1 10 12 https://slaverymonuments.org/files/original/69b984947b3732c2834c69dcdd9e11bd.jpg 5e307ca5a1f1c59eb06987d3514eef9f 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 Atorkor Slave Trade Memorial (Atorkor, Ghana) Subject The topic of the resource Subject (Topic) Enslaved persons Ghana--Atorkor Slave market Slavery--Ghana Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial is located in the coastal Ghanaian district of Anlo, once known for its substantial involvement in the slave trade. A high-walled circular enclosure with a small wooden door, which serves as a narrow entrance, leads the viewer to the central feature of the memorial: a life-size sculptural group of a tall European slave-trader brandishing a whip over two kneeling African figures. The African figures, dressed in traditional garb, are chained at the neck. The interior walls of the monument are embellished with a narrative frieze illustrating a well-known local legend about a white trader who lived in Atorkor and the young men and women from the village who were deceived by the cunning trader and sold into slavery. Date A point or period of time associated with an event in the lifecycle of the resource 1999 Contributor An entity responsible for making contributions to the resource Keta District Tourism Development Committee; Keta Municipal Assembly; Anlo Traditional Council; Atorkor Development Foundation (ADF); National Tourism Development Committee 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 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Okudzeto, Senam. "Emotive Histories: The Politics of Remembering Slavery in Contemporary Ghana." Atlantic Studies 9, no. 3 (2012): 337-61. Akyeampong, Emmanuel. "History, Memory, Slave-Trade and Slavery in Anlo (Ghana)." Slavery and Abolition 22, no. 2 (2010): 1-24. 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://www.flickr.com/photos/atorkor/5569821868/in/photolist-9ubMZw-d2ykwh-9uaUwM-9uaYde-9udZaN-9udYEE-9udZjS-9uaU18-9uaRSF-9udWk1-9udN8A-9uaQKT-9ubNwC-9udXKY-9u8RvV-9u9bMP-9uc74G-9uaSYB-9uaRgc-9uaUH8-9uaUkR-9udUdf-9uaKe2-9uaJHc-9ubQVL-9ucdFL-9u8QYt-9u99ZT-9ubT6Q-9uaYog-9uc7BG-9FHCYT-9FHDet-9FHDi6-9FLzp9-9FHCUM-9FHCSP-9FHDbZ-9FHD8T-9FLzvs-9FHDma-9FLz8u-9FHD22-9FLze5-9FHD5t-9uc9SA-9u82Dt-9dqvhU-94gqXu-9dnjNn" target="_blank" rel="noopener">Flickr, Atorkor Village</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Atorkor Vocational Technical Institute, Alonga District, Atorkor, Ghana Medium The material or physical carrier of the resource. Concrete (?); Pigment Creator An entity primarily responsible for making the resource Unknown Rights Information about rights held in and over the resource Keta Municipal Assembly, WX2Q+5QJ, Keta, Ghana figurative manacles https://slaverymonuments.org/files/original/0aa704c3d4871292fe24003a6c3de47e.JPG 7b9d6a0d859ac1d837eb411e3ea81d44 https://slaverymonuments.org/files/original/4a05e37313c4a921d6b63b856b5cae74.jpg 8cfbf2a8a823ab3afd104b902b217217 https://slaverymonuments.org/files/original/e930604c02b40413abe4b83bc5c5e9ed.JPG 29c92d366e48efe88b4a85822444a1d3 https://slaverymonuments.org/files/original/e0932e517d6e3816b58345ec6a687c25.jpg c9febadb59758bb06c9344960848692e https://slaverymonuments.org/files/original/42b8db159e6d0dd36878602eed70c2f5.JPG 0caf289ad9d1162db57c98dcd2984c55 https://slaverymonuments.org/files/original/e91f08b2f3719d41011345cd405c05f8.JPG 581ccc98a61925a60094a32ce8864c71 https://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://slaverymonuments.org/files/original/e32a210f39d1e4c462eb8eb7dd520d87.JPG 9debabba74510aec7d964631f5603e7d https://slaverymonuments.org/files/original/6da7d002d202e2ddb9ee6af1cbddd03f.JPG 565efe4ecbd684a276ff5f01115eca0c https://slaverymonuments.org/files/original/26e685e6e420d81f7fa83cd6268ddb4b.JPG c23f6796d9f6756c68907efec9c46e02 https://slaverymonuments.org/files/original/933aa76f1737b289e92fc9fbe96755aa.JPG 49bb2456c67e8a4be14bd14379a6ac28 https://slaverymonuments.org/files/original/96d641e3c8e5857be470fac6e923da4d.JPG 8dc82e7a3ab0501e9a4a0cf536ad0603 https://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://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://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://slaverymonuments.org/files/original/79ef8ac94602f4840bc28fa08673092a.jpg b383505d4c9ce4af56b3796fb2334bca https://slaverymonuments.org/files/original/701ccf20c9bca12773a15897953f029e.jpg 6576834d1d12d6b899c8bb6576279297 https://slaverymonuments.org/files/original/c79a5f52ba08d07bf12e1a44682089be.jpg 2f7622f6f8c17f6a194d7dc2a941d9f8 https://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://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://slaverymonuments.org/files/original/f54bab69a154a38515ba8d3b509ee6af.JPG c590c83e3d1da53f8acc00ad22d5060b https://slaverymonuments.org/files/original/c085a7bea1e9d8663f985cc7eb26816d.JPG