Oshiomhole, must urgently address.
First, who exactly received the over $900 million reportedly released by the German Government? Through which channels was this money paid, and how was it utilised? Transparency in this matter is non-negotiable.
Second, who does the management committee, led by Mr Philip Iheanacho, report to? What authority established this committee, what are its terms of reference, and who are its members? Suppose the funds were received in the name of the Benin Royal Museum. In that case, Edo people and the entire world deserve to know how that project metamorphosed into MOWAA without the knowledge or endorsement of the rightful custodians of the Benin heritage.
Third, if the official opening of MOWAA was fixed for November 11, 2025, what was the purpose of the so-called “inspection show” that was held on Sunday, November 9? Who within the Edo State Government authorised or participated in that event? Was the Governor of the State, Senator Monday Okpebholo, who is the Chief Security Officer, informed of the inspection? Were the Commissioner for Arts, Culture and Tourism or the Special Adviser to the Governor on Arts, Culture and Tourism notified in advance?
While I strongly condemn any act of violence or thuggery that may have occurred around the venue, it must be said that the incident was avoidable. Such chaos often arises when due protocol is ignored. In my opinion, it was both irresponsible and provocative for the organisers to bring foreign investors, partners, and diplomats into Edo State without first observing the appropriate governmental and traditional protocols. That action was an affront and an unwarranted disregard for the State’s constituted authority under the leadership of Governor Monday Okpebholo.
All these distractions, the drama, the altercations, the media spin, should not divert attention from the real issues. The Edo people deserve to know the truth.
The committee must focus on determining:
Who are the actual owners of the project?.
Who established and appointed the management team?
What are their operational mandate, tenure, and source of legitimacy?
What level of involvement, if any, does the Edo State Government have in the administration or funding of the MOWAA project?
And, most importantly, why the project’s name was changed from Benin Royal Museum, a title that truly reflects our ancestral identity, to Museum of West African Art, which dilutes the essence of Benin’s heritage.
Furthermore, a very fundamental question must now be asked: Was MOWAA ever established by any legislation, law, or judicial commission of inquiry within Edo State or the Federal Republic of Nigeria? If such a legal instrument exists, when was it enacted, and where can the document be found? So far, there is no trace of any gazetted law, edict, or judicial act that created MOWAA as a public institution. If this is indeed the case, then the entire project appears to stand on a weak legal foundation that must be clarified without delay.
The name Benin Royal Museum carries immense historical weight. The Benin Kingdom is globally recognised as the home of ancient bronzes and cultural artefacts looted during the infamous 1897 invasion. The attempt to rename and restructure the project is, therefore, deeply offensive to the collective memory of our people. It represents not just an administrative manipulation but a symbolic erasure of identity.
This is why the work of the Oshiomhole-led committee is of immense importance. The task before it is not political but moral. It must proceed with dispassionate courage, transparency, and sincerity of purpose. The committee owes it to the people of Edo State, to history, and to future generations to uncover the truth and ensure that the dignity of the Benin Kingdom is not compromised in the name of modernity or foreign partnership.
Governor Monday Okpebholo has already demonstrated commendable leadership by swiftly constituting this committee. He must be supported by all well-meaning Edo sons and daughters, at home and abroad, to see that this investigation is thorough and untainted by political or personal interests.
In the end, this issue is not merely about a building or a museum. It is about legacy, integrity, and justice. The artefacts in question are not relics of mere art; they are the sacred heritage of a civilisation that has stood the test of time. They belong to the ancestors of Benin and, by extension, to all Edo people.
The truth must prevail. Let the investigation speak clearly. Let those who diverted public trust or abused authority be held accountable. And let the Benin Royal Museum be restored to its rightful name, purpose, and custodians.
When justice is done, peace will return. When truth is told, dignity will be restored.
Deacon Darlington Okpebholo Ray, PhD Researcher, Assoc. CIPD, BAJ.
Publisher Truth Live News International is based in London, United Kingdom.