As I left the John Randle Center for Yoruba culture that day, I passed a group of children participating in a creative workshop. Their enthusiasm reminded me why all this matters: these works are not just objects; they are mirrors through which our children can see their history, identity, and potential.

The return and preservation of African artworks on the continent are not merely questions of historical justice—they are necessities for inspiring future generations. And it starts with us—collectors, institutions, entrepreneurs—who have the power to change this narrative.

In the world of fashion, few materials carry the weight of history and culture quite like raffia : the humble yet extraordinary fiber from the raffia palm, has been woven into the cultural fabric of African heritage—adorning ceremonial attire from Benin to Cameroon, and masquerade costumes from Burkina Faso or Nigeria.

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.

From the moment I arrived at the airport, my stay in Cotonou started on a discordant note. My luggage, misplaced somewhere between Geneva and Cotonou, was nowhere to be found. A mishap that I hoped wouldn't set the tone for the rest of this short four-day trip.