Museum of West African Art addresses misconceptions after the protest disruption in Benin on Sunday

The Museum of West African Art has released an official statement addressing misconceptions about its operations and mission after protests disrupted a preview event on November 9 2025 in Benin City, Edo state.

The statement, issued November 10, comes in response to demonstrations that saw dozens of protesters storm the museum’s premises during a closed preview for partners and stakeholders, forcing police to evacuate foreign guests and temporarily delaying the museum’s planned opening.

The demonstrators, some reportedly members of the royal family, accused museum organisers of excluding the Benin Royal Palace from the museum’s operations and control over repatriated artefacts.

In its five-point clarification via the statement seen by Neusroom, MOWAA addressed several key misconceptions that have circulated about the institution since its inception in 2020.

The museum emphatically stated it does not hold, nor has it ever claimed title to, any Benin Bronzes — the thousands of artefacts looted by British forces during the infamous 1897 raid on the Kingdom of Benin. “Since our inception in 2020, the Museum has consistently affirmed that it has no claims to these artefacts,” the statement read.

MOWAA’s focus, according to the statement, has been on broader West African art, research, education, and conservation, with emphasis on modern and contemporary works, as well as historical pieces from Nigeria and beyond. Notably, there are no Benin Bronzes currently on display at the museum, nor have there ever been.

The institution also denied claims that it presented itself as the Benin Royal Museum to secure funding, suggesting that “relevant authorities confirm directly with any and all of our donors that we have never misrepresented our status.”

The statement opened with an affirmation of respect for His Royal Majesty Oba Ewuare II, the Oba of Benin, whom the museum “holds in the highest esteem.” MOWAA pledged to continue fostering understanding and goodwill while remaining “dedicated to engaging respectfully” in efforts to preserve and advance West Africa’s cultural legacy.

MOWAA also clarified that contrary to some reports, no formal commissioning or official opening of the museum has taken place. What was planned on November 9 is a private preview for partners and stakeholders, marking the start of our preview week for our first contemporary exhibition and a showcase of recently conserved historical works from Nigeria and West Africa.”

The museum stressed that none of the historical works on display were of Benin heritage.

The museum positioned itself as a complementary force in Benin City’s cultural ecosystem rather than a competitor. MOWAA stated its commitment to supporting other museums and cultural institutions across Benin City and West Africa, with the goal of contributing to the city’s economic development and strengthening its image as a regional cultural capital.

“MOWAA’s goal has always been to complement, not compete with, other cultural institutions,” the statement read. “We do this by fostering collaboration with artists, researchers, universities and museums across the region.”

Museum directors expressed both sadness and hope following the disruption.

“We were saddened by the events of yesterday,” said Phillip Ihenacho, Director of MOWAA. “But we hope this moment can lead to renewed dialogue, engagement and understanding, so that together we can realise the full potential of what MOWAA can represent for Nigeria and Africa at large.”

Ore Disu, Director of the MOWAA Institute, emphasized the institution’s broader mission: “We set out to demonstrate that it’s possible to build world-class conservation facilities, research, and exhibition spaces right here in Nigeria. We’ve shown that African stories can be told on our own terms, and I’m incredibly proud and grateful for what we’ve accomplished so far. This is a gift for black and African people everywhere; for people today and future generations.”

What you should know about the controversy

The tensions surrounding MOWAA reflect deeper debates about cultural ownership, restitution, and authority over heritage in post-colonial Africa. The Benin Bronzes — intricate brass plaques and sculptures created from the 15th century onward — represent one of the most significant cases of looted African art in history.

While the museum was initially conceived amid discussions about housing repatriated Benin Bronzes, it has since pivoted to showcasing contemporary West African art and broader regional heritage. This shift, however, has not quelled concerns among some traditional authorities and community members about the museum’s legitimacy and its relationship to the royal palace.

The protest on November 9 saw property damage and forced a rapid police response to prevent escalation. More than 100 protesters had also demonstrated earlier in the week outside the Edo state legislature, according to reports.

The museum emphasized that its statement represents the only official communication from the institution on these matters, noting that “all other communications on this issue do not represent the Museum.”

The Museum of West African Art, designed by renowned architect David Adjaye and built on state-owned land, features conservation labs, exhibition galleries, and research facilities aimed at positioning Benin City as a hub for West African art and scholarship.

Whether the museum can fulfil its stated mission of complementing rather than competing with existing cultural institutions — particularly those connected to the royal palace — may depend on the “renewed dialogue” that Ihenacho called for in the wake of Sunday’s disruption.