Paul Bogatay, Javanese Mother and Child, 1935, glazed ceramic, 22 x 6 7â8 x 5 1â4 in. (55.9 x 17.5 x 13.4 cm.), Smithsonian American Art Museum, Gift of Henrietta Cunningham Bogatay, Todd Bogatay, and Lucia Bogatay, 1988.94.1
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Paul Bogatay, Javanese Mother and Child, 1935, glazed ceramic, 22 x 6 7â8 x 5 1â4 in. (55.9 x 17.5 x 13.4 cm.), Smithsonian American Art Museum, Gift of Henrietta Cunningham Bogatay, Todd Bogatay, and Lucia Bogatay, 1988.94.1

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Title: The Pipe of Freedom Artist: Thomas Stuart Smith (Scottish, 1815-1869) Date: 1869 Genre: portraiture, genre art Medium: oil on canvas Dimensions: 106.8 cm (42 in) high x 78.7 cm (30.9 in) wide Location: Stirling Smith Museum and Art Gallery, Stirling, Scotland, UK
Thomas Stuart Smith painted this striking portrait to celebrate the abolition of slavery in both the UK and the US. The man portrayed is enjoying a pipe at his leisure, symbolizing his freedom from enforced labor. Behind him, a yellow notice announcing a slave auction has been partially covered up by a copy of the Emancipation Proclamation.
ouro preto, minas gerais, brasil: two girls during holy week, 1987 by claudia ferreira
Ermitage Saint-Antoine de Galamus, France - 2017
Carolina Maria de Jesus (1914â1977) was a Brazilian writer, poet, and social critic who became one of the most important voices in Afro-Brazilian literature. She rose to prominence with her powerful depictions of poverty, racism, and social inequality in Brazil, documenting the struggles of life in SĂŁo Pauloâs favelas (shantytowns). Despite her limited formal education, she became an internationally recognized author, proving that the voices of marginalized Black women could not be silenced.
Born in Sacramento, Minas Gerais, to a poor Afro-Brazilian family, Carolina had only two years of formal schooling but developed a love for reading and writing. As a single mother, she moved to SĂŁo Paulo and lived in CanindĂ©, one of the cityâs poorest favelas, where she worked as a waste picker, collecting recyclable materials to support her children. Throughout her life, she documented her experiences in personal journals, detailing the harsh realities of poverty, racial discrimination, and class oppression.
Her breakthrough came in 1960 with the publication of Quarto de Despejo: DiĂĄrio de uma Favelada (Child of the Dark: The Diary of Carolina Maria de Jesus), a raw, unfiltered account of daily life in the favela. The book became an instant success, selling tens of thousands of copies in Brazil and being translated into multiple languages. Her writing exposed the extreme social inequalities in Brazil, challenging the myth of racial democracy and forcing the middle and upper classes to confront the realities of the countryâs poorest citizens.
Despite her literary success, Carolina faced institutional racism, sexism, and economic exploitation. The Brazilian elite and literary circles dismissed her work as "unrefined," and she struggled financially even after gaining international recognition. She continued to write, publishing additional books, poems, and short stories, but she never escaped poverty entirely.
Carolina Maria de Jesus is now recognized as one of Brazilâs most important Black intellectuals and social critics. Her work remains a testament to the power of Black women's voices, the struggle for dignity in the face of oppression, and the fight against systemic inequality. Today, she is celebrated as a symbol of Afro-Brazilian resistance, feminist empowerment, and literary brilliance, proving that knowledge and self-expression can be tools of liberation.

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"The Argentine Hector CarybĂ© (1911-1997) was a visual artist who also made Bahia his home. Together with Pierre Verger, he had a friendship in which the greatest bond was the love for Brazil and more specifically the Afro-Brazilian culture. âHe was enchanted by the daily life in Bahian markets, fishing and horseback riding, which would characterize the faceless people and displaced bodies he paintedâ."
Tarsila do Amaral (Brazilian, 1886-1973) - Segunda Classe (Second Class), 1933. Oil on Canvas.
Djanira (Brazilian, 1914-1979) - Feira da Bahia (Bahia's Fair), 1956. Oil on Canvas. MASP (SĂŁo Paulo Museum of Art).
JosĂ© Ferraz de Almeida JĂșnior (Brazilian, 1850â1899), "Votorantim Waterfall", 1893
Heitor dos Prazeres (Brazilian, 1898-1966) - Jogando Cartas no Bar (Playing Cards at the Bar), 1964. Oil on Canvas.

