Project Description

Farah Clémentine Dramani-Issifou

Portrait of Farah Clémentine Dramani-Issifou (Photo credit: Elise Ortiou Campion)

FSC Associated Fellow 2023-24

French and Beninese Farah Clémentine Dramani-Issifou is a film programmer, curator, and researcher. She lives and works between Paris and Dakar. In 2011, she initiated the Festival des Nouveaux Cinémas Documentaires between Paris and Cotonou (2011-2017). In 2018, she joined the selection committee for feature films at the Semaine de la Critique (2018-2021), slide section of the Cannes Film Festival, before becoming artistic coordinator of the short film committee (2021-2022). Since 2020, she has been the deputy director of the Yennenga Center in Dakar. For the past two years, she has been a member of the selection committees for the Marrakech International Film Festival, the Villa Médicis Festival, and Fespaco.

Farah Clémentine Dramani-Issifou is also co-curating the exhibition Un.e Air.e de Famille, headquarters and women’s focus of the Africa2020 Season. In January 2022, she was co-curator of Tofodji, sur les pas des ancêtres, an exhibition meeting on the restitution of 26 objects returned to Benin by France.
As a PhD candidate at Aix-Marseille University, her work focuses on decolonial curatorial practices in the visual arts and cinema. As such, she is a regular guest at international conferences and publishes books and scientific journals.

In 2023, she was named Knight of Merit, Arts, Letters, and Communication of Burkina Faso. In 2024, she will curate an exhibition at Musée d’art africain Théodore Monod in Dakar and be a fellow at Villa Albertine in Boston.

FSC Works

Restitute African Film Archives

Farah Clémentine Dramani-Issifou

Restitute African Film Archives aims to create a space for research and curatorial experimentation on issues related to the restitution of African film archives since the 1980s. While the debate on the restitution of African heritage has focused on artifacts, more and more initiatives undertaken by institutions, artists, and filmmakers are interested in the issues of accessibility and restitution of African cinematographic heritage that still remains in the" hands of Western institutions. Indeed, "restoring African heritage to Africa requires a precise knowledge of African collections - where are they and what are they? When Harvard University retains the largest collection of ethnographic films in the world, how to decolonize African film heritage through curating?