Exploring the Voices of “Dahomey” by Mati Diop
In Mati Diop’s compelling new documentary, “Dahomey” (now showing in theaters), a multitude of voices emerge, one of which belongs to the enigmatic Artifact No. 26. “I lost myself in my dreams, becoming one with these walls, cut off from the land of my birth as if I was dead,” it intones in French, its voice artfully modulated to embody both a deep, resonant bass and a higher, ethereal feminine tone. “Today, it’s me they have chosen, like their finest and most legitimate victim.”
While artifacts are typically silent, this imaginative choice sets the stage for the rest of Diop’s film. The documentary primarily consists of observational footage documenting the intricate process of shipping and repatriating 26 significant objects that France looted from the kingdom of Dahomey (present-day Benin) during its invasion in 1892. For over a century, these treasures were housed in the Quai Branly museum in Paris, a repository for Indigenous art and cultural artifacts from Africa, Asia, Oceania, and the Americas.
The return of these 26 precious artifacts is part of a much broader narrative that traces back to a report on the restitution of African treasures. This report was commissioned by French President Emmanuel Macron in 2018. In November of that year, he announced the intention to return these items and indicated that his government would explore the possibility of repatriating other objects taken from African nations without consent. However, Macron did not fully endorse the report’s recommendation to return all items upon request. This decision sparked a lengthy debate among other former colonial powers in Europe, including Germany and Britain, regarding similar treasures that reside in their national museums and archives.
The journey to actually return these initial 26 artifacts was a protracted one. Among them were striking effigies of the rulers King Behanzin and King Glélé, two ornate thrones, and four intricately painted gates from Behanzin’s palace. “Dahomey” focuses on their journey as a means to delve into the complex implications of repatriation—not from the perspective of Europeans, but from that of the Beninese people. Viewers witness conservators and curators meticulously packing each item for transport. The camera even adopts the perspective of Artifact No. 26 at one point, capturing the sound of screws being fastened into the crate, followed by the ambient noises of their transit.
Upon arrival in Benin, officials gather for a significant and emotional occasion, marking a pivotal moment in the ongoing dialogue about cultural heritage and the legacy of colonialism.