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MARIA ORTIZ // HEROINE
âShe was a Brazilian heroine, famous for her defense of EspĂrito Santo against the attempted Dutch invasion in 1624.â
Tereza de Benguela (died c. 1770s) was an Afro-Brazilian freedom fighter, queen, and leader of a Quilombo (a community of escaped enslaved Africans and Indigenous people) in colonial Brazil. She is celebrated as a symbol of Black resistance, self-determination, and the fight against slavery in Latin America.
Tereza was born into slavery but escaped captivity and became the leader of Quilombo do QuariterĂȘ, a powerful maroon community in the Mato Grosso region of Brazil. Following the death of her husband, JosĂ© Piolho, she assumed leadership, organizing a self-sufficient, independent society where Black and Indigenous people lived free from Portuguese rule. Under her command, the quilombo developed agriculture, governance, and military defence systems to resist Portuguese attacks.
Quilombo do QuariterĂȘ functioned as a democratic society, with Tereza overseeing political, economic, and social structures. The community produced cotton, corn, and beans, weaving its own fabrics and crafting weapons for self-defense. She led armed resistance against Portuguese colonial forces, maintaining the quilombo for two decades.
By the 1770s, the Portuguese launched an attack on the settlement, capturing and executing Tereza. After her death, Quilombo do QuariterĂȘ was dismantled, and its inhabitants were either killed or forced back into slavery. Despite this, her legacy lives on as a symbol of Black female leadership, anti-colonial resistance, and the enduring fight for freedom.
Today, July 25 is recognized as the National Day of Black Women in Latin America and the Caribbean in Brazil, honouring Tereza de Benguela and the countless other Black women who led struggles for liberation. Her memory remains a source of pride and inspiration for Afro-Brazilians and the global African diaspora.
Slavery in the Caribbean, North America, and South America: A Garveyite Analysis of Exploitation, Resistance, and the African Struggle for Liberation
âA People Without Knowledge of Their Past is Like a Tree Without Roots.â â Marcus Garvey
Slavery was not just an economic system; it was a war against African civilization, identity, and autonomy. The transatlantic slave trade was the largest forced migration in human history, robbing Africa of its people while enriching European and American empires.
However, wherever there was oppression, there was resistance. From the Maroons in Jamaica to the Quilombos of Brazil, from the Haitian Revolution to the rebellions across the U.S., Africans refused to submit.
This analysis examines how slavery functioned differently in the Caribbean, North America, and South America, the unique forms of brutality in each region, and, most importantly, how our ancestors fought for freedom.
1. The Scale of Enslavement: Where Did Most Africans Go?
One of the biggest misconceptions about slavery is that most Africans were taken to North America. The truth is:
Brazil (South America): Imported 5 million Africans â nearly 40% of the entire transatlantic slave trade.
The Caribbean: Imported 4.5 million Africans â about 35%.
North America (U.S. & Canada): Imported 500,000 Africans â less than 5%.
Yet, by the mid-19th century, the U.S. had the largest enslaved Black population. This is because:
In the U.S., slavery was designed to sustain itself through birth. Enslaved people were forced to reproduce, creating generations of captivity.
In the Caribbean and South America, enslaved people were worked to death. Instead of creating a self-reproducing enslaved population, Europeans simply replaced the dead with new Africans.
What does this tell us?
In North America, enslaved people lived longerâbut only because they were seen as long-term investments, not because conditions were humane.
In Brazil and the Caribbean, the system was about extractionâAfricans were disposable labor.
2. The Reality of Life Under Enslavement
The Caribbean: Sugar Plantations & Death Camps
The most brutal plantation economy.
Sugar production required constant back-breaking labor, exposure to fire, blades, and boiling water.
Average life expectancy was 5-10 years after arrival.
Torture was routine. Enslaved people who resisted were burned, dismembered, or thrown into boiling sugar vats.
Horrific mortality rates were over 50% of enslaved people in Barbados, and Jamaica died within three years of arrival.
Example: In the 18th century, Jamaica imported 1 million Africans, but the Black population never exceeded 350,000 because of high death rates.
Brazil: The Deadliest Place for an Enslaved African
Brazil received 10 times more Africans than the U.S.
Mortality was extremeâthe average enslaved person in Brazil lived only 7 years after arrival.
Enslaved Africans were sent to gold and diamond mines as well as plantations.
Work conditions were so dangerous that enslaved people rarely survived long enough to have children.
Example: By 1888, when Brazil finally abolished slavery, only 1.5 million Africans remainedâout of the 5 million who had been imported.
North America: Slavery Designed to Last Forever
Unlike in Brazil and the Caribbean, U.S. enslavers encouraged reproductionâenslaved women were forced to have children who would also be enslaved.
Enslaved people were concentrated in the U.S. South, working primarily in cotton, tobacco, and rice plantations.
