In Discussion with Manuel Rabaté and Hélène Joubert

Manuel Rabaté © Department of Culture and Tourism – Abu Dhabi Photo Daryll Borja

Manuel Rabaté has served as Director of Louvre Abu Dhabi since 2016, overseeing all aspects of its operations and development. Since the museum’s opening in 2017, Louvre Abu Dhabi has welcomed over 6 million visitors, including a record 1.4 million in 2024, and has produced more than 25 groundbreaking exhibitions. Rabaté began his career at the Musée du Louvre in Paris in 2002 as Deputy Director of the Auditorium, where he was involved in cultural programming and public engagement. He later contributed to the launch of Musée du quai Branly–Jacques Chirac as Deputy Director of Cultural Development (2005-2008), managing the museum’s inaugural touring exhibitions. In 2008, he joined Agence France-Muséums shortly after the landmark 2007 intergovernmental agreement between France and Abu Dhabi. During his tenure there, he served as CFO, Secretary General, and eventually CEO (2008-2016), playing a pivotal role in shaping the foundation of Louvre Abu Dhabi, first in Paris and, from 2014, in Abu Dhabi.

I had the pleasure and honor of briefly discussing with Manuel the cultural vision for the Lourvre Abu Dhabi and the importance of having Kings and Queens of Africa: Forms and Figures of Power exhibited at the museum.

UZOMAH: The Louvre Abu Dhabi is a fitting location for the groundbreaking Kings and Queens of Africa: Forms and Figures of Power, the first of its kind. What makes this venue the perfect setting for such a fantastic exhibition?

MANUEL: As part of Abu Dhabi’s cultural vision, Louvre Abu Dhabi plays a vital role at the crossroads of global cultures. The museum was founded on the principle of creating a space where stories from around the world can be experienced together—where art reflects our shared humanity.

This exhibition, Kings and Queens of Africa: Forms and Figures of Power, is the first of its kind in the region to focus extensively on African cultural heritage. With over 350 works spanning from the 11th to the 21st centuries, it embodies the museum’s founding mission: to celebrate the diversity of human creativity and the stories that connect us all.

It marks a significant milestone not only for Louvre Abu Dhabi but also for the UAE and the wider region. The museum is uniquely positioned to host an exhibition of this scale and depth, offering a powerful exploration of Africa’s historical narratives through themes of power, identity, and resilience, as seen through the lens of its great kingdoms. By honouring the artistic legacies of Africa, the cradle of humanity, Louvre Abu Dhabi reinforces its role as a space for universal narratives and shared histories. It brings forward stories of leadership, creativity, and cultural continuity from across the continent, placing them in meaningful dialogue with the wider world.

U: With exhibitions like these at Louvre Abu Dhabi, how can Abu Dhabi continue to be a cultural hub for the arts?

M: Abu Dhabi is shaping a new model for cultural dialogue, one rooted in inclusivity, exchange, and long-term vision. Louvre Abu Dhabi, through landmark exhibitions like Kings and Queens of Africa: Forms and Figures of Power, not only celebrates artistic excellence but also affirms Abu Dhabi’s role as a meeting place where diverse histories are visible, respected, and allowed to thrive.

While the exhibition was developed through close collaboration with international institutions, we ensured that a local perspective was meaningfully woven into the narrative—reflecting our role as a universal museum rooted in the Arab world. This approach is applied across all our exhibitions, ensuring that global stories are always enriched with regional insight. In Kings and Queens of Africa, the contribution of our team, particularly Mariam Al Dhaheri in the curatorial team, exemplifies this commitment; her insight and local perspective brought added depth and resonance to the exhibition.

By fostering universal narratives and embracing shared histories across cultures, Abu Dhabi continues to strengthen its position as a critical hub for global cultural exchange. As the first museum to open in the Saadiyat Cultural District, Louvre Abu Dhabi has been paving this journey, by forging international partnerships, curating landmark exhibitions, and building programmes that resonate with diverse cultures. Alongside an expanding cultural landscape, these efforts ensure that the emirate remains at the forefront of shaping meaningful cultural conversations for generations to come.

