French senators have unanimously adopted a significant bill aimed at simplifying the process for returning artworks and artefacts looted during the colonial era to their countries of origin. This new legislation marks a crucial shift from the previous system, which required each restitution request to be individually approved and voted on by parliament. That former process was often described as lengthy, complex, and struggled to keep pace with the increasing number of restitution demands.

France continues to hold tens of thousands of artworks and other prized artefacts that were seized from its colonial empire. The newly adopted bill seeks to streamline the restitution procedure by establishing clear rules based on a scientific review of requests, a process that will involve the countries making those requests. Following its adoption by the Senate, the bill will now proceed to the National Assembly, the lower house of the French parliament, for further consideration before it can officially become law.

Senator Catherine Morin-Desailly, who has initiated several bills related to restitution rights, described this development as the culmination of nearly 20 years of effort. She noted a significant shift in attitudes, even within French museums, towards addressing issues of traceability, historical perspectives, and re-establishing dialogue with formerly colonized states. This renewed engagement is seen as an opportunity for fruitful cultural exchange beyond just restitution.

The scope of this bill specifically concerns property where illegal appropriation can be definitively established through available historical sources. Furthermore, the artefacts must originate from the current territory of the requesting state and must have been acquired between 1815 and 1972. This framework provides clear criteria for assessing future claims.

Thirteen countries, predominantly African nations, have already submitted restitution requests that stand to benefit from this new law. Among these is Benin, which is seeking the return of the renowned Gou God, a hammered iron sculpture created in the Kingdom of Dahomey in 1858 and subsequently stolen by French colonial troops. Beninese historian Alain Godonou, special advisor to the President of Benin on heritage and museums, emphasized that the Gou God’s rightful place is in the Musée international du vodou, a majestic institution eagerly awaiting its return.

Other significant restitution requests include Algeria’s demand for objects and personal effects of the religious and military leader Abd El Kader, Senegal’s request for items from the Ségou treasure captured by French colonial troops, and Mexico’s bid for two Aztec manuscripts. These cases highlight the broad impact and potential of this new French legislation in addressing historical injustices and fostering cultural dialogue with former colonial territories.