A European ship, on the other hand, represents King Houegbadja's son, King Agaja, as it was during Agaja's reign that the Dahomean kingdom first made direct contact with the transatlantic slave traders.
He was also the first Dahomean ruler to take a European wife and he engaged in reforms that he had hoped would allow Dahomey to coexist with the Europeans.
But his efforts were in vain; within a century the "scramble for Africa" saw the defeat of the Dahomean monarchs and the establishment of the French colony of Dahomey, modern-day Benin.
Each of the Dahomean monarchs had been required by tradition to build a new palace.
Dahomey's kings forbade the enslavement of Dahomean subjects--only those captured in warfare or originating from outside the kingdom and traded for, could be sold to the Europeans.
Nevertheless, life for the Dahomean king's subjects could be as brutal and short as it was for a European of that age--both Europeans and Africans lived under the constant peril of war, disease and famine.
Unlike the Slave Route Project, "Ouidah 92" was perceived as a project unifying different groups and as an initiative that could eventually allow the descendants of the Dahomean royal family to obtain political gains without emphasizing the debate about the Atlantic slave trade past (Tall 1995).
Despite the idea of a path and the passing of time proposed by the Slaves' Route, the various sculptures depicting the voduns of Dahomean kings do not appear in chronological order.
However, for the descendants of enslaved men and women who were forcibly brought from other regions and remained on Dahomean soil, acknowledging their slave past is still an embarrassing issue, which reinforces the stigma carried by their families and can hardly bring them any social advantage.
Enslaved Dahomeans brought Vodun to Brazil, Cuba, and Haiti by contributing to the birth of new religions such as Candomble, Santeria, and Voodoo in the Americas.
This fantasized figure is marked by her armor as an Amazon, reclaimed as a lesbian precursor from Dahomean mythology.
Seboulisa here signifies multiply -- as a Goddess in the Dahomean pantheon known as "The Mother of Us All" or "Creator of the Universe," as one of the Amazon warrior women marked by their missing breast (who are indigenous to Dahomean myths), and as a self-representation for the activist poet/speaker who reframes her mastectomy as a sign of empowerment.