Peut-on aujourd’hui parler de « patrimoine » en Afrique sans faire référence aux théories élaborées en Occident ? Cet article se propose d’analyser le cadre juridique et les actions mis en place au Bénin à partir d’un questionnement autour des significations attribuées à ce mot dans le cas précis de Porto-Novo. Si la « traduction » locale de notions exogènes est assurée par l’intermédiaire de l’École du patrimoine africain, les mesures adoptées pour sa sauvegarde et valorisation ne sauraient se détacher des valeurs et des objectifs promus par les institutions internationales et, depuis peu, par la coopération décentralisée. Le patrimoine comme enjeu du développement local via le tourisme demeure une invention exogène dont les acteurs locaux s’accommodent, sauf exception, plus pour capter des financements que par conviction. Les projets se focalisent, pour l’essentiel, sur l’architecture et les monuments, mais connaissent auprès des Porto-Noviens peu de succès. Considèrent-ils que le patrimoine réside ailleurs ? De fait, en dépit des démarches participatives, les populations restent en marge du processus…
By outlining the features, we can affirm that the construction of identity in each country is generally based on—and accompanied by—the definition of what constitutes “heritage” in its territory. On the African continent, this process was not uniform at the time of the proclamation of independence, or at least it did not always follow the same dynamic. It is clear that the heritage issue is approached in different ways depending on the period. In fact, it has gone through several phases in which the emphasis is placed in turn on the magnificence of the power in place, the popular recognition of symbols that can testify to national unity. For the past two decades, the states, strengthened by their achievements since obtaining independence, and in parallel with the creation of new emblematic monuments, have adopted, with respect to their former colonizers, an obvious desire to recover looted property. These objects, taken out of the territory not only by the hands of the colonists but also by missionaries or art lovers in various circumstances, become political instruments capable of bringing public opinion together. Thus, the restitution of African heritage goods, exhibited in foreign museums, to their countries of origin, amounts to recovering—and (re)discovering in a concrete way—a part of community identity that was thought to be lost forever. This process, which, through the cultural component, is in fact redrawing the balance between the countries of the North and South. Benin is setting itself up as a model in the implementation of heritage strategies based on the return of goods and their conservation and valorization in situ. Other countries are following suit.
This chapter explores the intersections between the notions of “urban interior design” and “public space” in West African cities. The artistic dynamics at work reshape the spaces by discussing their colonial imprint and the symbolism they have successively been charged with. As the nature of the projects is very diverse, both in terms of techniques and materials used and the objectives pursued, there is a clear desire to take greater account of the human dimension and to establish connections between local roots and the globalizing push. Through the analysis of some experiments carried out in Dakar, Cotonou, Porto-Novo, and Douala, the author identifies seven trends. The examples presented her relate to one or more of them. The projects combine the aesthetic approach with an ethical message: they translate into a citizen commitment to better, fairer, and more inclusive spaces.
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