7 10 134 https://mail.slaverymonuments.org/files/original/103f00c2694b636c92d936855fbc8505.jpeg 4546941be4d8171d83533a5d1581b049 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mémorial Cap 110/Mémorial de l’Anse Caffard (Le Diamant, Martinique) Subject The topic of the resource Subject (Topic) Enslaved persons Martinique--Le Diamant Public art Public sculpture Slave ships Slavery--France Slavery--Martinique Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial, which overlooks the sea, commemorates both the enslaved people who perished in a shipwreck off the coast of Martinique in 1830, and more generally, the tens of thousands of enslaved Africans who were taken to Martinique as part of the transatlantic slave trade. Arranged in a triangle the 15 concrete figures are presented as abstracted, geometrized forms, stripping away any individualizing facial or bodily features. The figures face the ocean, leaning forward, their eyes cast downwards and their mouths open, as if vocalizing a scream. Creator An entity primarily responsible for making the resource Valère, Laurent, 1959- Date A point or period of time associated with an event in the lifecycle of the resource May 22, 1998 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Mémorial Cap 110, FX73+MCP, Le Diamant, Martinique Extent The size or duration of the resource. 98.4 x 58.8 x 22.8 in. (249.936 x 149.352 x 57.912 cm) Medium The material or physical carrier of the resource. Reinforced concrete; Sand and gravel from Trinidad Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Valère, Laurent. "Cap 110." Laurent Valère Art Studio. Accessed June 20, 2019. https://www.laurentvalereartstudio.com/cap-110-1. Curtius, Anny-Dominique Curtius. "Slavery Memorials." In Postcolonial Realms of Memory: Sites and Symbols in Modern France, eds. Etienne Achille, Chares Forsdick, and Lydie Moudileno, 167-185. Liverpool University Press, 2020. Conduru, Roberto. "Transnational Counter-monuments: Anti-Slavery and Pro-Freedom Memorials." ReVista: Harvard Review of Latin America, July 30, 2021. Accessed January 28, 2026, https://revista.drclas.harvard.edu/transnational-counter-monuments/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:Statues-diamant-stephfr.jpg" target="_blank" rel="noopener">Wikipedia Commons</a> Rights Information about rights held in and over the resource Ville du Diamant, Hôtel de Ville du Diamant, 45 Rue Justin Rock, Le Diamant, 97223, Martinique Contributor An entity responsible for making contributions to the resource Ville du Diamant; Association des Jeunes de l'Anse-Cafard; Allianz France Has Part A related resource that is included either physically or logically in the described resource. Front of information sign at site (French and English): Mémorial de l’Anse Caffard Anse Caffard Memorial Bienvenue Voici l'histoire de ces lieux: Le 8 avril 1830, vers midi, un bateau effectue d'étranges manoeuvres au large du Diamant, et vers cinq heures de l'après-midi, jette l'ancre, ici même, dans la parages dangereux de l'Anse Caffard. Un habitant du quartier, François Dizac, Géreur de l'Habitation Plage du Diamant, propriété du Comte de Latournelle, se rende compte du danger couru par la navire, mais une houle très forte l'empêche de mettre une pirogue à la mer pour prévenir le capitaine du péril imminent qu'il courait d'être jeté sur la côte. Il doit se borner à faire des signaux que la capitaine ne voit pas ou ne veut pas voir. A 23 heures, des cris et des craquements sinistres déchirent la nuit. Dizac et un groupe d'esclaves de l'Habitation, se rendent immédiatement sur les lieux pour découvir une vision d'horreur: Le bateau disloqué sur les rochers, avec ses passagers, pris dans la terrible furie de la mer déchainée. Les sauveteurs virent alors le mât de misaine, surchargé d'individus affolés se briser et etrainer définitivement dans l'écume et les rochers un grand nombre de personnes. Welcome Here's the story of this place: On 8th April 1830, around noon, a ship was carrying out strange maneuvers off the coast of Diamant and around five pm cast anchor in this very place on the dangerous coast of Anse Caffard (Caffard Cove). A resident of the neighborhood, François Dizac, manager of the Habitation Plage du Diamant, property of comte de Latournelle, realized the ship was in danger but a heavy swell prevented him from launching a boat to warn the captain that the ship ran the risk of running aground. He merely sent signals that the captain didn't see or didn't want to see. At 11 pm sinister cries and cracking sounds shattered the silence of the night. Dizac and a party of slaves from the Habitation were promptly  on the scene only to see a horrible sight: the ship dislocated on the rocks, its passengers tossed around by the raging seas. Then rescuers saw a great number of panic-stricken men holding firmly to the foremast which broke and carried them away once and for all into the foam and rocks. Back of information sign at site (French and English): Mémorial de l’Anse Caffard Anse Caffard Memorial Le bateau fut entièrement détruit, son nom et sa nationalité ne sont pas établis en l'état actuel des recherches historiques. Le lendemain, 9 Avril 1830, à l'aube, quarante six cadavres furent repêchés. Les corps des marins-négriers furent inhumés au cimetière du Diamant et les noyés africains, "à quelques distance du rivage," c'est à dire dans ce secteur. Quatre vingt six captifs, vingt six hommes  et soixante femmes, furent donc sauvés et recueillis par Dizac et les esclaves de son atelier avant d'être transférés vers Fort-du-France. Les rescapés étaient tous d'origine africaine. The ship was completely destroyed, its name and nationality have still not been established by historians. On the next day, 9th April 1830, at dawn, forty-six bodies were recovered. The slave traders bodies were buried at the Diamant cemetery and the African bodies "a short distance from the shore," at this very spot. Eighty-six captives, twenty-six men and sixty women were therefore saved and picked up by Dizac and the slaves of his estate before being transferred to Fort-de-France. The rescued were all Africans. Six blessés, dont l'état ne permettait pas le transport furent laissés provisoirement sur l'habitation d'un homme de couleur libre, aveugle, nommé Borromé, dont on retrouve la descendance ici même, à l'Anse Caffard. Aujourd'hui, rendant hommage aux victimes de cette tragédie, la ville du Diamant se souvient qu'ici, comme ailleurs, l'homme a impitoyablement asservi l'homme. Ce monument est orienté au cap 110 degrees, en direction du Golfe de Guinée, il a été érigé en mémoire des victimes inconnues de la traite et en invitation à la Fraternité entres les hommes. Six injured people who were not well enough to be transported were left temporarily at the "habitation" of a blind, free coloured man, named Borromé whose descendants can still be found here at Anse Caffard. Today, by paying tribute to the victims of this tragedy, the town of Diamant remembers that here and everywhere, man had ruthlessly enslaved man. This monument points 110 degrees to the Gulf of Guinea, it is erected in memory of the unknown victims of the slave trade and in celebration of human brotherhood. Fiche Technique Nombre de statues: 15 Matière: Béton