Posts

Image
MOWAA Part Three: Edo Paid First — Obaseki, Iheanacho, and the Donors Who Came After. INTRO: MOWAA was introduced to Edo people as a shared cultural legacy — a partnership involving Edo State, national institutions, and the Benin Palace. But documents tell a more complicated story. In this Truth Unveiled investigation PART 1 -3, we examine how MOWAA's structure evolved under the administration of Godwin Obaseki, raising serious questions about who truly controlled the project. From its registration in January 2020, to director removals in February 2022, and further trustee and board changes in October 2024, this episode follows the paper trail - the guarantors, the appointments, and the quiet changing of names behind the scenes. Why is ‘MOWAA’ a ‘private’ entity on paper with the public narrative that it is a “foreign” Donor project? Taken together, the documents establish a clear sequence: 1. Edo provided the land.  2. Edo paid first.  3. Edo unlocked donor particip...
Image
Obaseki and MOWAA: A Public Legacy Wrapped in Private Control? Part One of the MOWAA investigation.  See also video. See _art Two below.  Also see :  MOWAA Part One:   https://www.facebook.com/reel/1501115394309824  MOWAA Part Two:  https://www.facebook.com/reel/891902693238787  MOWAA Part Three:  https://www.facebook.com/reel/1599433218163718  - by Osigwe Omo-Ikirodah   When the Museum of West African Art (MOWAA) was unveiled, it was framed as a cultural rebirth — a legacy project rooted in Edo history and built on a partnership involving the Edo State Government, national institutions, and the Benin Palace. It was presented as public-spirited, heritage-driven, and institutionally anchored. However, a review of incorporation documents, amended governance papers, and Corporate Affairs Commission (CAC) filings tells a more complex and troubling story — one marked by structural contradictions, quiet governance changes, and unresolved ques...