Punishments were brutalâwhippings, forced starvation, mutilation, and being sold away from family.
Enslaved people were forced to build the wealth of the U.S., generating profits that funded the industrial revolution.
Example: By 1860, the U.S. enslaved population had grown to 4 million people, despite importing fewer Africans.
3. African Resistance: How Enslaved People Fought Back
No matter where they were enslaved, Africans resisted. Some fought directly in revolts, while others resisted through escape, sabotage, and cultural survival.
The Caribbean: The Epicentre of Slave Revolts
The Haitian Revolution (1791-1804): The only successful slave revolt that resulted in an independent Black nation. Led by Toussaint Louverture, Jean-Jacques Dessalines, and other African warriors.
Jamaican Maroons: Escaped Africans in Jamaica created independent communities and waged war against the British.
The Baptist War (1831): A massive revolt in Jamaica, led by Samuel Sharpe, that helped bring about the end of slavery in the British Empire.
Brazil: The Land of Quilombos and Islamic Uprisings
Quilombo dos Palmares (1605-1695): A powerful free Black kingdom led by Zumbi dos Palmares, who resisted Portuguese rule for decades.
The MalĂȘ Revolt (1835): An uprising led by African Muslim enslaved people in Bahia, one of the largest slave revolts in South American history.
North America: Rebellions and the Underground Railroad
Nat Turnerâs Rebellion (1831): A violent uprising in Virginia, where enslaved people killed white enslavers before being brutally repressed.
The Underground Railroad: A vast network of Black and white abolitionists who helped enslaved people escape to freedom.
Everyday acts of resistance: Breaking tools, slowing work, poisoning enslavers, and secretly preserving African traditions.
Fact: In the U.S., most enslaved rebellions were brutally crushed, but resistance continued in other forms.
4. After Slavery: How Each Region Treated Freed Black People
North America: Racial Segregation & Systemic Oppression
The U.S. replaced slavery with Jim Crow laws, segregation, and mass incarceration.
Black Codes restricted Black freedomâfreed people could be arrested for being unemployed and forced back into labour.
The wealth gap between Black and white Americans remains a direct result of slavery.
Brazil: Slavery Ends, But Black People Remain at the Bottom
Brazil was the last country to abolish slavery (1888).
Freed Black people were excluded from land ownership and kept in extreme poverty.
Anti-Blackness remains deeply embeddedâAfro-Brazilians face police violence and economic discrimination today.
The Caribbean: Black Majority, But Still Under White Rule
Jamaica, Haiti, Barbados, and other islands had Black majorities, but white elites still controlled the economy.
Many former enslaved people were forced into low-wage plantation labour.
Haiti was economically punished for its independence, forced to pay "reparations" to France for freeing itself.
5. Garveyâs Vision: Rebuilding Africa & Black Empowerment
Marcus Garvey understood that slavery didnât end in 1865 or 1888âit evolved. The systems of oppression created during slavery still impact Black people globally.
The wealth stolen from Africa must be returned to Black hands.
Black people must control their own economies, land, and governments.
The future of African people is in unity.
"Africa for the Africans, at home and abroad!" â Marcus Garvey
Final Thoughts: Learning From the Past, Fighting for the Future
Slavery was meant to destroy us, but it failed. Our ancestors fought back, preserved our culture, and laid the foundation for Black liberation.
We must continue that fightâthrough economic empowerment, education, and Pan-African unity.
Beautiful ancestress from Brasil.
âKnowledge about these pieces is still somewhat limited,â Musse noted. âHistorically, it was believed that these jewels were given by owners to slaves as symbols of power and status. However, our research reveals a story of female resilience. We can trace the history of one Afro-Brazilian woman with a collection of 60 to 70 pieces. Through her objects, documents and photos, she narrates her time.â
âThe jewels served as a way to carry one's wealth and also had spiritual connotations, often related to protection, prosperity, and fertility,â noted Virginia Moraes, a Rio de Janeiro based contemporary jewellery designer.
Cùndido Portinari (Brazilian, 1903-1962) - O Lavrador de Café (Coffee Farm Worker), 1934. Oil on Canvas. São Paulo Museum of Art (MASP).

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âNegroes fighting, Brazils.â
By English painter Augustus Earle, who lived in Rio de Janeiro from 1820-1824. The menâs body movements are of Capoeira, a martial art practiced among Afro-Brazilians to this day. Women and children observe, and a white police officer approaches the scene. Original in National Library of Australia, Canberra.
Once classified as a disorderly practice and subject to police repression, capoeira was repressed and persecuted, but not nationally outlawed under the Empire. Considered a vagrant practice, it was finally banned by the Penal Code in the First Republic.
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