armé avec utilisation de gravillons et de sable blanc de Trinidad et Tobago Hauteur: 2,5 m Poids: 4 tonnes par statue Poids total: 60 tonnes Orientation: 110 degrees Data Sheet Number of statues: 15 Material: Reinforced concrete with white grit and sand from Trinidad and Tobago Height: 2,5 meters (8 feet, 2 inches) Weight: 4 tons per statue Overall weight: 60 tons Orientation: 110 degrees Quelques explanation: La forme triangulaire fait référence au commerce du même nom (Europe, Afrique, Amériques). La couleur blanche est la couleur traditionnelle des sépultures dans la Caraibe. Elle marque la dimension funéraire de ces lieux où les corps des captifs Africains reposent. Le monument est orienté au cap 110, cap du Golfe de Guinée, d'où venait ce navire mystérieux. Further explanation: The triangular shape alludes to the trade of the same name (Europe, Africa, America). White is the traditional color worn in funerals in the Caribbean. It shows the funerary dimension of this place where about 40 Africans, men, women and children were buried. The monument points 110 degrees to the Gulf of Guinea this mysterious ship had come from. A l'initiative de la ville du Diamant, cette sculture de Laurent Valère, a été fabriquée à cla Martinique, a Trinité (Ateliers Prefakit) sous la Direction Technique de Eddie Vignon, la coordination Générale de Jean-Claude de Lafargue, a Régie de Danielle Martin, et l'Assistance Operationnelle des Agents des Services Techniques de la Ville du Diamant. Of this initiative on the town of Diamant, this sculpture by Laurent Valère was made in Martinique, in Trinité (Ateliers Prefakit) under the technical supervision of Eddie Vignon, the general coordination of Jean-Claude de Lafargue, under the control of Danielle Martin, and the operational assistance of the Agents of the technical department of the town of Diamant. abstract concrete figurative https://mail.slaverymonuments.org/files/original/79ef8ac94602f4840bc28fa08673092a.jpg b383505d4c9ce4af56b3796fb2334bca https://mail.slaverymonuments.org/files/original/701ccf20c9bca12773a15897953f029e.jpg 6576834d1d12d6b899c8bb6576279297 https://mail.slaverymonuments.org/files/original/c79a5f52ba08d07bf12e1a44682089be.jpg 2f7622f6f8c17f6a194d7dc2a941d9f8 https://mail.slaverymonuments.org/files/original/56564e9cd4b820da54db98f77c8c358b.jpg 7297ce0f98450cf89c7a314be031f213 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture; Memorial Arch Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La Porte du Non Retour (Ouidah, Republic of Benin) Subject The topic of the resource Subject (Topic) Republic of Benin--Ouidah Slave markets Slave ships Slavery--Benin Transatlantic slave trade Subject (Object Type) Commemorative sculpture Memorial Arches Description An account of the resource Located on the sandy shores of Ouidah, Benin, the monumental concrete painted red and yellow and the metal sculptures that flank it, commemorate the horrors of the transatlantic slave trade. The memorial gate, which marks the point where African captives were forced onto transatlantic slave ships, is connected by a path, known as the “Slave Route,” to the market square, where enslaved people were once sold. The memorial arch is embellished with a frieze, depicting two lines of enslaved people bound at their hands and chained together as they walk towards waiting ships. The columns are adorned with sculptures depicting men and women captives, Their extremities bound, as they kneel and await their fate in Portuguese-built forts. The back of the gate is adorned with depictions of their native towns. Yves Ahouangnimon was the architect for the project; Fortuné Bandiera created figures and bas reliefs on the columns; Yves Apollinaire Pèdé created the bas-reliefs on the center arch and two free-standing egungun; and Dominique Kouas created the copper statues. Creator An entity primarily responsible for making the resource Ahouangnimon, Yves Bandiera, Fortuné, 1953- Kouas, Dominique, 1952- Pédé, Yves Apollinaire, 1959-2019 Date A point or period of time associated with an event in the lifecycle of the resource November 30, 1995 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Route des Pêches, la plage de Ouidah, 8399+69M, Ouidah, Benin Medium The material or physical carrier of the resource. Concrete; Bronze; Copper Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Araujo, Ana Lucia. "Political Uses of Memories of Slavery in the Republic of Benin." History in Focus, no.12 (Spring 2007). Accessed February 27, 2026. https://archives.history.ac.uk/history-in-focus/Slavery/articles/araujo.html. Law, Robin. "Commemoration of the Atlantic Slave Trade in Ouidah." Gradhiva: Revue d'anthropologie et d'histoire des arts (2008): 11-27. Akhtar, Saima and David H. Colmenares. "The Slaving Port of Ouidah and Monumental Discourse around the Atlantic Perimeter." Medium, Art Histories and Aesthetic Practices Blog, January 27, 2016. Accessed May 13, 2019. https://medium.com/from-traditional-to-contemporary-aesthetic/the-slaving-port-of-ouidah-and-monumental-discourse-around-the-atlantic-perimeter-a41968341a57. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photographs: Flickr: <a href="https://www.flickr.com/photos/dantoujours/33680680066/in/album-72157678589698644/" target="_blank" rel="noopener">"Door of No Return -- Ouidah, Republic of Benin 2017" by Dan Sloan, CC BY-SA-2.0</a>. Photograph of UNESCO commemorative plaque: <a href="https://commons.wikimedia.org/wiki/File:Porte_du_non_retour_11.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Contributor An entity responsible for making contributions to the resource Gouvernement de la République du Bénin and UNESCO Rights Information about rights held in and over the resource Ministère du Tourisme, de la Culture et des Arts, Gouvernement de la République du Bénin, Palais de la Marina, 01 BP 2037 Cotonou, Benin Extent The size or duration of the resource. Unknown Has Part A related resource that is included either physically or logically in the described resource. Inscription on marble plaque on right side of arch: Ce Monument Commemoratif A Ete Inauguree Le 30-11-95 Par Son Excellence Le President Nicephore Dieudonne Soglo Et Le Directeur General De L'UNESCO Monsieur Federico Mayor A L'Occasion De La Celebration De L'Annee 1995 Comme L' Annee Internationale De La Tolerance English translation: This Memorial Was Inaugurated On November 30, 1995 By His Excellency President Nicephore Dieudonne Soglo And The Director-General Of UNESCO Mr. Federico Mayor On The Occasion Of The Celebration Of The Year 1995 As The International Year Of Tolerance Inscription on marble plaque on left side of arch: LA PORTE du NON retour --Ses Figurines et ses bas-relief en colonnes d'esclaves a été conue et réalisée par Fortuné Bandeira --L'agencament ou terrassement par l'Architect Ahouangnimon Yves --Les Statues en cuivre rouge par Gnonnou Dominique Kouass --Les bas-relief du mur de ceinture et les deux Statues répresentant des Egun-Egun (Esprit des esclaves) par Yves Kpede -Sous la présidence du Ministre d'Etat Désiré Vieyra et la coordination de Mr. Noureini Tidjani-Serpos English translation: THE GATE OF NO RETURN --Its figurines and bas-reliefs on columns of slaves were designed and created by Fortuné