Benin in full metarmorphosis
When Culture Becomes the Engine of Reinvention
"It is at the end of the old rope that we weave the new one." This proverb was unknown to me before reading the preface of the catalog for the "Révélation" exhibition, conceived by Benin's Agency for the Development of Arts and Culture under the curatorship of Yassine Lassissi and presented at the Clément Foundation in Le François, Martinique. This saying encapsulates Benin's artistic vision, celebrating the heritage and legacy of Sossa Dede, whose masterpieces have allowed the new generation to anchor themselves firmly in their cultural roots. In his introduction, president Patrice Talon anchors his vision for Benin in art & creativity.
Sossa Dede - Statue royale anthropo-zoomorphe, entre 1889 et 1892 © Musée du Quai Branly
« It is at the end of the old rope that we weave the new one. »
In the heart of West Africa, Benin is reinventing itself. Far from clichés, the country of voodoo and the royal palaces of Abomey is charting its path towards a future where culture is no longer just a heritage, but a true lever for economic and social development. I felt this transformation as soon as I arrived in Cotonou, where creative effervescence is affirmed but not yet fully palpable.
The Agency for the Development of Arts and Culture (ADAC), under the management of William Codjo, is at the heart of this silent revolution. With the launch of the Arts and Culture Development Fund (FDAC) in October 2024, the Beninese government has laid a crucial milestone in its strategy to enhance cultural heritage. This fund, endowed with a substantial budget, promises to support artistic projects up to 30 million CFA francs, covering a wide spectrum ranging from visual arts to cinema, including literature, and I hope fashion, design, and crafts.
But what particularly struck me is the ambition underlying this initiative. It's not simply about distributing grants, but about creating a dynamic and autonomous cultural ecosystem. Project leaders are encouraged to mobilize 30% of the funding through their own means, an approach that promotes cultural entrepreneurship and empowerment of sector actors.
A Holistic Vision of Culture
Benin's strategy is not limited to traditional art forms. The Fashion Led by Youth (FLY) program, launched by Sèmè City in partnership with the French Fashion Institute, is a perfect example of this desire to embrace modernity. By training the next generation of fashion designers, Benin is positioning itself as a future hub for textile creation in West Africa.
This multidimensional approach is also reflected in the ambitious Cultural and Creative Quarter (QCC) project in Cotonou. Conceived as a true laboratory for contemporary creation, the QCC aims to make the economic capital of Benin the epicenter of cultural and creative industries in the region.
New museum projects and their management
Benin has embarked on an extensive program of creating and renovating museums, aiming to enhance its heritage and stimulate cultural tourism. Among the flagship projects:
- The International Vodun Museum (MIV) in Porto-Novo: 16,000 m² dedicated to Vodun civilization, set to open in 2025.
- The Museum of the Epic of the Amazons and Kings of Danhomè in Abomey: will house the 26 royal treasures restituted by France.
- The International Museum of Memory and Slavery (MIME) in Ouidah.
- The Museum of Contemporary Art in Cotonou.
These projects are accompanied by the renovation of existing sites such as the Historical Museum of Abomey and the History Museum of Ouidah.
To manage these new spaces, the Beninese government has implemented several initiatives:
- The creation of the "Union of Public Museums," responsible for organizing and managing museums.
- A training program for heritage professionals, including international partnerships.
- The involvement of the School of African Heritage (EPA) in Porto-Novo in training.
However, challenges persist:
- Developing attractive programming for local audiences.
- Rethinking the museum concept in the African context.
- Creating sustainable and accessible management models.
These projects are part of the broader vision to make Benin a major cultural destination in West Africa. The government, under President Patrice Talon's leadership, has allocated a substantial budget to these initiatives, with support from international partners and mostly France currently at the heart of all operations. The ambition is to create a genuine tourist and cultural circuit, combining traditional heritage and contemporary creation. This strategy is accompanied by efforts to develop tourism and hotel infrastructure. The success of these ambitious projects will depend on Benin's ability to meet the challenges of management and animation while remaining true to its vision of a culture both rooted in its heritage and oriented towards the future.
Yet I wonder about the creatives perspectives that could be the glue to maintain a Beninese edge. Where are initiatives to builds the brands preventing massive flux of import ? The experience i have had with Sofitel also hints my concern, will Cotonou become the next “petit Paris”, I am not sure that the Africans I see rebel against France-Afrique wants that.
Innovation at the service of tradition
One of the most fascinating aspects of this transformation is how Benin manages to marry tradition and innovation. The Glo-Djigbé Industrial Zone (GDIZ) is a perfect illustration of this. This free zone, located just 45 km from Cotonou, is designed as a logistics and industrial hub that can accelerate the export of Beninese cultural products to the world. Combine with Sémé City if both work in harmony, magic could happen. The recent 2025 finance law aims to reinforce this dynamic by exempting the import and sale of artworks from customs duties and VAT. A measure that should stimulate the local art market and attract international collectors. If this measure is indeed implemented, we could see Benin confirm a strategic place in West Africa as Switzerland is in Europe.
Challenges to Overcome
Despite these remarkable advances, challenges persist. The professionalization of cultural actors remains a major issue, as does the need to develop cultural infrastructure throughout the territory. Moreover, while the emphasis on visual and performing arts is commendable, it would be wise to broaden the scope of action to other creative sectors such as design, fashion, or even contemporary crafts. These fields represent not only significant economic potential but also an opportunity to position Benin at the forefront of contemporary African creation and give millions of young beninese the opportunity to be at the heart of this transformation while creating a village of cultural innovators that attract other nations in the world.
A Model for Africa ?
Observing this creative effervescence, I can't help but think that Benin is charting an original path for cultural development in Africa. By focusing on training, innovation, and cultural entrepreneurship, the country is giving itself the means to transform its rich heritage into a major economic asset. The future Sèmè City campus, with co-working spaces, a makerspace, and its media lab, embodies this vision of a creative and connected Africa. It is in these places that the cultural identity of tomorrow's Benin and perhaps also that of a part of Africa will be forged, an identity that will know how to dialogue with the world while remaining deeply rooted in its origins.
Leaving Cotonou, I think back to these artists, designers, and cultural entrepreneurs I met. Their enthusiasm and creativity are contagious. They are the true artisans of this Beninese cultural renaissance. A renaissance that, I am convinced, will make Benin an unmissable destination for all lovers of art, culture, and creation in West Africa. Benin strategic vision shows us that it is possible to build a future where culture is not just one sector among others, but the beating heart of national development. A lesson that many countries, in Africa and elsewhere, would do well to ponder. President Talon's bold vision for Benin is truly remarkable. This strategy, which places culture at the heart of national development, is not only innovative but also deeply rooted in Benin's identity.
I must admit feeling a twinge of envy towards Benin. This country has managed to chart a unique path, combining the preservation of its cultural heritage with the ambition for a modern future. The determination with which the government is implementing this cultural vision is inspiring. Benin shows us that it's possible to build a development model where culture becomes the main driver of economic growth and social progress. This holistic approach positions the country as a pioneer in Africa and beyond.
This Beninese cultural renaissance is a model that many countries could draw inspiration from, demonstrating that with ambition and creativity, it's possible to transform a rich heritage into a powerful lever for the future.