The information on this page came together as a result of the collaboration of members of art&dialogue e.V in Berlin, Germany, with the l’Union des Cultes Traditionelles du Togo, and with the financial support of the Mondriaan Foundation, Amsterdam, the Goethe-Institute, and the Berlin University of the Arts. art&dialogue e.V. supports the UCTT in its wish to preserve and strengthen traditional culture, and its claim for the restitution of powerful spiritual objects from western collections.
The participatory arts-based research project Pulling Matter From Unknown Sources started in 2014, and is a collaboration with l’Union des Cultes Traditionelles du Togo (UCTT) in Agouegan, Aného, Togo. art&dialogue supports the UCTT in its wish to preserve and strengthen traditional culture, and its claim for the return of powerful spiritual cultural assets from western collections. If wanted, and when yes, how is it possible to return “museum pieces” to their original status as spiritual beings? What should their new surroundings offer, and what use could a restitution process have for the UCTT communities to which those objects would be returning? Throughout this collaboration artists, scholars, cultural researchers, spiritual dignitaries, political activists, and cultural workers speak about, explore, solve conflicts, and celebrate their differences and commonalities by giving space to and, exchanging spiritual knowledge and narratives. By revisiting past places and times, we hope to open up new possibilities for the present. This project wants to make a small contribution to a series of projects, films, books, and theories that also aim for the decolonization of thought and the deconstruction of structures that keep western powers, borders, and privileges in place.
Video recordings at the compound of Chabassi Amadossi and conversations at Grand Popo with Villa Karo Managing Director Kwassi Akpladokou and cultural manager Georgette Singbé.
In early 2020, the private collector Matti-Juhani Karila restituted a wooden item dedicated to the deity Mami Wata to L'Union des Cultes Traditionnels du Togo, an organization of traditional knowledge keepers in Togo and Benin. This image depicts Georgette Singbé handing over the sculpture to Mami Hounon Nicoue DaPovi Houedossi and Bocon Anani Gangalizo at Villa Karo, a Finnish Culture Center in Grand Popo, Benin. UCTT members investigated the origin, production, and migration process of the cultural item in order to recover the origin and production of it, and the spiritual knowledge associated with it.
Crossing the river Mono, on the way from Grand Popo to Agouegan.
Inhabitants from the village of Agouegan work and dance together at the construction-site of the temporary show-, and assembling room of Maison Gbegbe. With music and dance by Comlavi Joel Adjamlan, alias IVALMOK and Mawuena Koffi Tchao, alias Chris Nons.
On their meeting of June 9, 2021, Bocons of the L'Union des Cultes Traditionelles du Togo discuss the meaning and consequences of the Afan outcome.
With Maison Gbegbe, members of the UCTT in Agouegan, in collaboration with inhabitants of Agouegan, art&dialogue e.V., L'Africaine d'architecture, and the pre-configuration team that was brought together by Sename Koffi Agbodjinou, imagine a cultural center where local, living, traditional culture is practiced, performed, preserved, and can be studied. Where spiritual ceremonies and rituals can take place by knowledgeable persons. Maison Gbegbe will be open to people with any religious or non-religious affiliation. It should become a space of sharing, participation, reappraisal, and ethics.
Some Mami Wata's from the collection of Matti-Juhani Karila housed at Villa Karo's Petit Musée in Grand Popo, Benin.
Ethnological objects found their way to Europe in many ways. They were often illegally seized without permission, taken by force, or left to mission stations as a result of conversions and are intimately linked to colonial conflicts and unjust power relations. Objects have been incorporated into the complex hierarchies of ethnological museums, often without regard to their original context and history, without input from the original users and owners, categorized based on outwardly formal characteristics, and displayed in sterile vitrines. Yet, for the descendants of the original producers and communities, many of these objects are still of great importance and are increasingly being reclaimed by families, communities, and states.
“(…) what many Western museums and institutions wrongly and forcefully harbouring many so-called ‘objects’ from the non-West do not understand, or have not fully recognised, is that most of the so-called ‘objects’ have never been and will never be objects. The objectification of these ritual and spiritual beings, historical carriers, cultural entities, orientations and essences is in line with the dehumanisation and objectification of humans from the non-West. (…) it is about time that the so-called objects also be freed from the bondages of objecthood, in which they have been detained ever since they were taken away from their societies as captives, as were humans as slaves. Understanding these so-called objects as subjects necessitates a radical shift from Western understandings of subjecthood, personhood and community, as well as a drastic shift from a Western understanding of art, authorship and society, and subsequently a profound reconfiguration of what it means to be human.”