Bandeira --The layout and earthworks by architect Ahouangnimon Yves --The red copper statues by Gnonnou Dominique Kouass --The bas-reliefs on the surrounding wall and the two statues representing Egun-Egun (spirits of slaves) by Yves Kpede -Under the chairmanship of Minister of State Désiré Vieyra and the coordination of Mr. Noureini Tidjani-Serpos bas-relief bronze concrete figurative https://mail.slaverymonuments.org/files/original/493670fa2155cd299f0ff221ae70f484.jpeg 3d3da0bd8032c29c4d35e507df84db7d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Never Again Statue (Albreda, The Gambia) Subject The topic of the resource Subject (Topic) Enslaved persons Freedom The Gambia--Albreda Public sculpture Slavery--The Gambia Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource The work depicts an abstracted human figure, arms outstretched above their head, broken chains hanging from each wrist. Both the frontal and posterior planes of the body are painted black, while the sides of the body are painted white. A geometric, linear symbol is inscribed on the figure's chest. A globe is used for the figure’s head. “Never Again!” is painted on the base of the work. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 8JM8+73W, Albreda, The Gambia, West Africa Date Created Date of creation of the resource. 1998 Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Creator An entity primarily responsible for making the resource Unknown Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:Never_Again,_Albreda_Juffureh.JPG" target="_blank" rel="noopener">Wikipedia Commons</a> Medium The material or physical carrier of the resource. Painted concrete Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Wikle, Thomas A. and Dale R. Lightfoot. "Landscapes of the Slave Trade in Senegal and The Gambia." Focus on Geography 57, no. 1 (March 2014): 14-24. Date A point or period of time associated with an event in the lifecycle of the resource 1998 Rights Information about rights held in and over the resource Ministry of Culture and Tourism, Republic of the Gambia, New Administrative Building, The Quadrangle, The Gambia, West Africa Contributor An entity responsible for making contributions to the resource National Centre for Arts and Culture, Ministry of Culture and Tourism abstract chains figurative manacles map https://mail.slaverymonuments.org/files/original/c96482ed830a994203b6ac631cccce76.jpg 9a9c6e652220fbcbaf689d00a730d78f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Building and Structure Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La Maison des Esclaves (Gorée Island, Senegal) Subject The topic of the resource Subject (Topic) Enslaved persons Senegal--Goree Isand Slave ships Slavery-Senegal Transatlantic slave trade Subject (Type) Building and Structures Description An account of the resource The island of Gorée was the site of one of the earliest European settlements in Western Africa and from the fifteenth to the nineteenth century, served as the largest slave-trading site on the African coast. Built in 1776, La Maison des Esclaves, was a detention center for captured Africans who were destined to be sold as slaves. In 1962 the home was established as a museum dedicated to telling the “personal stories of a private home and the role of its owners in both local business and the slave trade.” Between 2015-2022, La Maison des Esclaves underwent major renovations, funded through the Government of Senegal and the Ford Foundation. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Historic Sites Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rue St-Germain, Gorée Island, Senegal Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. International Coalition of Sites of Conscience. "Revitalizing Maison des Esclaves." Accessed April 29, 2019. https://www.sitesofconscience.org/wp-content/uploads/2016/10/Maison-Des-Esclaves-Overview-2019.pdf Araujo, Ana Lucia. "Sites of Deportation." in Shadows of the Slave Past: Memory, Heritage, and Slavery, 45-75. Routledge, 2010. Tillet, Salamishah. "In the Shadow of the Castle: (Trans)Nationalism, African American Tourism, and Gorée Island." Research in African Literatures 40, no. 4 (Winter, 2009): 122-141. Maison des escalaves de l'île de Gorée. Accessed February 27, 2026. https://www.maisondesesclaves.org. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:La_maison_des_esclaves.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Date A point or period of time associated with an event in the lifecycle of the resource 1776 Creator An entity primarily responsible for making the resource Ndiaye, Boubacar Joseph, 1922-2009 (museum founder/curator) Contributor An entity responsible for making contributions to the resource Léopold Sédar Senghor, Premier Président du Sénégal (1960-1980); La République du Sénégal; Ford Foundation; International Coalition of Sites of Conscience Rights Information about rights held in and over the resource Ministère de la Culture, de l’Artisanat et du Tourisme, Bâtiment C, 1er étage, Sphère Ministérielle Ousmane Tanor Dieng (SMOTD) à Diamniadio, BP: 4049 - Dakar, Sénégal Medium The material or physical carrier of the resource. Timber; Straw; Pulvarized seashells; Local volcano stone historic architecture https://mail.slaverymonuments.org/files/original/e32a210f39d1e4c462eb8eb7dd520d87.JPG 9debabba74510aec7d964631f5603e7d https://mail.slaverymonuments.org/files/original/6da7d002d202e2ddb9ee6af1cbddd03f.JPG 565efe4ecbd684a276ff5f01115eca0c https://mail.slaverymonuments.org/files/original/26e685e6e420d81f7fa83cd6268ddb4b.JPG c23f6796d9f6756c68907efec9c46e02 https://mail.slaverymonuments.org/files/original/933aa76f1737b289e92fc9fbe96755aa.JPG 49bb2456c67e8a4be14bd14379a6ac28 https://mail.slaverymonuments.org/files/original/96d641e3c8e5857be470fac6e923da4d.JPG 8dc82e7a3ab0501e9a4a0cf536ad0603 https://mail.slaverymonuments.org/files/original/fd1880a8c6ea6e2060453dbc083f73b5.JPG ef6e737e40221a0f30c6984ef2ce1720 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kumbukumbu Ya Historia Ya Watumwa/Memory for the Slaves (Stone Town, Zanzibar, Tanzania) Subject The topic of the resource Subject (Topic) Enslaved persons Slave market--Zanzibar Slave trade--Indian Ocean Slavery--Zanzibar Tanzania--Zanzibar--Stone Town Subject (Object Type) Commemorative sculpture Description An account of the resource Created by the Swedish artist Clara Sörnäs at the Bagamoyo Arts and Cultural Institute, the monument includes five nude torsos of enslaved Africans who emerge from stone pillars. The surface of the pillars is rough and a pebbled texture that resembles the stones that fill the concrete pit that surround the five figures. The five cast concrete figures, all but one of whom are chained around the neck, are located on the site of the last slave market in Africa in Stone Town, Zanzibar. Creator An entity primarily responsible for making the resource Sörnäs, Clara, 1966- Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Christ Church, Stonetown, Zanzibar, Tanzania<a href="https://www.google.com/maps/place/Slave+Chambers/@-6.1645032,39.1926727,18z/data=!4m12!1m6!3m5!1s0x185cd059318257d9:0x73091b66b9d70cd2!2sAnglican+Cathedral!8m2!3d-6.1629403!4d39.1926016!3m4!1s0x185cd05ecaed09bb:0x7840e2a061706433!8m2!3d-6.1634083!4d39.1925146"></a> Medium