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Contemporary Vodun arts of Ouidah, Benin
African Arts, Winter, 2001 by Dana Rush
The brothers' cousin, Simonet Biokou, is commonly grouped with them. According to Biokou, it was he who made the first large recycled-metal sculpture, which depicted a soldier. (9) He says the brothers felt that it was not serious work and that no one would want to buy it. A few days later a man from the French Embassy happened to see the statue, loved it, and purchased it. At that point, Theodore and Calixte Dakpogan took the profession of artiste-feraille seriously and started to make more sculptures with their cousin. Although Biokou was first to make large recycled sculptures, the Dakpogan brothers were the ones who received the commission from the Beninese government to make one hundred such statues for Ouidah 92. Biokou is represented by one piece. The Dakpogans' contribution to Ouidah 92 is located in the Sacred Forest and the Brazil House, and is discussed below.
Dominique Kouas
Although Dominique Kouas is known locally for his large metal sculptures on display throughout Ouidah, one visit to his house-studio in Porto-Novo demonstrates his stylistic range and his versatility with various media. All of Kouas's pieces nevertheless maintain a recognizable signature: they are big, bold, and geometric, playing with positive and negative space. The artist has developed a new technique which he calls "peintik," a combination of sculpture, painting, and batik. He often incorporates found objects, Vodun paraphernalia, raffia, cotton, and cowry shells into his "peintik" assemblages.
Yves Apollinaire Pede
The applique work, large cement sculptures, and cement bas-reliefs of Yves Apollinaire Pede harken back to the old bas-reliefs in the Palace Museum of Abomey. The artist has a special interest in Kulito (the Fon word for Yoruba Egungun, translated as "the ones from the path of death," or ancestors), which he finds to be colorful, exciting, and powerful. His bas-reliefs are found throughout Benin, in restaurants, and hotels, representing diverse subjects ranging from royal motifs to Vodun symbols.
The Festival Sites
Kpassezoume: The Sacred Forest
Contemporary Vodun arts commissioned for Ouidah 92 are installed in four main sites in the city. One of them is the Sacred Forest, the most hallowed place in Ouidah, where one finds the works of Cyprien Tokoudagba, Theodore and Calixte Dakpogan, and Simonet Biokou.
Kpassezoume, or the Sacred Forest of King Kpasse, is where all Vodun powers reside--good and bad, ancient and contemporary, distant and local. Almost destroyed under the old Marxist-Leninist government, this secluded area is now celebrated with government-sponsored contemporary sculptures of Vodun gods and associated powers.
Sometime between 1530 and 1580, Kpasse became the second king of Savi (located nine kilometers north of Ouidah) and founder of Ouidah (Agbo 1959:13; Carnevin 1962:73; Assogba 1990:15). When he learned that two jealous enemies were plotting his demise, he alerted his two sons, telling them that although he would never die, he would disappear one day. If it should happen that he did not come out of his room before sunset, his sons were not to open the door but understand that he was already gone. After nine days they would see a specific sign from their father which, once understood, would protect them and their families for generations to come. One day these events did come to pass. Today the sign is still a secret associated with the Kpasse vodun, known only to the direct descendants of the king.
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