Film screening
DAHOMEY
Stadtkino Basel
Klostergasse 5, 4051 Basel
"When art comes home "Die Zeit online
"November 2021: 26 art treasures from the Kingdom of Dahomey leave Paris and return to their country of origin, today's Benin.
"November 2021: 26 art treasures from the Kingdom of Dahomey leave Paris and return to their country of origin, today's Benin.
Veranstaltungsdetails
"When art comes home "Die Zeit online
"November 2021: 26 art treasures from the Kingdom of Dahomey leave Paris and return to their country of origin, today's Benin. Together with thousands of other objects, they were looted by French colonial troops in 1892. But how should the returning objects be received in a country that has changed dramatically in their absence? A political debate flares up among students at the University of Abomey-Calavi in Benin. "Berlinale
"It is the voices of many people, digitally alienated, that create the timbre of the ancestral voice. (...) Otherwise Mati Diop dispenses with explanations: Who was Ghézo? When and under what circumstances was the artwork stolen? Who initiated the restitution? Until when was Benin called Dahomey, and does it run within the same borders? Just Google it yourself, seems to be Diop's answer, because her film does not educate, but lets images speak. "FAZ
DO 06.02., 18:30
The debate about the restitution of cultural heritage from the Kingdom of Benin (Nigeria) is highly topical. Together with seven other Swiss museums, the Museum der Kulturen Basel is investigating the colonial provenance of its collections. FollowingDahomey, Ursula Regehr (Africa curator, Museum der Kulturen Basel) will briefly introduce the project and discuss the film by Mati Diop and the significance of things, collaborative research and restitution with Dr. Zainabu Jallo (social anthropologist and lecturer, University of Basel). The talk will be held in English.
Participants and additional information:
France, Senegal, Benin 2024
68 min. color. DCP. F/d/f
Director: Mati Diop
Written by: Mati Diop, Malkenzy Orcel
Cinematography: Joséphine Drouin-Viallard
Editing: Gabriel Gonzalez
Music: Wally Badarou, DeanBlunt
With: Gildas Adannou, Morias Agbessi, Maryline Agbossi
Note: This text was translated by machine translation software and not by a human translator. It may contain translation errors.
"November 2021: 26 art treasures from the Kingdom of Dahomey leave Paris and return to their country of origin, today's Benin. Together with thousands of other objects, they were looted by French colonial troops in 1892. But how should the returning objects be received in a country that has changed dramatically in their absence? A political debate flares up among students at the University of Abomey-Calavi in Benin. "Berlinale
"It is the voices of many people, digitally alienated, that create the timbre of the ancestral voice. (...) Otherwise Mati Diop dispenses with explanations: Who was Ghézo? When and under what circumstances was the artwork stolen? Who initiated the restitution? Until when was Benin called Dahomey, and does it run within the same borders? Just Google it yourself, seems to be Diop's answer, because her film does not educate, but lets images speak. "FAZ
DO 06.02., 18:30
The debate about the restitution of cultural heritage from the Kingdom of Benin (Nigeria) is highly topical. Together with seven other Swiss museums, the Museum der Kulturen Basel is investigating the colonial provenance of its collections. FollowingDahomey, Ursula Regehr (Africa curator, Museum der Kulturen Basel) will briefly introduce the project and discuss the film by Mati Diop and the significance of things, collaborative research and restitution with Dr. Zainabu Jallo (social anthropologist and lecturer, University of Basel). The talk will be held in English.
Participants and additional information:
France, Senegal, Benin 2024
68 min. color. DCP. F/d/f
Director: Mati Diop
Written by: Mati Diop, Malkenzy Orcel
Cinematography: Joséphine Drouin-Viallard
Editing: Gabriel Gonzalez
Music: Wally Badarou, DeanBlunt
With: Gildas Adannou, Morias Agbessi, Maryline Agbossi
Note: This text was translated by machine translation software and not by a human translator. It may contain translation errors.