The material or physical carrier of the resource. Concrete; Iron Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Rhodes, Daniel T. "History, Materialization, and Presentation of Slavery in Tanzania." Journal of African Diaspora Archaeology and Heritage 7, no. 2 (2018): 165-191. Fouéré, Marie-Aude. "Museumizing the Slave Trade and Slavery in Zanzibar: Truth, Untruth, and Uncertainty at the Old Slave Market." Ethnologie française 50 (2020): 109-124. Accessed February 9, 2024. https://shs.cairn.info/journal-ethnologie-francaise-2020-1-page-109?lang=en. Sansone, Livio and Wilson Profírio Nicaquela. "O Futuro da Mémoria da Escravidão no Índico: Lembrar e Esquecer na Ilha de Moçambique e Zanzibar." Afro-Ásia no. 71 (2025): 1-46. (The Future of the Memory of Slavery in the Indian Ocean: Remembering and Forgetting on the Island of Mozambique and Zanzibar) Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photographs by Adrienne Childs Date A point or period of time associated with an event in the lifecycle of the resource 1998 Has Part A related resource that is included either physically or logically in the described resource. Signage: Kumbukumbu Ya Historia Ya Watumwa Memory for the Slaves Sponsored by Benot Ulin Tanzania Cigarette Company Boliden Contech Adea Brown Boveri Okanska Owed Fund Ericsson Made by Clara Sörnäs at Sculpture Project Bagamoyo: 1997-98 Contributor An entity responsible for making contributions to the resource Benot Ulin; Tanzania Cigarette Company; Boliden Contech; Adea Brown Boveri; Okanska; Owed Fund; Ericsson; Bagamoyo Arts and Cultural Institute Rights Information about rights held in and over the resource Ministry of Tourism and Heritage, The Revolutionary Government of Zanzibar, Mnazi Mmoja, Zanzibar, P. O. Box 2277, Zanzibar chains concrete iron shackles https://mail.slaverymonuments.org/files/original/c97fa0b3696a9312696d8c1fa5ff9a9e.jpg 2ca7e07487306780d3e3596fd9864528 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Abolition of Slavery Creator An entity primarily responsible for making the resource Written by Renée Ater Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This grouping of commemorative works focus on the abolition of slavery in countries engaged with the slave trade including England, France, The Netherlands, and Spain. England enacted the Slave Trade Act of 1807, prohibiting the Atlantic slave trade in the British Empire. It did not abolish slavery in its colonies until the 1833 Slavery Abolition Act. France first abolished slavery on February 4, 1794, during the French Revolution. Napolean Bonaparte reinstituted slavery in France's colonies in 1802. Slavery was officially abolished in France with the Decree of the Abolition of Slavery of April 27, 1848. The Netherlands officially abolished slavery in its colonies (Suriname and the Dutch Caribbean) on July 1, 1863, but it was not until July 1, 1873, that enslaved persons were freed from state supervision on plantations. Spain abolished the slave trade in 1817 with a treaty with England, which was not enforced until 1820. However, slavery continued in its colonies. The Spanish National Assembly abolished slavery in Puerto Rico in 1863 and in Cuba in 1886. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 196.8 in. (499.87 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fers, hommage au General Dumas (Paris, France) Subject The topic of the resource Subject (Topic) Abolition of slavery France--Paris Public art Public sculpture Transatlantic slave trade Subject (Name) Davy de La Pailleterie, Thomas-Alexandre Dumas, 1762-1806 Subject (Object Type) Commemorative sculpture Description An account of the resource Made in 2008, the monumental ironwork is dedicated to both the memory of General Thomas-Alexandre Dumas (Davy de La Pailleterie), the first Black general in France and in acknowledgment of the abolition of slavery. The memorial was dedicated on April 4, 2009, with support from UNESCO. The work, consisting of two broken shackles and iron chains, was erected on the site of Alphonse-Emmanuel de Moncel's Monument au Général Dumas (1913). The Vichy regime destroyed this statue in 1942 during the Nazi occupation of France. Creator An entity primarily responsible for making the resource Lacourt, Driss Sans-Arcidet, 1960- also known as Le Musée Khômbol Date A point or period of time associated with an event in the lifecycle of the resource April 4, 2009 Contributor An entity responsible for making contributions to the resource Claude Ribbe; L'association des amis du Général Dumas; Office of the Mayor of Paris Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Jardin Solitude, Place du General Catroux, Avenue de Villiers, 75017 Paris, France Extent The size or duration of the resource. 196.8 in. (499.872 cm) Medium The material or physical carrier of the resource. Iron Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Un symbole contre l'esclavage en plein Paris." Le Parisien, February 18, 2009. Accessed April 29, 2019. http://www.leparisien.fr/paris-75/paris-75017/un-symbole-contre-l-esclavage-en-plein-paris-18-02-2009-414757.php. "Paris : Fers brisés, hommage au général Thomas Alexandre Dumas, une oeuvre signée Musée Khômbol alias Driss Sans-Arcidet - XVIIème." Paris La Douce, June 15, 2019. Accessed December 20, 2025. https://www.parisladouce.com/2019/06/paris-fers-brises-hommage-au-general.html. Khadraoui-Fortune, Sophia. "General Alexandre Dumas: A Century-long Tale of Memorials." Contemporary French Civilization 50, no. 4 (December 4, 2025): 389-409. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:Jardin_Solitude_et_Fers_Paris_2022.jpg" title="Jardin Solitude et Fers Paris 2022" target="_blank" rel="noopener">Wikimedia Commons</a> Has Part A related resource that is included either physically or logically in the described resource. Signage: Général Alexandre Dumas Œuvre réalisée par Musée Khômbol 2008 Dominique Tillard Constructeur Commande publique de la Ville de Paris Thomas-Alexandre Davy de La Pailleterie, né esclave à Jérémie (Saint-Domingue, aujourd'hui Haïti) le 25 mars 1762 d'une femme esclave d'origine africaine et d'un colon, mort libre à Villers-Cotterêts (Aisne) le 26 février 1806. Il s'engage à vingt-quatre ans comme cavalier sous le pseudonyme d'Alexandre Dumas. Héroïque combattant des armées révolutionnaires, il sera rapidement promu général, le premier d'origine afro antillaise. Commandant en chef de l'armée des Pyrénées, des Alpes, de l'Ouest, fondateur des Chasseurs alpins, héros de l'armée d'Italie, connu pour son courage et sa valeur exceptionnels, mais aussi sa sensibilité, son respect des prisonniers et des populations civiles, il saura démissionner pour épargner les Vendéens et sa conscience, justifiant son surnom de Monsieur de l'Humanité Capturé à son retour de l'expédition d'Égypte, il subit deux années d'une dure détention et, revenu en France en 1802 au moment du rétablissement de l'esclavage, il n'obtient le bénéfice d'aucun des honneurs qui lui sont dus. Son fils reprendra ce même pseudonyme d'Alexandre Dumas et s'inspirera des aventures du Général pour écrire Les Trois Mousquetaires, dont le succès contribuera à faire de lui l'écrivain français le plus lu dans le monde. Un troisième Alexandre