1 10 12 https://www.slaverymonuments.org/files/original/79ef8ac94602f4840bc28fa08673092a.jpg b383505d4c9ce4af56b3796fb2334bca https://www.slaverymonuments.org/files/original/701ccf20c9bca12773a15897953f029e.jpg 6576834d1d12d6b899c8bb6576279297 https://www.slaverymonuments.org/files/original/c79a5f52ba08d07bf12e1a44682089be.jpg 2f7622f6f8c17f6a194d7dc2a941d9f8 https://www.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://www.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://www.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 https://www.slaverymonuments.org/files/original/f54bab69a154a38515ba8d3b509ee6af.JPG c590c83e3d1da53f8acc00ad22d5060b https://www.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://www.slaverymonuments.org/files/original/0aa704c3d4871292fe24003a6c3de47e.JPG 7b9d6a0d859ac1d837eb411e3ea81d44 https://www.slaverymonuments.org/files/original/4a05e37313c4a921d6b63b856b5cae74.jpg 8cfbf2a8a823ab3afd104b902b217217 https://www.slaverymonuments.org/files/original/e930604c02b40413abe4b83bc5c5e9ed.JPG 29c92d366e48efe88b4a85822444a1d3 https://www.slaverymonuments.org/files/original/e0932e517d6e3816b58345ec6a687c25.jpg c9febadb59758bb06c9344960848692e https://www.slaverymonuments.org/files/original/42b8db159e6d0dd36878602eed70c2f5.JPG 0caf289ad9d1162db57c98dcd2984c55 https://www.slaverymonuments.org/files/original/e91f08b2f3719d41011345cd405c05f8.JPG 581ccc98a61925a60094a32ce8864c71 https://www.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://www.slaverymonuments.org/files/original/5a14bf1c4fb322d5a79e1943bc6f3a63.jpeg aed3724c500b80e10331cb43aeae141e https://www.slaverymonuments.org/files/original/392579615eff3a0228de7ff255db2a91.jpg e58a726a373c86b6233bcf5fd0c5b783 https://www.slaverymonuments.org/files/original/ed675b1e473f5d948996efb71b893937.jpg 913cefc47957c47fd23963db69b7a3a3 https://www.slaverymonuments.org/files/original/d33588e827d6890c872bc05790d50fed.jpg 13e97615236a7505766fc7ff791d20e7 https://www.slaverymonuments.org/files/original/c4a6631ebce6e7e35cdc4e26f4c94db3.jpg f4d334fbe59334eedd14e670b33ea82e https://www.slaverymonuments.org/files/original/caa5cab2b3be3f7fba1fe05333b6e4e9.jpg e88755680c48104100daa189442a6380 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. 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 "The Ark of Return": The Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade (New York, New York) Subject The topic of the resource Subject (Topic) Enslaved persons New York (State)--New York Public art Public sculpture Slave ships Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource The Ark of Return serves as a memorial to honor the victims of slavery and the transatlantic slave trade. Constructed from white marble, the memorial is a triangular structure with clean geometric lines and faceted surfaces, giving it a modern yet solemn appearance. A triangular portal in the structure allows visitors to walk through the interior. At the entryway, a reflecting pool engraved with the words "Lest we forget" invites visitors to offer prayers and libations. Inside, a map highlighting the African continent is inscribed on the wall, with the words, "Acknowledge the Tragedy." Nearby, a robed statue of a human figure—sculpted from black Zimbabwean granite—lies horizontally within a triangular space carved into the wall. This figure symbolizes the millions of enslaved individuals, their suffering, and the triangular slave route. Beneath the figure, another  inscription reads: "Consider the legacy." On the opposite wall, diagrams carved in low relief depict hundreds of enslaved people crammed inside a typical English slave ship, further emphasizing the brutal conditions endured during the Middle Passage. Creator An entity primarily responsible for making the resource Leon, Rodney, 1972- Date A point or period of time associated with an event in the lifecycle of the resource March 25, 2015 Contributor An entity responsible for making contributions to the resource UNESCO; Permanent Memorial Committee of the United Nations; Member States of the United Nations 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 United Nations Visitors Plaza, 1st Avenue and 46th Street, New York, New York, 10017, United States Medium The material or physical carrier of the resource. Marble; Black Zimbabwe granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. United Nations. "The Ark of Return": The Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade. Outreach Programme on the Transatlantic Slave Trade and Slavery. Accessed April 11, 2019. https://www.un.org/en/rememberslavery/memorial. Leon, Rodney. "The Ark of Return." Rodney Leon Architects. Accessed April 11, 2019. http://www.rodneyleon.com/the-ark-of-return. Leon, Rodney. "Reflections on the Tenth Anniversary of the Art of Return." UN Chronicle, March 24, 2025. Accessed January 26, 2026. https://www.un.org/en/un-chronicle/reflections-tenth-anniversary-ark-return. 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 Renée Ater Has Part A related resource that is included either physically or logically in the described resource. Inscription on interior wall below the map: "Acknowledge the tragedy" Inscription on interior wall below the human figure: "Consider the legacy" Inscription on the reflecting pool: "Lest we forget" Bronze plaque embedded on ground in front of memorial: Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade Ark of Return The United Nations General Assembly welcomed the initiative of Member States of the Caribbean Community and the African Union to erect this Permanent Memorial to honour the victims of Slavery and the Transatlantic Slave Trade and to educate and inform current and future generations about the causes, consequences, and lessons of slavery and the transatlantic slave trade. The Permanent Memorial Committee, comprising Brazil, Ghana, Jamaica (Chair), Kenya, Netherlands, Portugal, Qatar, Senegal, Suriname, and the United Kingdom of Great Britain and Ireland, with Member States from the Caribbean Communituy and the African Union playing a primary role in collaboration with the United Nations Educatinoal, Scientific and Cultural Organization, the United Nations Office for Partnerships, the United Nations Department for Public Information and the Sub-Committee for the Elimination of Racism of the NGO Committee on Human Rights, completed this Permanent Memorial on 25 March 2015. "Acknowlege the Tragedy, Consider the Legacy, Lest We Forget" These three distinct phrases form the inspiration for the design of this Permanent Memorial. "The Art of Return" memorial is a sacred space that is designed to psychologically and spiritually transport visitors to a place where acknowledgment, education, reflection and healing can take place. The Memorial's exterior form is constructed to reflect the image of a vessel or ship in acknowledgment of the millions of African people transported on slave ships to different parts of the world during the "Middle Passage." Images of map depicting the "Triangular Slave Trade" influenced the use of the triangle as a primary element in designing the Memorial's shape. The Memorial is also conceptually organized to allow visitors to pass through "The Ark of Return" to intimately experience three primary elements on the interior space. The first element is a three dimensional map inscribed on the interior of the Memorial. This map graphically depicts the global scale, complexity and impact of the triangular slave trade in "acknowledgment of the tragedy." The second element is a full scale human figure lying horizontally in front of a wall inscribed with images of the interior of a slave ship. This is meant to communicate and educate visitors on the physical conditions endured by the millions of African people transported under extreme conditions during the middle passage. Visitors are provided the opportunity to seriously "consider the legacy" of Slavery's impact upon humanity. The third element is a triangular reflecting pool which introduces water in a meditative, ritualistic and spiritual manner. Visitors are invited to pour libations or say a prayer in memory of the millions of souls that were lost "lest we forget" this monumental and historic tragedy. Bronze plaque embedded on ground in front of memorial: Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade Ark of Return On this day, 25 March 2015 at the United Nations in New York City, the President of the Sixty-ninth Session of the General Assembly and the Secretary-General of the United Nations unveiled this Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave, in the presence of the Prime Minister of Jamaica, the Director-General of UNESCO, the Permanent Representative of Jamaica and Chair of the Permanent Memorial Committee, the Permanent Observer of the African Union, the Permanent Representative of India, and the Architect and Designer of the Permanent Memorial. The Permanent Memorial Committee expresses it deep appreciation to all Member States, institutions, foundations, organizations and individuals who have contributed to this Memorial.(*) New York, 25 March 2015 (*)Non-exhaustive list of Member States and organizations that have contributed funds to the construction of the Permanent Memorial to Honour Victims of Slavery and the Transatlantic Slave Trade: Afghanistan; Algeria; Antigua and Barbuda; Argentina; Bahamas; Barbados; Belgium; Belize; Bhutan; Botswana; Brazil; Burkino Faso; Cameroon; Canada; Chile; China; Congo; Costa Rica; Cyprus; Denmark; Ecuador; Egypt; Equatorial Guinea; Estonia; Finland; Georgia; Germany; Ghana; Greece; Grenada; Guyana; Haiti; Honduras; Iceland; India; Indonesia; Ireland; Israel; Italy; Jamaica; Japan; Kazakhstan; Kenya; Kuwait; Libya; Liechtenstein; Lithuania; Luxembourg; Malaysia;  Malta; Mauritius; Mexico; Monaco; Montenegro; Mozambique (on behalf of Southern African Development Community Group of Ambassadors); Namibia; Netherlands; New Zealand; Nicaragua; Norway; Oman; Pakistan; Phillipines; Portugal; Qatar; Republic of Korea; Saint Kitts and Nevis; Saint Lucia; Saint Vincent and the Grenandines; Saudia Arabia; Senegal; Singapore; Slovenia; South Africa; Spain; Sri Lanka; Sudan; Suriname; Sweden; Syrian Arab Republic; the former Yugoslav Republic Macedonia; Togo; Trindad and Tobago; Turkey; Uganda; United Arab Emirates; United Kingdom of Great Britain and Northern Ireland; United Republic of Tanzania; United States of America; Uruguay; Martinique; The Alexander Cheritable Trust (San Marino); Boris and Inara Teterev Foundation (Latvia); Ford Foundation; Rush Communications; United Nations Federal Credit Union and individuals around the world. Rights Information about rights held in and over the resource United Nations Gifts, Department of Global Communications, United Nations Headquarters, Room GA-1B-31, New York, New York, 10017, United States abstract bas-relief black granite figurative inscription map marble slave ship https://www.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://www.slaverymonuments.org/files/original/e32a210f39d1e4c462eb8eb7dd520d87.JPG 9debabba74510aec7d964631f5603e7d https://www.slaverymonuments.org/files/original/6da7d002d202e2ddb9ee6af1cbddd03f.JPG 565efe4ecbd684a276ff5f01115eca0c https://www.slaverymonuments.org/files/original/26e685e6e420d81f7fa83cd6268ddb4b.JPG c23f6796d9f6756c68907efec9c46e02 https://www.slaverymonuments.org/files/original/933aa76f1737b289e92fc9fbe96755aa.JPG 49bb2456c67e8a4be14bd14379a6ac28 https://www.slaverymonuments.org/files/original/96d641e3c8e5857be470fac6e923da4d.JPG 8dc82e7a3ab0501e9a4a0cf536ad0603 https://www.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://www.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://www.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