b0a1f045e90a54b8bcd85fd71570173a 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 Physical Dimensions The actual physical size of the original image 144 in. (365.76 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 Reconciliation Memorial (Richmond, Virginia) Subject The topic of the resource Subject (Topic) Public art Public sculpture Slavery--Virginia Transatlantic slave trade Virginia--Richmond Subject (Object Type) Commemorative sculpture Description An account of the resource The bronze torsos of two abstracted figures, engaged in a tight embrace, emerge from a rectangular bronze base. This work includes the addition of bronze low-relief designs, reflecting images related to the slave trade, including a topographic map of the James River, birds following slave ships, chains with manacles, and a port with lifts pulling up cotton bales. The work was erected close to Richmond’s former slave market in Shockoe Bottom. Creator An entity primarily responsible for making the resource Broadbent, Stephen, 1961- Date A point or period of time associated with an event in the lifecycle of the resource March 31, 2007 Contributor An entity responsible for making contributions to the resource City of Richmond, Virginia; Faith Bebbington (sculptor); Garry Morris (curator, Liverpool Maritime Museum); Liverpool school students; Richmond, VIrginia, school students 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 East Main Street and North 15th Street, Richmond, Virginia, 23219, United States Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Reconciliation Triangle Has Part A related resource that is included either physically or logically in the described resource. Inscription on side: Reconnaissons et pardonnons le passé Célébrons le présent Construisons l'avenir dans la réconciliation et la justice. Acknowledge and forgive the past Embrace the present Shape a future of reconciliation and justice. Information plaque: The Triangle Liverpool, England The Benin Region of West Africa Richmond, Virginia During the 18th Century, these three places reflected one of the well-known triangles in the trade of enslaved Africans. Men, women, and children were captured in West and Central Africa and transported from Benin and other countries. They were chained, herded, loaded on ships built in England and transported through the unspeakable horrors of the Middle Passage. They were imported and exported in Richmond, Virginia and sold in other American cities. Their forced labor laid the economic foundation of this nation." Has Version A related resource that is a version, edition, or adaptation of the described resource. An identical version of the <a href="https://www.slaverymonuments.org/items/show/1139" target="_blank" rel="noopener">Reconciliation Memorial</a> exists in Ouidah, Republic of Benin. Extent The size or duration of the resource. 144 in. (365.76 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. Broadbent, Stephen. "Reconciliation Triangle." Broadbent Studio. Accessed April 11, 2019. https://broadbent.studio/reconciliation-triangle-casestudy. Hatch, John B. Race and Reconciliation: Redressing Wounds of Injustice. Lexington Books, 2008. 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 Rénee Ater Rights Information about rights held in and over the resource Public Art Commission, City of Richmond, 900 East Broad Street, Room 511, Richmond, Virginia, 23219, United States abstract bronze figurative inscription map slave ship https://slaverymonuments.org/files/original/ffec1056e474e75fd61f9ae23989e67f.jpg f450b9a059d304e784a417bef5e844b5 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 Physical Dimensions The actual physical size of the original image 144'' (365.76 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 Reconciliation Memorial (Ouidah, Republic of Benin) Subject The topic of the resource Subject (Topic) Public art Public sculpture Republic of Benin--Cotonou Republic of Benin--Ouidah Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Originally placed in Cotonou, Republic of Benin, the bronze torsos of two abstracted figures, engaged in a tight embrace, emerge from a rectangular bronze base. Unlike the version in Liverpool, this work includes the addition of bronze bas-relief designs, reflecting images related to the transatlantic slave trade, including cotton plants, chains, and industrial factories. In 2021, the statue was moved to Centre Culturel de Rencontre International John Smith in Ouidah, République du Bénin. See "Création du CCR International John Smith à Ouidah", 2020, /https://www.accr-europe.org/fr/creation-du-centre-culturel-de-rencontre-international-john-smith-a-ouidah-benin and "Inauguration du CCR international John Smith à Ouidah," 2021, https://www.accr-europe.org/fr/les-actualites/actualites-professionnelles/inauguration-du-ccri-john-smith-au-benin. Creator An entity primarily responsible for making the resource Broadbent, Stephen, 1961 Contributor An entity responsible for making contributions to the resource Republic of Benin Government; Faith Bebbington (sculptor); Garry Morris (curator, Liverpool Maritime Museum); Liverpool school students; Richmond, VIrginia, school students 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 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Reconciliation Triangle Date Created Date of creation of the resource. 