Hélène Joubert © Musée du quai Branly - Jacques Chirac, Photo Credit: Cyril Zannettacci

Hélène Joubert graduated from the Ecole du Louvre, Paris (History of art, Arts of Africa, Arts of India, Museology), Université Paris 1-Sorbonne, Institut national des Langues et Civilisations orientales (Yoruba) and Ecole nationale du Patrimoine, Paris.  Hélène Joubert is the General curator, Head of Unité patrimoniale des collections Afrique at the Musée du quai Branly-Jacques Chirac since 2005, after being in charge of the Section Afrique at the former Musée national des arts d’Afrique et d’Océanie. She has curated numerous exhibitions dealing with African art in France and abroad (Taiwan, USA, Sénégal). She has taught the History of African arts at École du Louvre and led the Prépa class for future curators in the same specialty. Author of articles and essays, she has contributed to numerous exhibition catalogues and reference books and participated in international colloquiums and conferences.

I had the pleasure and honor of discussing with Hélène the most interesting discovery she found, advice she would give an emerging curator, and much more.

Uzomah: With your extensive amount of experience, what led to this significant moment of curating this exhibition? Could you share the exhibitions that influenced the creation of this unique exhibition?

Hélène: This is a synthesis project with multiple challenges: to focus on a universal theme centered around archetypal figures, Kings and Queens of Africa, Forms and Figures of Power more broadly, to facilitate an accessible entry into African space and time. The aim was to present a wide range of African forms related to various spheres of power, to convey the depth of African history, and to open the central theme to contemporary art in a meaningful way, making tangible the connections between today’s artists and the past, and their desire to reinterpret it.

We sought to illustrate this context from the eighteenth century to the present day through engravings, drawings, and photographs, and to create spatial dialogues between works to show how the same concept, for example, the relationship with the deceased becoming ancestors, can take many forms. This exhibition is an attempt to provide access to numerous aspects of African material cultures from across Sub-Saharan Africa, in relation to ritual, political or social contexts.

It is an evocation of the extraordinary repertoire of arts developed in Africa using highly local materials such as vegetal matter, wood, fibres, minerals and animal products, blended with materials obtained through long-distance trade or recycling. Above all, it is an introduction to African arts and a celebration of its creativity throughout history. The concept was to begin with the idea of power and to progress through interpretation and comparison, from aesthetic, historical and social perspectives, using objects that could exemplify the notion that “beauty is power.” The objective was to gather exceptional objects and unique masterpieces to positively surprise visitors and draw their attention to details such as colour, craftsmanship and the exquisite technical skill evident in wood and ivory carving, metalworking, leatherwork, cotton, raffia and silk weaving, basketry, drawings, and paintings. These characteristics often suggest links to spheres of power.

The ambition was for the exhibition to be accessible, impressive, spiritual and inspiring. It has undoubtedly been influenced by numerous exhibitions on African art over the past three decades or more. Whether consciously or not, it is the outcome of previous publications and projects that have addressed similar themes, often through monographic rather than general or synthetic approaches as pursued here.

Inevitably, there is also a significant personal element in terms of choices, construction and the creation of interconnections, born of a long relationship with African art.

U: Were there any challenges you faced in curating this exhibition/collection? How did you overcome them?

H: The challenges included the need to organize and simplify complex histories, sometimes by associating cultures that share common traits, while accepting that not everything can be told. The exhibition centres on the relationship between art and power. Achieving a rich yet manageable selection of artworks required gradually excluding certain pieces to reach an ideal balance.

Another key challenge was integrating contemporary artworks and incorporating a critical discourse. As general curator, I also had to ensure the high quality of the works on display, maintain scholarly rigour and create a coherent visual and intellectual narrative.

U: Could you briefly overview this enlightening exhibition for those interested in African Kings and Queens? What makes this exhibition a must-see for those seeking a deeper understanding?

H:  This exhibition allows for a fluid visitor experience. Its structure is thematic, geographical, and cultural rather than chronological. Each of the thirty sections can be explored independently or sequentially to enhance one’s understanding of both commonalities and specificities.

Visitors encounter powerful objects, symbols of wealth and authority, portraits of power, and ceremonial objects. What these items share is their excellence, exceptionality, and symbolic weight.

The historical copper alloy portraits of a king and queen from the Yoruba kingdom of Ife (twelfth to fifteenth century AD) have been lent by the Nigerian heritage authorities. A unique tall Djennenke figure from Mali (70.2004.12.1), dating from the eleventh century AD, has left the Musée du quai Branly Jacques Chirac for the first time. It offers an androgynous image that conveys the protective duality expected of a king, both paternal and maternal.

A majestic textile work by Abdoulaye Konaté, Le Mali, un trésor (70.2023.51.1), evokes the legendary pilgrimage to Mecca in 1324 by King Mansa Musa, who brought twelve tonnes of gold and caused devaluation in Cairo through his generosity.