Dumas, auteur de La Dame aux Camélias, petit-fils du Général, viendra clore cette dynastie. La présente œuvre remplace la statue de 1913 détruite sous l'occupation nazie et rejoint sur cette place les monuments dédiés à son fils et son petit-fils. English translation: Thomas-Alexandre Davy de La Pailleterie, born a slave in Jérémie (Saint-Domingue, today Haiti) on March 25, 1762 to a slave woman of African origin and a colonist, died free in Villers-Cotterêts (Aisne, France) February 26, 1806. He signed up as a rider at the age of twenty-four under the pseudonym Alexandre Dumas. A heroic fighter in revolutionary armies, he was quickly promoted to general, the first of Afro-Caribbean origin. Commander-in-chief at times, of the armies of the Pyrenees, the Alps, and the West, founder of the Alpine Hunters, hero of the army of Italy, known for his exceptional courage and valor, but also his sensitivity, his respect for prisoners and civilian populations, he also would know how to resign to spare the Vendéens and his conscience, justifying his nickname of Monsieur de l'Humanité. Captured on his return from the Egyptian expedition, he underwent two years of harsh detention and, returning to France in 1802 at the time of the reestablishment of slavery, he did not obtain the benefit of any of the honors which were due to him. His son took up the same pseudonym of Alexandre Dumas and was inspired by the General's adventures to write The Three Musketeers, the success of which helped to make him the most widely read French writer in the world. A third Alexandre Dumas, author of La Dame aux Camélias, grandson of the General, completed this dynasty. This work replaces the 1913 statue destroyed under the Nazi occupation and joins the monuments dedicated to his son and grandson on this square. Rights Information about rights held in and over the resource Office of the Mayor of Paris, Hôtel de Ville, Place de l'Hôtel de Ville, 75004 Paris, France abstract chains iron shackles https://mail.slaverymonuments.org/files/original/58d9f6baaac4bd675804681977e0bdb3.jpg 528fbd511bda5718d6fbd7daa160bdbf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sites of Slavery Creator An entity primarily responsible for making the resource Written by Renée Ater Description An account of the resource For this thematic grouping, sites of slavery are designated as historic places (including plantations, wharves, archaeological sites) where "slavery happened" and that commemorate enslaved Africans, their lives, and their labor. We include sites that act as memorials and often have sculpture, public art, or monuments located on their grounds.  Founded in 2014 as a museum, the <a href="https://www.slaverymonuments.org/items/show/1218" target="_blank" rel="noopener">Whitney Plantation</a> educates the public about the history of slavery in Louisiana and the brutal production of sugar along the Mississippi River, between New Orleans and Baton Rouge. The historic plantation complex comprises twelve historic structures including slave cabins, a kitchen, a jail, and the main house. This site of slavery includes four memorials: The Wall of Honor, Allées Gwendolyn Midlo Hall, The Field of Angels, and the 1811 German Coast Uprising Memorials. Other sites of slavery include the <a href="https://www.slaverymonuments.org/items/show/1144" target="_blank" rel="noopener">ACTe Mémorial </a>in Pointe-à-Pitre, Guadaloupe, a memorial building and museum on the site of a former sugar plantation; the <a href="https://www.slaverymonuments.org/items/show/1164" target="_blank" rel="noopener">Valongo Wharf</a>, an archaeology site in Rio de Janeiro, Brazil, that was the debarkation point of an estimated 900,000 enslaved Africans; and the <a href="https://www.slaverymonuments.org/items/show/1152" target="_blank" rel="noopener">Mémorial de l'abolition de l'esclavage</a> in Nantes, France, on the Quai de la Fosse along the Loire River, the symbolic departure point of slave ships that sailed from France to Africa. Additional sites to be added include the Freedom Monument Sculpture Park along the Alabama River in Montgomery, Alabama, and the African Ancestors Memorial Garden at the International African American Museum located on Gadsden’s Wharf in Charleston, South Carolina. Note: All sites of slavery in West Africa can be found under the theme of the <a href="https://www.slaverymonuments.org/collections/show/14" target="_blank" rel="noopener">Transatlantic Slave Trade/Middle Passage.</a> Updated January 26, 2026 Contributor An entity responsible for making contributions to the resource Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Building and Structure Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mémorial de l'abolition de l'esclavage (Nantes, France) Subject The topic of the resource Subject (Topic) Abolition of slavery France--Nantes Slave ships Slavery--France Transatlantic slave trade Subject (Object Type) Memorial Description An account of the resource Erected as a space to remember the atrocities of slavery and to commemorate all past and present efforts to resist it, the memorial was constructed in Nantes—the former center of the French slave trade. Designed by an artist and an architect, it features an open-air staircase that leads to an underground space marked by strong geometric lines and a raw aesthetic. A long passageway, lined with subtle lighting showcases a series of wall panels that highlight key historical moments leading to the abolition of the slave trade. The memorial's clean, minimalist design invites quiet reflection. For an in-depth discussion of the memorial, see the website of the Mémorial de l'abolition de l'esclavage Nantes: https://memorial.nantes.fr/en/discovery/. Creator An entity primarily responsible for making the resource Wodiczko, Krzysztof (artist), 1943- Bonder, Julian (architect), 1962- Date A point or period of time associated with an event in the lifecycle of the resource March 25, 2012 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Building and Structures Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Quai de la Fosse, Passerelle Victor-Schoelcher, 44000 Nantes, France Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Discover the Memorial." Mémorial de l'abolition de l'esclavage Nantes. Accessed December 19, 2025. https://memorial.nantes.fr/en/. Furuto, Alison. "Memorial to the Abolition of Slavery / Wodiczko + Bonder." July 26, 2012. ArchDaily. Accessed December 19, 2025. https://www.archdaily.com/256516/memorial-to-the-abolition-of-slavery-wodiczko-bonder. Frith, Nicola. "The Art of Reconciliation: The Memorial to Abolition of Slavery in Nantes." In At the Limits of Memory: Legacies of Slavery in the Francophone World, eds. Nicola Frith and Kate Hodson, 68-89. Liverpool University Press, 2015. CIPDH-UNESCO. "Memorial to the Abolition of Slavery." Memorias Situadas: Sites of Memory Related to Serious Human Rights Violations. Accessed February 10, 2026. https://www.cipdh.gob.ar/memorias-situadas/en/lugar-de-memoria/memorial-de-la-abolicion-de-la-esclavitud/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:Mémorial_Abolition_Esclavage_-_Nantes_(FR44)_-_2022-09-18_-_1.jpg" title="Mémorial de l'abolition de l'esclavage" target="_blank" rel="noopener">Wikimedia