The recent awarding of the Golden Bear at the Berlin International Film Festival to “Dahomey,” a documentary by Mati Diop, sheds light on the complex and sensitive issue of cultural repatriation.
The film follows the journey of 26 artifacts, including a statue of King Ghezo, from their return to Benin in 2021, marking a significant moment in France’s efforts to return looted African art.
This move comes amidst growing pressure on former colonial powers to address the historical injustice of removing cultural artifacts from their countries of origin.
In 2017, French President Emmanuel Macron acknowledged this responsibility, leading to the return of the 26 objects documented in “Dahomey.”
This follows similar initiatives by other European countries, like Germany and Belgium.
Diop’s film goes beyond simply documenting the journey of the artifacts. By giving voice to King Ghezo through animation, the director prompts viewers to consider the ethical and emotional complexities surrounding restitution. The narrative is further enriched by discussions with students at the University of Abomey-Calavi in Benin.
These young intellectuals debate the significance of the returned items, questioning whether they represent a genuine effort towards reconciliation or remain insufficient in the face of countless missing artifacts.
The students’ voices highlight the lingering effects of colonial dispossession. Gildas Adannou, a student featured in the film, emphasizes the “collective amnesia” surrounding the colonial past and the need to reconnect the present with its cultural heritage.
While acknowledging the 26 items as a symbolic first step, both Diop and the students voice the continued urgency for broader restitution efforts.
However, the path toward comprehensive repatriation remains intricate and often filled with obstacles. Portugal’s rejection of a restitution proposal in 2020 and the UK’s recent exemption of galleries and museums from legislation enabling moral grounds returns are examples of these challenges. Additionally, disagreements regarding the final custodianship of returned artifacts, as seen in the case of the Nigerian bronzes, further complicate the process.
Despite the complexities, King Ghezo’s final words in the film offer a note of hope. From his display in Benin’s presidential palace, he reflects on his role in his homeland’s journey towards reclaiming its cultural heritage: “I am the metamorphosis,” he declares, symbolizing the potential for these artifacts to bridge the past and present.
“Dahomey” serves as a powerful reminder of the ongoing fight for cultural justice and the importance of open dialogue in navigating this challenging process.