Even functional objects, such as containers for personal items used in royal courts, can be extraordinarily designed and adorned. All these exceptional pieces relating to power make this exhibition a rare opportunity to embrace the diverse beauty of Africa’s artistic expressions.

U: How does each artwork/object relate to the broader themes of the exhibition/collection?

H:  All the objects relate to the theme of power, not only royal power. Chiefs, warriors, nobles, aristocrats, palace officials, priests, and diviners are also represented as holders of power.

Certain types of objects, such as complex staffs, heavy adornments like metal or gold necklaces and jewelry, and lavish textiles with glass beads, or rare colors like crimson, reflect power through their iconography, craftsmanship, and materials. All convey a symbolic discourse.

Because power is central to artistic production, these categories often have parallels in other cultures and eras, allowing visitors from diverse backgrounds to relate African traditions to their own cultural experiences.

U: What was the selection process like when working with the other exhibition curators?

H: I personally selected the core historical works, drawing on the rich resources of the Musée du quai Branly Jacques Chirac. Many of these objects were brought out of storage for the first time. Having overseen the African collection for many years, I was able to develop the intellectual framework, draft a detailed synopsis, and identify the most relevant works for each theme. I also acquired both historical and contemporary pieces to support the exhibition.

Additional support came from colleagues responsible for other museum collections, including photography and globalization. Based on long-standing relationships with African institutions, I proposed key loans from major museums in Dakar, Nigeria, Ivory Coast, and South Africa.

The final selection was refined to a total of 361 works. Malick Ndiaye, Director of the IFAN-Theodore Monod Museum in Dakar, joined as co-curator to assist with the contemporary art selection once the main historical works were chosen. Together with Cindy Olohou, an independent curator at the time, we integrated contemporary works throughout the exhibition. The final section is dedicated to the portrayal of African kings and queens in modern popular culture, with a multimedia programme exploring their imagery.

U: How did you select artwork to ensure the authenticity of the artworks in your collection? Could you elaborate on the process and criteria used to authenticate the pieces?

H: The primary criterion in developing a national museum collection is authenticity. Our collection began with trade and exploratory expeditions in Africa during the late eighteenth and nineteenth centuries. At that time, all objects were authentic. Some were unused and looked new but were not fakes.

In the twentieth century, ethnographers collected objects in the field with the intent of documenting their use and context. However, the production of objects for export and for sale to Westerners also began early in the twentieth century. Under French colonization, a colonial art style emerged, tailored to Western tastes. Later, the European art market encouraged the production of copies and fakes—a practice still active today.

It is our responsibility as curators to distinguish between traditional and authentic art, export art, decorative art, late traditional forms, copies, and forgeries. Authenticity is verified through object history, expert analysis, visual examination, comparisons, and scientific testing. We are confident that every item exhibited is authentic.

U: What was the most interesting discovery you made while researching this exhibition?

H:  It is always very interesting to work on a large thematic project, because the process begins with a broad approach that is gradually narrowed down. This progression draws you in multiple directions, which you either pursue or set aside depending on various needs, priorities, and choices.

What makes the journey particularly fascinating is the simultaneous discovery of many interwoven connections alongside distinctive features. These illustrate the human capacity to propose diverse ways of engaging with the world and with others, resulting in the creation of multiple, closely linked yet unique cultures. Their creative abilities are, in the same way, incredibly exciting to recognize—even if the final aim is not to be comprehensive or repetitive. It feels like opening an unexpected window to discover a new landscape—one that incorporates clothing and adornment, African design forms, and local expressions of prestige.

One such discovery was the opportunity to bring together a beautiful collection of Akan gold adornments from various collections in France and Senegal. This includes the renowned Rao pectoral (12th–13th century AD) from the Dakar Institut Fondamental Cheikh Anta Diop collection, excavated from a prince's tomb. These objects offer vivid examples of the tradition of using bodily adornment to express wealth and social status through profusion.

Among the most compelling finds are exquisite examples of this expansive creativity that have never—or only rarely—been highlighted before, such as leatherwork (cushion 71.1937.51.262), textiles (Ewe textile 70.2018.5.2), and weapons (Bondjo knife 71.1941.0.31.5 X). It is always highly relevant to bring a museum collection to life through exhibitions and publications, and to share it with new audiences for their appreciation.

This project was also an opportunity to delve into the historical background of around 20 selected works from our own collection, and to explore more deeply the profiles and acquisition contexts of those who brought them to France. This formed part of the preparatory work for the audioguide dedicated to the history of the objects featured in the Louvre Abu Dhabi’s exhibition display, Kings and Queens of Africa.

