This move reflects the growing pressure on former colonial powers to address the historical injustice of stripping cultural treasures from their countries of origin. In 2017, acknowledging this responsibility, French President Emmanuel Macron facilitated the return of the 26 objects documented in “Dahomey.”
This initiative follows similar steps taken by other European nations like Germany and Belgium.
Diop goes beyond simply documenting the artifacts’ journey.
Through animation, King Ghezo finds a voice, prompting viewers to contemplate the ethical and emotional layers of restitution. The narrative is further enriched by discussions with students at the University of Abomey-Calavi in Benin.
These young minds debate the returned objects’ significance, questioning whether they represent a genuine effort towards reconciliation or remain inadequate compared to the vast number of artifacts still missing.
The students’ perspectives highlight the lasting impact of colonial dispossession. Gildas Adannou, a student featured in the film, stresses the “collective amnesia” regarding the colonial past and the need to reconnect the present with its cultural heritage.
While acknowledging the 26 items as a symbolic initial step, both Diop and the students emphasize the continued urgency for broader repatriation efforts.
However, the path toward comprehensive repatriation is fraught with challenges. 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 exemplify these hurdles.
The issue is further complicated by disagreements regarding the final custodianship of returned artifacts, as seen in the case of the Nigerian bronzes.
Despite these complexities, hope arises from King Ghezo’s closing words in the film. 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 of these artifacts to bridge the past and present.
“Dahomey” stands as a powerful reminder of the ongoing fight for cultural justice and the importance of open dialogue in navigating this intricate process.
