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On Rematriation and Spiritual Reparations

A glowing, translucent blue hand holds a small brown sphere on a stick against a dark, abstract background with the subtitle "So the 'we', the 'me' is no longer it's".

On Rematriation and Spiritual Reparations, 2025. Courtesy of Illest Preacha.

In collaboration, C& selects a series of podcast episodes by The Museum of Black Futures.

This episode explores how the concepts of ‘rematriation’ and ‘spiritual reparations’ intersect — how they can shape a museum not only as a repository of history, but a sanctuary for the future.

Repatriation is often framed as a signed agreement, a logistical operation, a deal between governments, or a transaction. The focus remains on legal process and the political value of material culture. But for many Indigenous communities, the return is much much more than that.

Co-Founder Richard Kofi notes: “While visiting a conference at Haus der Kulturen der Welt I was introduced to the concept of rematriation. Rematriation restores spiritual balance and also creates a cultural context for the object through ritual, ceremony, and a safe return.”

A similar concept of ‘spiritual reparations’, a term coined by artist and poet Femi Dawkins, is unpacked in this episode. For him it is about repair and healing what cannot be repaid in money or goods. It is restoration of memory, soul, and community. Spiritual reparations work forward as well as backward, in the hopes that future generations inherit a state of being that reshapes their relationship to institutions, resources, and citizenship.

Listen now on C& Sound


Sound design and production by Marcellino van Callias of La Fam Productions
Music by Oshunmare
Trumpet by Peter Somuah

This text, originally published on The Museum of Black Futures' channel, has been edited for clarity.

About the author

Richard Kofi

Richard Kofi (b. 1988, Wageningen) is a Dutch-Ghanaian artist and curator working at the intersection of speculative futures and decolonial heritage practices. His multidisciplinary approach weaves together drawing, collage, video, performance, and public ritual to explore the layered entanglements between past, present, and future. Central to his work is a belief in art as a collective tool for collective reimagining and cultivating community-led futures.

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