Middle Passage project unveils R.I. sculpture: looking ahead in strength, not back in despair, artist says

Memorial Sculpture

The Bristol Middle Passage Port Marker Project (BMP) today unveiled and dedicated the Bristol Memorial Sculpture by Rhode Island School of Design artist and Professor Spencer Evans.

My wife and I were there. (All photos RJ Peltz-Steele CC BY-NC-SA 4.0.)

The Middle Passage Ceremonies and Port Markers Project comprises a network of ports of entry in the slave trade along the eastern and southern U.S. coasts from Maine to Galveston, Texas. The Bristol, R.I., chapter was organized in 2020, later incorporated as a nonprofit in 2023, by Elizabeth Sturges Llerena and Holly Wolf, descendants of the DeWolf family who spoke today. 

The DeWolf family trafficked more enslaved persons than any other in the United States. Llerena and Wolf's generation have committed to work on reconciliation and reparations since the family's history came under scrutiny in the 1990s. Their generation's journey—literally, including travel on the trade triangle form Bristol to Ghana to Cuba—was chronicled in the 2008 PBS documentary, Traces of the Trade: A Story from the Deep North. DeWolf descendant Katrina Browne, who also was present at the unveiling today, produced and directed the film.

The sculpture sits under wraps before the dedication.

The Bristol Memorial Sculpture sits in Independence Park in Bristol, at the southern end of the East Bay Bike Path and northern end of Bristol Harbor. The sculpture means to fulfill the BMP mission, "acknowledging Bristol's history, and most importantly ... honoring the memory of all those harmed by the trans-Atlantic human trade," according to today's program. 

The project means to recognize both the enslavement of African persons, especially the Akan of Ghana, who are known to have landed at Bristol, and the enslavement and oppression of native Americans, specifically the Pokanoket, a Wampanoag people who lived where Bristol is today.

Prof. Evans speaks, his young daughter with her uncle at right.

The sculpture was selected from among finalists' models. Evans's winning design comprises three figures, an indigenous woman, an African man, and a child, cast in bronze. Evans worked on the sculpture at his Pawtucket, R.I., studio, and it was cast at Buccacio Sculpture Studios in Canton, Mass.

A narrative by Evans in the dedication program explained, in part:

Prof. Evans gestures upon the unveiling.

Both adult figures have their bodies turned toward Bristol Harbor, the first being a woman. The position of her body serves as a metaphor for the Pokanoket women who stood at the Cliffs of Sorrow waiting for their stolen families to return. The second figure, a man, symbolizes every African ancestor and descendant who possessed the viscerally sensational reminder that we are not in our homeland. However, both their gazes are fixed toward the child as the second adult points inland in the direction that the child is moving. The dynamically twisted posture of the adult figures also symbolizes the task of circumstantial endurance while possessing a radical love and hope for future generations, despite their reality of living in bondage, displacement, and oppression. The child figure also has a dynamic pose which is seemingly almost weightless in the movement, symbolizing the future generations who are carrying their ancestors with them as they are able to make constant attempts at living their dreams.

Prof. Freamon emcees.

A native of Houston, Tex., now resident in Providence, Evans was on hand and delivered a poetic address to mark the unveiling. He admonished the crowd that they would not see figures expressing fear or bound by chains, because "the spirit of despair" is not what should be passed on to future generations. Rather, he said, the sculpture means to communicate strength, love, hope, and affirmation of the future.

Explorers Monument

Curiously, or maybe fittingly, the new Memorial Sculpture sits across the main circle of Independence Park from Explorers Monument, a tribute to the Portuguese age of discovery.

Directors and advisers of the BMP board were in attendance today, and board president Bernard Freamon emceed. Roger Williams University Law Professor Freamon is a valued friend and colleague of my wife and me.

More than 150 people witness the dedication and unveiling in Independence Park.

Child labor still plagues chocolate supply chain in West Africa, despite decade of distressing documentaries

From our dining room table, a chocolate bunny left over from the weekend is staring me down.  Two things are keeping me from biting off its smug head.  First, I just got back from a run of only a couple miles, and I feel like I'm breathing through a straw.

Second, earlier today, I watched Chocolate's Heart of Darkness, a study of child labor in the chocolate supply chain.  The 42-minute piece is free on YouTube, posted September 2020.

