The victory of the documentary “Dahomey” directed by Mati Diop at the 74th Berlinale marks a pivotal moment in the cinematographic world by highlighting a long-obscured African story.
In 2021, 26 royal treasures from Dahomey are preparing to leave Paris to be repatriated to Benin. These works were looted during the invasion of French colonial troops in 1892. © Films du Losange/Mati Diop
The film dates back to 1892, when French colonial troops plundered Benin, then known as Dahomey, taking valuable cultural artifacts with them. Mati Diop skillfully explores this painful chapter in history, following the journey of these looted objects and highlighting the profound impact of their return to the country of origin.
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“Dahomey” by Mati Diop, the film which traces the restitution of the royal treasures of Abomey
Dahomey: the quest for identity through looted artifacts
“Dahomey” gives a voice to the objects themselves, notably through the anthropomorphic statue of King Ghézo. She expresses, in a language from Benin, Fon, her heartbreak at having lost her name, reduced to a simple number in the reserves of the Quai Branly museum in Paris. The film describes the uprooting of these works, their life in exile, and their recent return to Benin. Drawing on these visual stories, the documentary offers an emotional and captivating perspective on the complex issue of the restitution of African works of art.
© Films du Losange/Mati Diop
Beyond the narrative aspect, “Dahomey” provokes profound reflections on collective memory, the quest for justice, and the need to recognize the consequences of colonialism on African societies. This cinematographic work raises awareness and contributes to the rewriting of a more inclusive historical narrative. It highlights the power of cinema as a means of revisiting and repairing the narrative gaps of the past.
By receiving recognition at the Berlinale, “Dahomey” opens a crucial space for global discussion about cultural restitution and the need for more authentic and equitable representation of African cultures on the international stage.
Cultural restitution: what about Germany and France?
In parallel with this cinematographic consecration, France and Germany, two former colonial powers, recently launched a research fund on the provenance of African cultural objects. This fund, endowed with 2 million euros over three years, symbolizes a collective awareness of the urgency of addressing these issues bilaterally. The fund’s scientific council, headed by Senegalese philosopher Souleymane Bachir Diagne and composed of international experts, including Bénédicte Savoy, co-author of the report to French President Emmanuel Macron on the restitution of African property.
© Films du Losange/Mati Diop
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This joint project reflects an awareness of the urgency of dealing bilaterally with these central issues for current relations with Africa. It marks a significant step towards a more collaborative and ethical approach to colonial legacies. Germany, although its colonial past was brief until 1918, holds in its museums a considerable number of works from African countries, highlighting the importance of this collective approach to address these delicate questions linked to the shared colonial past. .
Benin bronzes exhibited in Berlin, Germany, with the agreement of Nigeria. Berlin planned the restitution of these works in Abuja. AP – Michael Sohn
A diverse cinematic victory
This victory is all the more interesting because of the diversity it embodies. A Franco-Senegalese director wins a prize at the Berlinale with a film exploring the history of Dahomey (present-day Benin). Exciting news!
Despite the joy this news arouses, it is important to highlight a complex reality. African cultural wealth is moving towards the West. She actively seeks an audience that is more receptive on a financial and sometimes aesthetic level. In search of recognition and support, African culture frequently finds itself at the crossroads of an Africa where culture remains closely linked to religion and a West in search of novelty and exoticism.
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Artists are forced to produce for an external audience. It is this external audience that ultimately decides, even in the eyes of Africans, what the masterpieces are. Then, whether it is books, films, they return (or not) to the continent with monetary values of access and thoughts different from the realities of the continent.
This challenge, although outdated, persists, and its outcome remains uncertain (can hope betray us?). While we wait for change, let’s celebrate the good news: Dahomey has triumphed!