Commons</a> Medium The material or physical carrier of the resource. Concrete; Corten steel; Glass; Wood Contributor An entity responsible for making contributions to the resource Consultants Thomas Long, Design Collaboration & Visualization, Graphic Design; Snehal Intwala, Nicholas Capone, James Shen, Ryan McClain, Bill Panasuik, Emmanuelle Chérel (Research); Patrick Charles (Design; Technical Consultant); Maximo Rohm, Ron Henderson, Michael Blier, (Landscape Consultants – USA). Glass Consultants: James Carpenter, James Carpenter Design Associates (preliminary phase); RFR Engineurs, Paris – Philippe Bompas & Nicolo Baldassini (development & construction). Historic Advisors: David Blight, Gilder Lehrman Center on Slavery, Resistance & Abolition, Yale University; Sven Beckert, Harvard University; Kirk Savage, Pittsburgh University; Vince Brown, Duke University. Ville Nantes– Nantes Métropole: Jean-Marc Ayrault, Former Député-Maire de Nantes / Current French Prime Minister; Yannick Guin, conseiller municipal; Octave Cestor, conseiller municipal; Marie-Hélène Jouzeau, directrice Patrimoine et tourisme; Hervé Guégan, chef de projets, Atelier urbain, Nantes Métropole; Jean-Pierre Brindel, directeur Atelier urbain, Nantes Métropole; Aurélie Roger, directeur projets Atelier urbain, Nantes Métropole. Maitre D’Oeuvre: Arcadis Engineurs, Gildas Legall, Bruno Vasseur, Francois Bailly; Roulleau Architectes, Nantes – Michel Roulleau, Jean Marie Beslou. Construction: General Construction: DLE Ouest, Nicholas Boterf; Glass Wall: Polar, Torino, Paolo Cherasco; Inserts: Atelier Barrois, Brioude, Emmanuel Barrois; Lighting: Citelum, Nantes; Landscape: ISIS Espaces Vertes, Nantes; Steel/Metals: CMR, St. Nazaire, Nantes Rights Information about rights held in and over the resource Château des Ducs de Bretagne, Musée d’Histoire de Nantes 4, place Marc Elder, 44000 Nantes, France Has Part A related resource that is included either physically or logically in the described resource. Glass plaque with Universal Declaration of Human Rights, Article 4: No one shall be held in slavery or servitude; slavery and the slave trade shall be prohibited in all their forms. Glass plaques with the word "freedom" translated into 47 languages: Freedom (English) Freiheit (German) Libertad (Spanish) Vrijheid (Dutch) Liberdade (Portuguese) Frihed (Danish) Frihet (Norwegian) Свобода (Russian) Vryheid (Swedish) Huriya (Arabic) Yεrεma honron ya (Bambara) Fכundi (Baoulé) Libèté (Haitian creole) Libèté (Cuban creole) Libèté (Jamaican creole) Libèté (Barbadian creole) Libèté (Louisiana creole) Liberdade (Brazilian creole) Liberte (Reunionnais creole) Liberte (Mauritian creole) Libèté (Guadeloupean creole) Libèté (Guyanese creole) Hכrכnya / Hôrônya (Diola) ablɔɖe (Ewé (Togo) Fahodzi (Fang Cameroon) mɛɖesusi jijɛ (Fongbe) Vryheid (Khoïsan) Kimpwanza (Kikongo) Ufolo (Kimbundu) Fahafahana (Malagasy) Hכrכnya / Hôrônya (Malinké) Foroyaa (Mandinka) Hכrכnya / Hôrônya (Senufo) jeg a xoox of (Serer) Xornimo (Somali) Hכrכnya / Hôrônya (Susu) Uhuru (Swahili) Ahofadi (Twi) Lipanda (Vili) Mom sa bop (Wolof) Inkululeko (Xhosa) òmìniraàyèìjælá ìlúayélujára (Yoruba) Inkululeko (Zulu) Yancìì (Hausa) fridɔm (Krio) lɛgbɔɔɓa (Kpelewo) 90-meter glass plate wall with quotations (Grand Passage): Derek Walcott, "Memory," in The Sea is History, 1979 "Where are your monuments, your battles, martyrs? Where is your tribal memory? Sirs, in that gray vault. The sea. The sea has locked them up. The sea is History." Où sont vos monuments, vos batailles, martyrs? Oú est votre mémoire tribale? Messieurs, dans ce gris coffre-fort. La mer. La mer les a enfermés. La mer est l’Histoire. Mary Prince, The History of Mary Prince, a West Indian slave, related by herself, 1831 (Bermudes) "I then saw my sisters led forth, and sold to different owners; so that we had not the sad satisfaction of being partners in bondage. When the sale was over, my mother hugged and kissed us, and mourned over us, begging of us to keep up a good heart, and do our duty to our new masters. It was a sad parting; one went one way, one another, and our poor mother went home with nothing." Puis j’ai vu mes soeurs être emmenées et vendues à différents propriétaires pour que nous n’ayons pas la maigre consolation d’être partenaires dans l’esclavage. À a fin de la vente, ma mère nous a prises dans ses bras, embrassées, pleurées et suppliées de garder un cœur blanc et d’obéir à nos nouveaux maîtres. Ce furent des adieux déchirants; nous sommes parties chacune de notre côté, et notre pauvre maman est rentrée seule á la maison." Victor Schrelcher, Des colonies françaises, 1842 (France) “Si, comme le disent les colons, on ne peut cultiver les Antilles qu’avec des esclaves, il faut renoncer aux Antilles. La raison d’utilité de la servitude pour la conservation des colonies est de la politique de brigands. Une chose criminelle ne doit pas être necessaire. Périssent les colonies, plutôt qu’un principe.” Quotations include the words of Paul Laraque (1994), Adam Smith (1776), Frederick Douglass (1845), Toussaint Louverture (1793), Olaudah Equiano (1789), Abraham Lincoln (1863), Olympe de Gouges (1788), Léger-Félicité Sonthonax (1793), Bob Marley (1980), Frantz Fanon (1952), Axel Gauvin (1983), Abbé Grégoire (1822), Martin Luther King (1963), Aimé Césaire (1939), Toni Morrison (1987), Nelson Mandala (1994), Louis Timagène (1844), Maryse Romanos (1998), Louis Delgrès (1802), and Léopold Sedar Senghor (1977). For a booklet with all of the quotations etched into the glass wall at the Mémorial, see https://memorial.nantes.fr/wp-content/uploads/2017/03/citations_francais.pdf. Chronology of Abolition (west end of Grand Passage): 1777: Abolition of slavery in Vermont. 1780: Progressive emancipation of slaves in Pennsylvania. 1783: Progressive emancipation of slaves in Massachusetts and New Hampshire. Progressive emancipation of slaves in Rhode Island and Connecticut. August, 26 1789: Declaration of the Rights of Man and of the Citizen, France. 1793: The commissioner of the Republic, Monsieur Sonthonax, abolished slavery in the French possession of Saint-Domingue. 1794: The Convention voted the decree of the abolition of slavery, extending Sonthonax’s abolition to the other French colonies. 1802: Reinstatement of the slave trade by Napoleon Bonaparte in compliance with the laws existing before 1789. 1803: Abolition of the slave trade in Denmark. 1804: Abolition of slavery in Haiti. 1806: Britain banned the slave trade for British subjects. 1807: The United States banned the importation of captives and slaves. Britain banned the slave trade on African coasts. Abolition of slavery in Prussia. 1808: The United States banned the slave trade. 1814: Holland banned the slave trade. 1815: During the Vienna Congress, the principal European powers (Austrian Empire, Great Britain, France, Portugal, Russia, and Sweden) made a commitment to end the slave trade. But the practice persisted undercover. During the Hundred Days, Napoleon 1st signed a decree banning the slave trade. 1817: French Law abolished the slave trade. It was reinstated on April 25, 1827 and on February 2, 1831. 1821: Peru: all descendants of slaves born after this date were free, progressive emancipation of those born earlier and prohibition of the slave trade. 