U: Are there any specific artworks that you find particularly interesting or important in the exhibition?

H:  There are numerous interesting artworks in this exhibition, selected according to the criteria previously outlined.

I would like to draw attention first to one of the few traditional artworks that is attributed to a known artist. It is quite frustrating that we know so little about the artists who created these wonderful forms—most of the time, they remain completely anonymous.

Osamuko was an expert sculptor from the city of Osi-Ilorin (Nigeria), where, during the 1920s–30s, he carved a pair of magnificent palace veranda posts (73.1997.4.63 and 73.1997.4.64). These works depict two archetypal Yoruba figures: the mother of twins—an image of fertility—and the horseman, a leader of migrations and founder of community and city. These two representations convey ideas of authority, wealth, and achievement, making them idealized figures of power.

Among the contemporary artworks, there are also two delicate and wonderfully observed figures of Yoruba ancestor masks named Egungun. These figures hold symbols of power, such as the fly whisk made from a horse’s tail (70.2024.16.1 and 70.2024.16.2). They were modeled in earth and painted with bright, modern colours by a woman, Élise Tokoudagba from the Republic of Benin. She is a rare example of a female artist practicing the art of sculpture, a skill she learned from her father, the renowned artist Cyprien Tokoudagba.

A number of important—even exceptional—art forms are presented in this exhibition, such as the gold-covered female figure from Ivory Coast (70.2016.21.1), the beaded queen of Bansoa, Cameroon (73.1992.0.14), and a copper alloy Benin plaque depicting Oba (King) Ohen (70.2018.3.1), which exemplifies one of the most brilliant historical court art traditions on the African continent.

Even within functional categories, one encounters remarkably refined forms and materials, such as the Ikangara Tutsi basket (70.2019.40.1) and the Ganda ceramic (70.2017.27.1.1–2).

U: Can you give any advice to an emerging curator who would like to do what you are doing in terms of how they can prepare for positions such as this one?

H: The key advice is to gradually become an expert by spending as much time as possible in direct contact with objects and observing them closely. Asking questions while studying an object is an excellent approach—try to find answers and formulate hypotheses. Being an art lover and exercising your judgment significantly helps in building your skills in this field.

Visiting museums, art fairs, specialized galleries, auction houses, and private collections is essential. The more opportunities you must examine art, the more you can access references and start building your own personal' catalogue' of memories. It is also important to look at copies and fakes to train your eye and identify the wrong details, which will make you more capable of appreciating an artwork. This is a long process, and even if you have "good eyes" and relevant instincts, as we say in the art world, it is always wise to take time before forming a judgment and to build it with sound arguments.

You should also develop a network of specialists and renowned experts who can support you in the process of becoming more confident in your field. Regular exchanges with this network are the best way to make progress.

Another useful approach is to make use of accessible iconographic resources such as databases and publications. This means having access to reference libraries within the field you are working in. When dealing with a specialty that is not from your own culture, you must also remain open-minded and passionate about what may not be immediately familiar. Curiosity is key to searching for meaning and usage by drawing on all types of information, from travellers’ accounts and field studies to scholarly works, as well as the research of other curators.

In conclusion, I would say that this profession requires a great deal of passion and personal commitment, keeping you intellectually always engaged.

U: Will the artwork from this exhibition remain in the museum's permanent collection or be returned to the countries from which the artwork comes? Can you explain the importance of this decision to preserve the artwork and allow it to be seen and possibly returned to the country of origin?

H: This exhibition will have another venue at the Musée du Quai Branly - Jacques Chirac in Paris in 2027. We need to ensure that the loans (50 artworks) can be renegotiated for this new venue and adjusted if necessary. A new catalog will need to be produced, and the scenography will be different. This means it will be a revised version of the exhibition, with some alternative elements incorporated.

At the end of the exhibition, the pieces that were part of our permanent display will return to their original showcases, while the loaned artworks will be returned to the institutions in France and abroad, as well as to private lenders and galleries.

We aim to take this opportunity to foster dialogue around our collections, including provenance studies. This exhibition, created as a tribute to African artistry, serves as an open platform to raise awareness and generate meaningful discussions. It could contribute to expanding knowledge about objects, cultures, kingship, and the broader history of Africa.

It is a starting point for many conversations and reflections on the issue of power from the past to the present. We hope that this will lead to new collaborative projects, exhibitions, and international touring opportunities.

For more information about the exhibition and others, please visit here. The museum can also be found on YouTube, X, Instagram, and Facebook. The magazine also showcased Kings and Queens of Africa: Forms and Figures of Power, which can be found here.