DAHOMEY
A Review by Novo Ukiri
“It was so dark in this foreign place.”
With a history and culture that feels foreign to a new generation, how can Africans connect with their past in today’s world? Mati Diop’s documentary DAHOMEY follows the return of 26 royal artefacts stolen from the Kingdom of Dahomey (modern Benin in West Africa) by French colonial forces. It raises important questions about colonialism and its lasting effects. This impact goes beyond the physical, continuing to influence the mental and cultural landscape of future generations in the Republic of Benin.
By taking on the perspective of the treasures themselves and uniquely granting them their own narrative voice, Diop forces us to reflect on the transformations in Africa today and the role colonialism has played in shaping them. The documentary presents a vibrant portrait of contemporary Benin, yet it is often juxtaposed with Western technologies, institutions, and lifestyles that seem entirely unfamiliar to the historic gaze of the artefacts. The ghostly voice of the treasures poignantly reveals how they have become foreign objects in a land they no longer recognise or fit into.
The discussions surrounding the artefacts reflect some of the complexities of repatriation. Different responses from the new generation in Benin highlight the disconnect that has emerged over the past century. The documentary conveys this uncertainty about how the people of modern-day Benin should feel about the returning artefacts. Ultimately, DAHOMEY poses a powerful question: how can those with a stolen past and an infiltrated present reclaim what is rightfully theirs? An important step in this process is ensuring that the decision rests in the hands of the people.
An incredibly thoughtful documentary, DAHOMEY not only demonstrates a rich understanding of its subject matter but also employs an engaging style to convey its ideas. It stands out as a personal, political and artistic highlight in cinema this year.