1822: Abolition of slavery in Santo Domingo. The state of Liberia was founded in West Africa by an American Colonization Company for the resettlement of former slaves. 1823: Abolition of slavery in Chile. 1824: Abolition of slavery in Costa Rica, Honduras, Panama, Belize, Salvador, Guatemala. 1826: Abolition of slavery in Bolivia. 1827: Second French law banning the slave trade. 1829: Abolition of slavery in Mexico. 1830: Abolition of slavery in Uruguay. 1833-1838: Enactment of the Abolition bill that provides for a progressive abolition of slavery in the British colonies (West Indies, British Guiana, Mauritius and India). 1836: Complete abolition of slavery in the British colonies. Abolition of slavery in Nicaragua. 1840 and 1843: Global anti-slavery convention in London. 1842: Abolition of slavery in Uruguay and Paraguay. 1846: Abolition of slavery in Tunisia. 1846-1848: Abolition of slavery in the Danish Virgin Island colonies. Saint-Thomas, Saint-Jean, Sainte-Croix. 1847: Abolition of slavery in the Swedish colony of Saint-Barthélemy. 1848: The abolition of slavery was decreed on April 27, 1848 in the French colonies (Martinique, Guadeloupe, Guiana, The Reunion Island). 1850: Official abolition of the slave trade in Brazil. However it continued illegally. 1851: Abolition of slavery in Columbia and Ecuador. 1853: Abolition of slavery in Argentina. 1854: Abolition of slavery in Venezuela, Jamaica, and Peru. 1861: Ban of serfdom in Russia. 1863: Abolition of slavery in the Dutch colonies in the Caribbean and Indonesia. 1865: Enactment of the 13th Amendment banning slavery in the United States. 1866: Spanish decree banning the slave trade. 1869: Abolition of slavery in Portuguese colonies. 1873: Abolition of slavery in Puerto Rico, a Spanish colony at the time. 1876: Abolition of slavery in Turkey. 1885: Adoption of measures against slavery in Africa at the Berlin Conference. 1886: Abolition of slavery in Cuba. 1888: Effective abolition of slavery in Brazil. For the full chronology, see the website of the Mémorial de l'abolition de l'esclavage Nantes: https://memorial.nantes.fr/en/key-dates-in-the-chronology-of-abolitions/#contenu. concrete Corten steel etched glass slave ship wood https://mail.slaverymonuments.org/files/original/d0a46e259b723a478013be39289f9f7a.jpg af442c285562a5f14c81eeae350ef4a5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Abolition of Slavery Creator An entity primarily responsible for making the resource Written by Renée Ater Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This grouping of commemorative works focus on the abolition of slavery in countries engaged with the slave trade including England, France, The Netherlands, and Spain. England enacted the Slave Trade Act of 1807, prohibiting the Atlantic slave trade in the British Empire. It did not abolish slavery in its colonies until the 1833 Slavery Abolition Act. France first abolished slavery on February 4, 1794, during the French Revolution. Napolean Bonaparte reinstituted slavery in France's colonies in 1802. Slavery was officially abolished in France with the Decree of the Abolition of Slavery of April 27, 1848. The Netherlands officially abolished slavery in its colonies (Suriname and the Dutch Caribbean) on July 1, 1863, but it was not until July 1, 1873, that enslaved persons were freed from state supervision on plantations. Spain abolished the slave trade in 1817 with a treaty with England, which was not enforced until 1820. However, slavery continued in its colonies. The Spanish National Assembly abolished slavery in Puerto Rico in 1863 and in Cuba in 1886. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Slavernijmonument/National Slavery Monument (Amsterdam, The Netherlands) Subject The topic of the resource Subject (Topic) Abolition of slavery Public art Public sculpture Slave ships The Netherlands--Amsterdam Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Taken collectively, the elongated bronze figures of enslaved Africans evoke the hull of a ship. An over life-sized woman, her arms outstretched as she arches her body backward, recalls the ship’s prow. The stern of the ship is personified by a number of nude figures, staggering forward, tethered to one another by the shackles around their necks and wrists. The rough-hewn texture of the bronze surface abstracts the individual features of each figure. The memorial commemorates the abolition of slavery in the Netherlands in 1863. Creator An entity primarily responsible for making the resource de Vries, Erwin, 1929-2018 Date A point or period of time associated with an event in the lifecycle of the resource 2002 Contributor An entity responsible for making contributions to the resource Stichting Sophiedela; National Platform Slavery Past (Landelijk Platform Slavernijverleden, LPS) Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oosterpark 9, 1092 AA Amsterdam, The Netherlands Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:Slavernij_monument_oosterpark.jpg" target="_blank" title="Slavernijmonument/National Slavery Monument " rel="noopener">Wikipedia Commons</a> Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Kardux, Johanna C. "Monuments of the Black Atlantic: Slavery Memorials in the United States and the Netherlands." In Blackening Europe: The African American Presence, ed. Heike Raphael-Hernandez, 87-105. Routledge: 2004. Horton, James Oliver and Johanna C. Kardux. "Slavery and the Contest for National Heritage in the United States and the Netherlands." American Studies International 42, nos. 2 and 3 (June-October 2004): 51-74. van Stipriaan, Alex, "Disrupting the Canon: The Case of Slavery." In Beyond the Canon: History of the Twenty-first Century, eds. Maria Grever and Siep Sturrman, 205-219. Palgrave Macmillan UK, 2007. abstract bronze figurative manacles shackles slave ship https://mail.slaverymonuments.org/files/original/0aa704c3d4871292fe24003a6c3de47e.JPG 7b9d6a0d859ac1d837eb411e3ea81d44 https://mail.slaverymonuments.org/files/original/4a05e37313c4a921d6b63b856b5cae74.jpg 8cfbf2a8a823ab3afd104b902b217217 https://mail.slaverymonuments.org/files/original/e930604c02b40413abe4b83bc5c5e9ed.JPG 29c92d366e48efe88b4a85822444a1d3 https://mail.slaverymonuments.org/files/original/e0932e517d6e3816b58345ec6a687c25.jpg c9febadb59758bb06c9344960848692e https://mail.slaverymonuments.org/files/original/42b8db159e6d0dd36878602eed70c2f5.JPG 0caf289ad9d1162db57c98dcd2984c55 https://mail.slaverymonuments.org/files/original/e91f08b2f3719d41011345cd405c05f8.JPG 581ccc98a61925a60094a32ce8864c71 https://mail.slaverymonuments.org/files/original/507c5710cd945c8cf2853493ae046830.JPG d26987c6387f6d9bf796364dd2163d6a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Captured Africans-Transatlantic Slave Trade Monument (Lancaster, England) Subject The topic of the resource Subject (Topic) England--Lancaster Enslaved persons Public art Public sculpture Slavery--England Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Six rectangular Perspex blocks (acrylic), suspended between a rectangular, stainless-steel column and an oblong, stone column, rests on a circular base embellished with a mosaic and small metal sculptures. The work is meant to recall the decks of the transatlantic slave ships that