Mati Diop’s new documentary, “Dahomey,” features a unique narrative perspective, including a voice attributed to Artifact No. 26. In its poignant monologue, the artifact reflects on its experience of being lost and disconnected from its origins, stating, “I lost myself in my dreams, becoming one with these walls, cut off from the land of my birth as if I was dead.”
The film primarily consists of observational footage detailing the shipping and repatriation of 26 objects looted from the kingdom of Dahomey, now modern-day Benin, during France’s invasion in 1892. These artifacts had remained in the Quai Branly museum in Paris until their return in 2021.
The repatriation of these antiquities is part of a broader narrative stemming from a report commissioned by French President Emmanuel Macron in 2018, which addressed the restitution of African treasures. In November of that year, Macron announced the decision to return the items and to consider the restitution of other artifacts taken without consent. However, he did not fully endorse the report’s recommendation to return all such items upon request, sparking ongoing discussions among former colonial powers regarding similar possessions in their museums.
The documentary focuses on the intricate implications of repatriation, particularly from the perspective of the Beninese people. It showcases the careful packing and transportation of the artifacts, including significant items like effigies of Kings Behanzin and Glélé, and engages the audience with a viewpoint from Artifact No. 26 during the transit process.
In a notable segment, young Beninese individuals are seen discussing the broader impact of the repatriation in an open forum. They express feelings about the treasures’ return, critique the educational systems that failed to explain their history, and debate the political motivations behind the repatriation. The conversations also touch on the significance of the artifacts as sacred items versus art objects and highlight the disparity in access for children in rural areas compared to urban settings.
Diop’s approach in “Dahomey” eschews explicit narration, allowing the audience to form their own understanding of the material. The film’s ethereal quality is enhanced by the introspective thoughts of Artifact No. 26, culminating in a reflective statement about identity and continuity: “I see myself so clearly through you. Within me resonates infinity.”