The controversy surrounding the Museum of West African Art (MOWAA) in Benin City has deepened following new revelations and public questions over the project’s funding, ownership, and transparency.

In a statement credited to Ifaluyi-Isibor, he disclosed that the project was initially named EMOWAA (Edo Museum of West African Art) because former Governor Godwin Obaseki wanted “Edo” to be included in the name. However, according to him, foreign donors preferred a broader, more inclusive identity that would appeal to a global audience.

“It was initially named EMOWAA because Governor Obaseki wanted to have Edo in front of it, but those who were bringing the donations said they wanted a more holistic view for West Africa. They wanted a global audience,” Ifaluyi-Isibor explained during a media interview.

The remarks have sparked renewed public debate, with many Edo citizens and activists questioning the transparency behind the multi-million-euro project and the role of the state government in its establishment.

Across social media, users have demanded clarity on several key issues surrounding the project:

• Who owns MOWAA?

• What became of the Benin Dialogue Group, which was originally part of plans to return looted Benin artifacts?

• Which international universities and donors contributed to the museum’s funding?

• What year was EMOWAA registered, and how much of Edo taxpayers’ money was invested?

• Why did Governor Obaseki allegedly change the name from EMOWAA to MOWAA?

• Who received the €42 million European grant, and how was it used?

• Who currently oversees the museum’s construction and management?

Public frustration continues to rise, as some critics accuse the former governor of running an opaque administration that lacked accountability and sidelined traditional institutions.

One viral comment read:

“How can it be that the former governor destroyed a state hospital and allocated the land for a private museum without following due process? The organizers should have ensured that all unresolved issues were addressed before proceeding.”

The MOWAA project, originally presented as a symbol of cultural revival and a hub for repatriated Benin artifacts, is now caught in a web of political, cultural, and financial controversy.

As calls grow louder for transparency, citizens and cultural groups are urging the Edo State Government and the museum’s management to publish a full report detailing ownership structure, funding sources, and the current status of the project.