We had the privilege of attending the private preview of the Museum of West African Art (MOWAA) on Sunday morning, November 9 in Benin City, Edo State. The experience was nothing short of extraordinary, a landmark moment that revealed both the museum’s inaugural exhibition, “Nigeria Imaginary,” first presented at the Venice Biennale, and its newly opened Heritage and Archaeology Lab, now the largest archive of its kind in West Africa. The archive presented breathtaking ancient works: Nok terracotta heads (c. 500 BCE), Ife bronze heads and figures (12th–15th centuries CE), Igbo-Ukwu snail shell and bronze artifacts (9th century CE), legendary Owo leopard, numerous ancient ornaments, figurines, and intricate carvings, each illuminating the region’s deep artistic lineage. Together, the exhibition and the archive signal a bold new era for Benin City as a global center of culture and scholarship.
The quality of the curation was simply stunning, a testament to scholarly research and design excellence which underscored the museum’s immense cultural value as a guardian of West African heritage.
Unfortunately, this celebration of culture was marred by a protest. Parts of the reception pavilion and outer exhibition spaces were vandalized, attendees were intimidated and the event was disrupted. After about two hours the police escorted everyone away to safety.
MOWAA’s management issued a public statement clarifying its mission. The museum emphatically denied any claim to Benin royal property, stressing that it “does not claim ownership of any Benin Bronzes or artefacts” and that all items in its care are held with the consent of the rightful owners or authorities. It underscored that MOWAA is an independent, non-profit research and education institution focused on modern and contemporary West African art. The museum reaffirmed its deep respect for the people of Benin and His Royal Majesty the Oba of Benin, and highlighted that its forthcoming MOWAA Institute will serve as a center for training, research and cultural exchange – creating opportunities for Edo artisans and creative professionals. In short, MOWAA presented itself as a scholarly and cultural partner, not a claimant of contested antiquities.
The Federal Ministry echoed these concerns. Culture Minister Hannatu Musa Musawa condemned the attack and urged calm. She warned that such disruption “endangers a treasured cultural asset” and “threatens the peaceful environment necessary for cultural exchange and the preservation of our artistic patrimony”. The Minister said the federal government is in active consultation with Edo State authorities, security agencies and other stakeholders “to establish a full understanding of the circumstances” and to ensure an “appropriate and proportionate response”. Her statement implicitly stressed the importance of dialogue and understanding in resolving tensions over cultural projects. This is a call for restraint, it is clear that open communication – not intimidation – must guide the way forward.
By showcasing ancient treasures alongside contemporary art, the museum can make Benin a global cultural destination. MOWAA itself notes that its programs are expected to boost Edo’s economy by attracting tourism and creating jobs. International media have already begun to highlight Benin City’s renaissance, listing it among the world’s top new destinations.
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