An art of the court
Beninese art remained for a long time a court art. It remained closely linked to the king, theoba, and his entourage. The greatest tradition is that of bronze objects from Ifé, which emerges from the 14th century. Statuettes, heads and bas-reliefs represent historical facts and are reserved for the court. These works boast the power of the king and support his divine character. Placed on altars, they help theoba
to get in touch with his spirit. From these ancient centuries, there are also bronze narrative plaques that were fixed to the wall. They relate war scenes with a remarkable realism. To admire royal and ritual objects, go to the Museum of Abomey - Royal Palace. Its collection includes more than 1,400 pieces. Bas-reliefs, thrones, statues, altars and clothing attest to the richness of a civilization over three centuries.Apogee of an art
In Benin, the Ifé technique (lost wax) gives rise to an original, more vibrant style. Among the subjects encountered in sculpture, always executed with realism, the dwarf is very present. From the 15th century, dwarfs were essential to the court. Assigned to surveillance, the most acrobatic ones also entertained the king. They were believed to have occult gifts, which is why they appear on the altars of the ancestors. Animals such as the rooster and the leopard are also represented, which are other symbols of royal power.
From the 16th century onwards, Benin developed an original way of sculpting, whether in bronze or terracotta. Europeans brought corals and glass beads to the court which attracted the attention of theoba
and were incorporated into the works. The bas-reliefs became more diverse and thicker. They show scenes of daily life. With the arrival of foreigners, the motif of the Portuguese soldier in military garb made its appearance. In the 17th century, bronze art reached its peak. The motifs and techniques became richer. However, the end of this century saw a decline in the quality of production. The colonial conquest dealt a fatal blow to creation, which remained dependent on the political regime. In the Portuguese Fort - Museum of History of Ouidah, the history of the city from its foundation to independence in 1960 is retraced through major themes, such as voodoo, religion, or the evolution of cultural links with the New World.Fon Style
The warrior kingdom of the Fon experienced its full development in the 17th century. The Fon ethnic group, adepts of voodoo, produced pieces of great originality, with some Ewe and Yoruba influences. The word "voodoo" derives from the word "god" in Yoruba. Fon fetishes are particularly creative. For some, the base consists of a wooden structure that represents a figure with short legs. The facial features are hidden under an aggregate mixed with animal hair. On others, the rounded mouth and closed eyes can be seen. There are some frankly enigmatic fetishes. Wrapped in cords, they arouse curiosity. The botchios
are a category of fetishes that used to stand at the top of a post at the entrance to a village or a house to ward off threats. Whatever their appearance, all fetishes are active forces, often beneficial. The most realistic ones are adorned with red clay, dried seeds or beads.Another art form prized by the Fon was bas-relief. The bas-reliefs in the palace of Abomey, the capital of this people, are made of clay carved in hollows and painted with bright colors. Even today, the bas-reliefs unfold like comic strips. They represent historical events, symbolic animals such as the beneficial snake Dan Ayidohwèdo who bites his tail or the God Daghesu, in the guise of an armed man with a ram's head who favors victory.
The chiefs can be recognized by their command sticks, the "recades". The Center - Le Petit Musée de la Récade de Godomey offers the only space dedicated to the symbol of Beninese power. Its collection brings together private donations and contemporary creations, commissioned from national artists invited to revisit the recade.Restitution of the treasures of Abomey
Throughout its history, Benin has been cited as a precursor country in more than one respect. In the past for its democratization process; nowadays for the restitution of its works of art. Benin has recovered 26 works from the royal treasures of Abomey. These sacred works, taken by French colonial troops in 1892 as war booty, returned to their land on November 10, 2021. An unprecedented event that concludes long negotiations begun by the Beninese president in 2016. Descendants of King Behanzin, whose palace was looted by the colonists, attended the welcoming ceremony. These symbols of sovereignty will be displayed at the Fort Portugais - Museum of History in Ouidah until they can be integrated into the museum being developed in Abomey. This restitution was made possible by a special law voted by the French Parliament and derogating from the principle of inalienability of property kept by French public museums. It is the dignity of a people that is recovered through this return. Its history as well. These pieces impregnated with voodoo are linked to the cult of the ancestors. Despite the thousands of Beninese works (and other African countries) still held abroad, President Talon welcomes the agreement signed with President Macron. This marks a turning point for Beninese culture. It is now possible to propose exchanges in order to organize international exhibitions. The presence of these jewels makes the young generation aware of the importance of cultural goods. Among these objects, an anthropo-zoomorphic sculpture of King Glélé, made of wood and leather; a life-size royal statue of Béhanzin; a Bochio sculpture (Fon, 19th century); three carved polychrome wooden doors from the royal palace.