2005 Has Part A related resource that is included either physically or logically in the described resource. Inscription on side: Reconnaissons et pardonnons le passé Célébrons le présent Construisons l'avenir dans la réconciliation et la justice. Acknowledge and forgive the past Embrace the present Shape a future of reconciliation and justice. Has Version A related resource that is a version, edition, or adaptation of the described resource. An identical version of the <a href="https://www.slaverymonuments.org/items/show/1140" target="_blank" rel="noopener">Reconciliation Memorial</a> exists in Richmond, Virginia. Extent The size or duration of the resource. 144 in. (365.76 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. Broadbent, Stephen. "Reconciliation Triangle." Broadbent Studio. Accessed April 11th, 2019. https://broadbent.studio/reconciliation-triangle-casestudy. Hatch, John B. Race and Reconciliation: Redressing Wounds of Injustice. Lexington Books, 2008. 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/w/index.php?search=Statut_de_la_réconciliation&title=Special%3AMediaSearch&type=image" target="_blank" rel="noopener">Wikimedia Commons</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Centre Culturel de Rencontre International John Smith, Palais de justice – Ouidah, BP 56 Ouidah, République du Bénin Rights Information about rights held in and over the resource Centre Culturel de Rencontre International John Smith, Palais de justice – Ouidah, BP 56 Ouidah, République du Bénin abstract bird bronze figurative inscription map slave ship https://slaverymonuments.org/files/original/e974f5d022df99f923e02afd03bc94a4.jpg b3f706bc362fc1a2e0e3e0e9a4c958fe 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 Physical Dimensions The actual physical size of the original image 144 in. (365.76 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 Reconciliation Memorial (Liverpool, England) Description An account of the resource The iron torsos of two abstracted figures, engaged in a tight embrace, emerge from a rectangular iron base. Two other identical sculptures were erected in 1989 in Belfast, Northern Ireland, and Glasgow, Scotland. According to the artist, Stephen Broadbent, the works were meant to be “powerful symbol[s] of the way in which sectarianism can be overcome through solidarity.” Broadbent reappropriated the form to serve as a memorial to the transatlantic slave trade. Creator An entity primarily responsible for making the resource Broadbent, Stephen, 1961- Date A point or period of time associated with an event in the lifecycle of the resource September 19, 1990 Contributor An entity responsible for making contributions to the resource John Varley (Iron Founders) Ltd; Merseyside Council for Voluntary Service; Liverpool City Council 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 Concert Square, Concert and Wood Streets, Liverpool, L1 4DS, England Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Reconciliation Triangle Date Created Date of creation of the resource. 1989 Has Version A related resource that is a version, edition, or adaptation of the described resource. Two identical versions of this work exist in Belfast, Northern Ireland, and Glasgow, Scotland Extent The size or duration of the resource. 144 in. (365.76 cm) Medium The material or physical carrier of the resource. Cast 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. Broadbent, Stephen. "Reconciliation." Broadbent Studio. Accessed April 11th, 2019. https://broadbent.studio/reconciliation. Hatch, John B. Race and Reconciliation: Redressing Wounds of Injustice. Lexington Books, 2008. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Subject The topic of the resource Subject (Topic) England--Liverpool Public art Public sculpture Slavery--England Transatlantic slave trade Subject (Object Type) Commemorative sculpture Source A related resource from which the described resource is derived Photograph: <a href="https://artuk.org/discover/artworks/reconciliation-330986" target="_blank" rel="noopener">Martin Henderson, Art UK</a> Rights Information about rights held in and over the resource Culture and Arts Investment Programme, Liverpool City Council, Cunard Building, Water Street, Liverpool, L3 1AH, England abstract figurative iron