carried enslaved Africans to the Americas. The Perspex blocks are inscribed with the names of the different commodity objects these ships transported to and from the Americas: wealth, cotton, rum, mahogany, sugar, and slaves. The stainless-steel column lists many of the slave ships that departed from Lancaster and the number of enslaved Africans these vessels forcibly seized in Africa. Underscoring the history of these horrific nautical journeys, the mosaic depicts a map detailing the routes of the Transatlantic Slave Trade, while the iron figures personify the trauma and violence of the Middle Passage. Creator An entity primarily responsible for making the resource Dalton-Johnson, Kevin, 1965- Date A point or period of time associated with an event in the lifecycle of the resource October 10, 2005 Contributor An entity responsible for making contributions to the resource Slave Trade Art Memorial Project (STAMP); Ann McArdle, (mosaics); High school students from Lancaster and Richmond (iron figures); Millennium Fund ; Arts Council England; Lancaster City Council; Lancashire County Council; Cumbrian Industrials Ltd. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 19 Waterside, Lancaster, LA1 1AY, England Medium The material or physical carrier of the resource. Perspex; Stainless steel; Iron; Ceramic tile Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Collins, Paul. "Slave Memorial is Labour of Love." Lancaster Guardian. Accessed April 29, 2019. https://www.lancasterguardian.co.uk/news/slave-memorial-is-labour-of-love-1-1165642. Rice, Alan. "Discovering Traces of Slavery in a City Fraught with Amnesia: Creating Memorials and Building New Identities in Lancaster." In Creating Memorials, Building Identities: The Politics of Memory in the Black Atlantic, 32-54. Liverpool University Press, 2010. Facing the Past. "Enslaved Africans Memorial." Map, Facing the Past. Accessed February 8, 2026. https://www.facingthepast.org/map/records/slavery-memorial. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photographs: <a href="https://waymarking.com/waymarks/wm3FZC_Captured_Africans_Lancaster_UK" target="_blank" rel="noopener">Waymarking.com</a> Rights Information about rights held in and over the resource Lancaster City Council, Town Hall, Dalton Square, Lancaster, Lancashire, LA1 1PJ United Kingdom Has Part A related resource that is included either physically or logically in the described resource. Stainless-steel information plaque: Captured Africans Created by Kevin R. I. Dalton-Johnson "Captured Africans" was developed as part of the Slave Trade Arts Memorial Project (STAMP), an extensive arts education outreach programme led by SuAndi O.B.E. and delivered by artists Sue Flowers, Max Alder, Anthony Watt, Evadney Clarke, Anita Franklin, Faith Bebbington, Steve Papaye Richards and Janet Griffiths. Creative support from Ann McArdle, Alan Ward, Boydell Pipework and Fabrications Ltd., Northern Cast Acrylics, Merseyside Castings & Engineering Co., Thermoplastics Ltd., Trade Engravers Ltd. Funded by The Millillenium Fund, Arts Council England, Lancaster City Council, Lancanshire County Council, Cumbrian Industrial Ltd. abstract figurative inscription iron map Perspex slave ship stainless steel https://mail.slaverymonuments.org/files/original/d7af90a63c21d37c73bf8c773db015d6.jpg c839d4a7bd90a2496d9eea1e67a9b9fb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 156 in. (396.24 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Estatua de Yanga/Gaspar Yanga (Veracruz, Mexico) Subject The topic of the resource Subject (Topic) Enslaved persons--Emancipation Maroons--Mexico Mexico--Verzcruz Public art Public sculpture Resistance Slavery--Mexico Transatlantic slave trade Subject (Name) Yanga, Gaspar Subject (Object Type) Commemorative sculpture Description An account of the resource The muscular, semi-nude figure looks resolutely forward as he raises a machete in his right hand and holds a long (sugar cane?) in his left. A shackle with a broken chain is still attached to his left wrist. The work was created to celebrate Gaspar Yanga, a seventeenth-century self-emancipated (former enslaved person) leader of a maroon colony of self-emancipated people near Veracruz, Mexico. He successfully resisted a Spanish attack on the maroon colony in 1609 and later negotiated with the Spanish colonial government to secure self-rule for the maroon settlement. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Negro Yanga, Barrio del Negro Tango, 94930 Yanga, Veracruz, Mexico Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. El Yanga Has Part A related resource that is included either physically or logically in the described resource. Plaque: "El Yanga" Negro Africano precursor de la libertad de los negros eslavos fundo este pueblo de San Lorenzo de Cerralvo (hoy Yanga) por acordado del virrey de nueva Espana, Don Rodrigo Osorio Marquez de Cerrvalo, el dia tres de Octobre del ano 1631 por mandato del virrey trazo el pueblo el Capitan Hernando de Castro Espinosa, H. Ayuntamento Constl. 1973-1976 El Yanga ver agosto 10 De 1976 Primer pueblo libre de America English translation: Black African liberator and precursor of the black slaves who founded this town of San Lorenzo de Cerralvo (today Yanga) by agreement of the viceroy of New Spain, Don Rodrigo Osorio Marquez de Cerrvalo, on the third day of October 1631 by order of the viceroy. This town was laid out by Captain Hernando of Castro Espinosa. H. Constl. City Council, 1973-1976. El Yanga on August 10, 1976. First free town in America Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Creator An entity primarily responsible for making the resource Lendechy, Erasmo Vásquez, 1918-2002 Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:EstatuaYanga.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Date A point or period of time associated with an event in the lifecycle of the resource August 10, 1976 Extent The size or duration of the resource. 156 in. (396.24 cm) Medium The material or physical carrier of the resource. Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Rosas, Salma Lara. "Erasmo Vazquez Lendechy: autor de la escultura en Yanga y ayudante principal de Frieda Kahlo." El Sol de Corodoba, August 11, 2024. Accessed on February 2, 2025, https://oem.com.mx/elsoldecordoba/cultura/quien-fue-erasmo-vazquez-lendechy-historia-del-artista-que-hizo-la-escultura-de-yanga-13224263. Carillo, Karen Juanita. "Mexico's First Liberated City Commemorates Its Founding." JSTOR Daily, October 20, 2021. Accessed February 16, 2025, https://daily.jstor.org/mexicos-yanga-commenorates-founding. Conduru, Roberto. "Transnational Counter-monuments: Anti-Slavery and Pro-Freedom Memorials." ReVista: Harvard Review of Latin America, July 30, 2021. Accessed January 28, 2026, https://revista.drclas.harvard.edu/transnational-counter-monuments/. Enslaved: Peoples of the HIstorical Slave Trade. "Yanga." Enslaved.org. Accessed February 4, 2026. https://enslaved.org/fullStory/16-23-126857/ Contributor An entity responsible for making contributions to the resource City of Yanga Rights Information about rights held in and over the resource City of Yanga, Edificio Municipal, Avenue 2, Centro, 94930 Yanga, Veracruz, Mexico bronze figurative machete (knife)