Architecture of Unforgetting

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...

NOWAYMOWAA: HOW THE ROYAL BENIN MUSEUM WAS HIJACKED AND WHY IT IS IMPORTANT WE RESUME AND COMPLETE THE BUILDING IN ITS ORIGINAL NAME AND PURPOSE AS  ROYAL BENIN MUSEUM.    ‘EMOWAA’ or its latter name ’MOWAA’ and the grants and funding  (by the phrase “ grants and funding” that we use here and throughout we  mean grants and funding  from both Edo as well as so-called ‘foreign donors’ ) and architectural design for the building in question (and currently in development) would never have come into being without the issue of the artefacts looted from Benin Kingdom in 1897 by the British forces. The dialogue to have same returned to Benin Kingdom was what started the push for a ‘world class museum’ for precisely the artefacts in question. All of which means this same building ‘MOWAA’ suddenly made a ‘privately owned’ edifice is a matter of much urgency  that needs to be investigated by the palace, the state government and the federal government of Nig...