This English version is credited to German public broadcaster Deutsche Welle (DW), though the film originated with French independent documentary firm Premieres Lignes in 2019.  French journalist and filmmaker Paul Moreira directed.  On YouTube, Chocolate's Heart of Darkness appears as "Bitter Chocolate," which risks confusion, because that is the title of an equally disturbing but different project on the same subject: s2e05 of the Netflix documentary series, Rotten, directed by Abigail Harper and also released in 2019.

Both of these Bitter works update, with precious little progress to report, the sorry state of affairs captured in the 2010 documentary The Dark Side of Chocolate, which was co-directed by Danish journalist Miki Mistrati and American U. Roberto Romano, a photojournalist and human rights activist who passed away in 2013.

Cocoa I photographed in Ghana in 2020.
The DW film depicts industry reliance with some success
in certification tracking in Ghana, but not in Côte d'Ivoire.
(RJ Peltz-Steele CC BY-NC-SA 4.0)

In the last decade, I've refrained from recommending the 2010 docko to students or colleagues, because it's one of those films in which the makers' agenda so powerfully muscles in on the narrative that the viewer is left with reservations over objectivity.  But now, with two more projects in the same vein and all compasses pointing in the same direction, I think it's fair to discount nuanced indications of bias and say that Big Chocolate has a real mess on its hands.

Litigation against American agri-giant Cargill, a key broker in the global chocolate trade, and against Swiss-based multinational Nestlé, over child labor—practically, slavery—sits presently in the U.S. Supreme Court (Cargill, Nestlé at SCOTUSblog).  A decision, due any day, seems likely to kick the claims out for lack of U.S. jurisdiction under the alien tort statute, however much some Justices might have been troubled by what they heard in oral argument in December.

Even if the suits were to proceed in U.S. courts, or in any courts, Chocolate's Heart of Darkness gives a flavor of how hard the claims would be to prosecute.  Abusive child labor is so entrenched in West African forests, and nations such as Côte d'Ivoire so utterly incapable of establishing rule of law in these remote places, that it is scarcely imaginable that cocoa could be harvested any other way.  This is to say nothing of rampant deforestation to meet demand.

The film shows that the certification and tracking mechanisms set up with, let's give the benefit of the doubt, the best of intentions by the corporations to make good on sustainability pledges are so riddled with corruption as to be farcical.  It strains credulity to suppose that transnational companies do not know the reality.  But knowledge is not necessarily culpability.  And this is hardly the only supply chain that leads from Western fancy to catastrophic human toll in the developing world.

I don't think that my chocolate bunny is going to last the week.  But it's going to make me sick in more ways than one.

Kids everywhere play

Kids find innocent fun in the toughest of living conditions. It's a reminder that soulful joy doesn't come from worldly things.

In the photo at left, kids in Ganvie Lake Village in Benin wanted to see themselves on the screen of my little camera. Ganvie has an unusual history tied to the Portuguese slave trade; read more at Atlas Obscura. Photo by my traveling mate, Dylan Armstrong. By the way, RI/South Coast US readers, you can catch Beninese world music Grammy winner Angelique Kidjo at The Vets in Providence, R.I., on February 22. Meanwhile watch her fabulous performance on YouTube.

The photos at right and below are from in and around Jamestown, a community in Accra, Ghana. This village was an NAACP stop for the 2019 Year Of Return (WBUR), and its Old Fort is one of the string of forts and castles that memorializes the horrific suffering inflicted on "the slave coast." Two boys I met on the street, one wearing a US Soccer shirt, were experimenting with a kite they had made out of plastic and wood debris and electrical tape. In Jamestown, ever smiling Masha was my tight-gripping companion. Both photos are mine, CC BY-NC-SA 4.0, taken with permission of their subjects.

Football is universal

Football in the Jamestown district of Accra, Ghana (CC BY-SA 4.0 RJ Peltz-Steele)

I'm a believer in sport and development and a participating researcher at the International Sport and Development Platform.  Read about the great work done around the world by Boston-based Soccer Without Borders, winner of, inter alia, the 2017 FIFA Diversity Award.

Courthouse at Cape Coast, Ghana

Courthouse at Cape Coast, Ghana (CC BY-SA 4.0 RJ Peltz-Steele)