Towards contemporary art
The tone is set: Benin is resolutely looking to the future. Places like theFrench Institute of Benin
in Cotonou are a must. Exhibitions, meetings and workshops share the space with a series of festivals and theatrical performances. In Ouidah, the Museum of Ouidah - Fondation Zinsou, located behind the basilica, selects its exhibitions from the Zinsou family collection: photography, sculpture, installation and video as well as drawing, engraving and painting. Of an amazing diversity, the exhibitions value artists from Africa and elsewhere.A must-see is Le Centre - Le Petit Musée de la Récade de Godomey, a multidisciplinary art space directed by Beninese artist Dominique Zinkpè. The beating heart of creation 15 minutes from the capital. Among the artists who have been welcomed in the small museum, the young Gaël Davo denounces the conflicts in Syria; the sparkling Sènami is inspired by everything and expresses her multiple talents using recycled objects. The Ouadada Cultural Center
has moved to Porto-Novo to offer exhibitions and meetings in a warm atmosphere.The Vallois Gallery in Paris has maintained an exceptional link with Benin for the past ten years. The encounter occurred in 2012 on the occasion of the exhibition "Paris-Cotonou-Paris". The gallery owner fell under the spell of the art of Benin to which he gave a new lease of life. The exchanges that he organizes between French and Beninese artists give rise to collaborations: Stéphane Pencréac'h, Bruce Clarke or Christelle Yaovi, Jean-Baptiste Janisset and Meschac Gaba have notably benefited from it. The gallery owner's patronage has enabled Le Centre - Le Petit Musée de la Récade
to come into being. The cultural space of the Center, placed under the direction of the artist Dominique Zinkpè, has a vast exhibition space that gives young Beninese artists a chance. It is a real place of life and is completed by workshops and a cinema room. Private initiatives are the main source of support for Beninese artistic creation. There are about thirty galleries in the country, including twenty in Cotonou. The Ludovic Fadaïro gallery distributes quality African art, between abstraction and tradition. But artists also take the initiative to mount exhibitions, sometimes in their studios. Charly Djikou, painter and sculptor, invited a photographer and a painter to be inspired by his sculptures to organize a collective exhibition on the theme of the pandemic. About sixty works intended to raise awareness of the health problem, which he hopes to show in a public place, perhaps at the Artisttik Africa cultural center located in the thirteenth district of Cotonou. Otherwise, he will be happy to receive visitors in his studio. Nothing stops young talent!Street side
Created in 2013, the urban art festival Effet Graff in Cotonou attracts artists from the continent and Europe. It has become the largest street art event in French-speaking Africa. For ten days, the walls of the city are covered with paintings that honor the emblematic characters of the history of the continent. Because in Benin, graffiti conveys messages to the greatest number of people. The objective of the organizers is to transform Cotonou into an open-air museum. In 2019, artists from Togo, Senegal and France have collaborated on a series of frescoes around the central station, on the theme "Africa horizon 2050". The railway network has made available to them what has become the longest wall painted by street artists in Africa with no less than 952 meters for a surface of 2 000 m²! The "heritage wall" is now thethird
longest artistic wall in the world, behind the United Arab Emirates and Brazil. On this small kilometer, the portrait of the king of Dahomey Behanzin, signed Seenelor the Bomb, rubs shoulders with Malcolm X and Angelique Kidjo. The singer proudly relayed his portrait on social networks!