– (Bonaventure Soh Bejeng Ndikung in: Those Who Are Dead Are Not Ever Gone, On the Maintenance of Supremacy, the Ethnological Museum and the Intricacies of the Humboldt Forum, published in: South as a State of Mind, October, 2018)
The transnational projects of the organization UCTT in Agouegan, under the guidance of its president Hounougbo Bahounsou Amedegnato, take place in the border region of Togo and Benin. There, a group of traditional knowledge keepers joined forces with the organization l'Union des Cultes Traditionnels de Togo. The organization wants to create transparent structures within the diverse practices of traditional religious practices so that people seeking help from a traditional healer and spiritual worker have a trusted point of contact from which they are referred to the appropriate elders. With this, they hope to pass on traditions and spiritual knowledge and, strengthen local traditional communities. The UCTT could also function as an ownership body or community for spiritual, ethnological objects returned from Western collections.
Sename Koffi Agbodjinou, architect and anthropologist based in Lome and Paris, talks to Mathilde ter Heijne, an artist based in Berlin, about the problems of creating architecture for Maison Gbegbe that could exhibit religious artifacts, and, at the same time, hosts charged objects. Together with Hounon Hounougbo Amedegnato, they form the organizational team of Maison Gbegbe.
First concepts and plans for Maison Gbegbe by Sename Koffi Agbodjinou from L'Africaine d'architecture.
Building and Mending.
Dossa Amedegnato and Nicoue DaPovi Houedossi speak in a workshop of the members of the L'Union des Cultes Traditionels du Togo about their ideas for Maison Gbebe.
At the Archives Nationales du Togo in Lomé, documents of the German colonial administration are kept. In 2020, Dr. Kokou Azamede published his book 'Transkulturationen? Ewe-Christen zwischen Deutschland and Westafrika, 1884-1939".
The dilemma in Vodou of how much of the sacred should be revealed, while seeing a ritual through the eyes of an offering. With dr. Sinseingnon Germain Sagbo from the University of Abomey-Calavi in Benin.
The buildings to which the Musée Regional d'Aného belongs were erected in 1888 by the German colonial administration and served as residence for the Reichskommissar Jesko von Puttkamer. Interview with Dr. Ohiniko Mawussé Toffa from the research cluster Dynamik der Missionierung und der Kolonialisierung der Universität Bremen.
Meeting with Hounon Rada Aklimassi in Cotonou.
Friedrich von Bose has been Head of Research and Exhibitions at the three Saxon Ethnological Museums in Leipzig, Dresden and Herrenhut, which together form the Dresden Ethnographic Collections, since October 2020. He has also worked in recent years as deputy senior curator of the commissioned exhibition at Humboldt University in Berlin's Humboldt Forum.
Members of the UCTT are talking about ceramic pieces, related to Mami Wata and from the Togolese coast. The originals are part of the ceramic collection donated by Franz, the Duke of Bavaria to the Design Museum, Munich, Germany who had been collecting since the 1970s. From September 2019 to April 2020 the museum held an exhibit of over 250 works from this collection.
A coincidence that the camera was on when we lost our German flag on our way to the yearly traditional culture festival in Aného.
To dig into the interweaving of cultures in the area of Aného, formerly Petit Popo – a trading center that operated in during the early 18th-to mid-19th century, is deeply moving. The Tchamba market was located at the source of the Mono River and was a holding center for people who were to become enslaved, a central market where Hausa and Bariba horsemen, Tchaoudjo and Tyokossi warriors went to deliver the products of their human being raiding expeditions; caravans would follow the paths along the Mono River taking their captives to the coast to Agoué, where powerful Afro-Brasilian families still operated in the late 19th century. Agoué is the settlement at the other side of the river Mono in Agouegan, the village that hosts nowadays a big market; this is the village where Maison Ggegbe is to be opened. Aného was also the place where the first administrative center for German colonial rule was placed at the coast of Togo. Recently, at the compound of the residence of the ‘reichskommissar Jesko von Puttkamer’ in Zébé, the Museum Regional D’Aného was opened. This museum ‘Western Style’ shows archive material and objects that are linked to the history of Aného.