O talking drum Djidji Ayôkwé, a cultural and spiritual symbol of Ivory Coast, is about to return to his homeland and the Ébrié people.

The return was officialized this Monday, November 18, 2024, in Paris, through the signing of an agreement between the Ministers of Culture of France, Rachida Dati, and Ivory Coast, Françoise Remarck. This act marks the end of a diplomatic and heritage process that began more than three years ago.

The Djidji Ayôkwé, which literally means “talking drum,” is a sacred artifact of the Ébrié people, an ethnic group from the Ivory Coast.

Historically used to transmit messages over long distances, this drum represents a unique heritage, both tangible and intangible. Removed during the colonial period, it was preserved in a museum in France, far from its cultural origins and traditional functions.

Confiscated in 1916 by the French army from the Ébrié community in Ivory Coast during the colonial occupation, Djidji Ayôkwé was forcibly removed from his Ébrié community and exposed to a context alien to his cultural significance, remaining outside his original territory for more than a century.

Until 1930, it remained outdoors at the residence of the French governor of Ivory Coast, Marc Simon, where it faced bad weather and attacks from wood-eating insects, until it was sent to France, where it was kept for years at the Quai Branly Museum in Paris.

Measuring approximately three meters long and weighing 430 kilograms, this drum is not only a cultural and spiritual asset, but also an impressive example of engineering. Carved from wood, the drum was used by Ébrié communities to convey important messages, often warning of danger, summoning people to war, or organizing ceremonies and festivals.

Known as the "talking drum," its sound echoed across long distances, carrying crucial information to distant villages. For the Ébrié, the drum is more than a physical object: it is a symbol of unity and identity, representing the connection between generations through oral and musical traditions.

Before being returned to its country of origin, the drum underwent a restoration process to ensure it was in proper condition, and a special base was also created to facilitate the safe transport and handling of the artifact upon its return home.

A group of experts from the Quai Branly Museum worked to repair the damage caused by years of exposure to the elements and the action of insects, not without going through a consultation process with the Ivorian authorities and the chiefs of the villages affected by the drum's absence.

The return of this drum is part of a broader movement to return plundered African cultural assets, a central theme in Franco-African relations. In 2018, the Savoy-Sarr report, commissioned by French President Emmanuel Macron, recommended the return of several African art objects.

This report sparked intense debate about the return of heritage stolen during colonization. For Côte d'Ivoire, the return of Djidji Ayôkwé represents a symbolic victory. Françoise Remarck highlighted this event as:

“A recognition of the history and dignity of the people of Ivory Coast.”

The Minister also emphasized the importance of Djidji Ayôkwé in Ébrié culture, where he played a fundamental role in communication, justice, and rituals. Rachida Dati, in turn, stated that this return reflects a desire to heal the wounds of the colonial past.

He also stressed the importance of dialogue between the two countries to address heritage issues respectfully and constructively. The convention signing ceremony will be followed by a temporary exhibition of Djidji Ayôkwé in France, before its final transfer to Abidjan.

Ivorian authorities plan to install the drum in a museum dedicated to the conservation and promotion of national heritage. The return process has not been without its obstacles. Issues related to the artifact's legal ownership and preservation have delayed negotiations.

However, pressure from cultural organizations and heritage advocates helped accelerate the dialogue. This return also represents an opportunity for Côte d'Ivoire to strengthen the appreciation of its cultural heritage among its citizens.

Experts hope this event will inspire educational and cultural initiatives linked to Ivorian traditions. The case of Djidji Ayôkwé also rekindles the broader issue of the thousands of African objects still held in Western museums.

For many African countries, each return represents a significant step toward recognizing their cultural and historical rights. With the return of Djidji Ayôkwé, Côte d'Ivoire celebrates a moment of unity and reaffirmation of its cultural identity, while inaugurating a new chapter in the management of African heritage worldwide.

Conclusion

The return of Djidji Ayôkwé represents much more than the return of a physical object. This act symbolizes a growing commitment to the promotion of African cultural heritage, strengthening mutual respect between nations.

For Côte d'Ivoire, this restitution celebrates the dignity of the Ébrié people and serves as an inspiring milestone for the recovery of other African cultural heritage still scattered throughout the world. By recovering this sacred artifact, the country reaffirms its roots and opens doors to a future where the preservation of cultural identity takes center stage worldwide.