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              <text>Last Survivor of Slave Ship Deeply Grateful to God, Man&#13;
By Emma Roche&#13;
His last dramatic words to me were, “When they tell you Kazoola is dead, say ‘No! Kazoola is not dead – he has gone to heaven to rest.’”&#13;
Since January he had been ill. Late in that month we took Roark Bradford, author of “All Gawd’s Chillun,” to call on Kazoola, known as Cujo Lewis, last survivor of the last slave ship, Clotilde, and I saw then that death had marked for his own my pathetic old friend. Gone was his merry spirit and keen wit, so characteristic of him but memory, sight and hearing were still intact, and he told Mr. Braford the harrowing story of the African manhunt which resulted in his capture and his bondage in America. &#13;
Years ago when I made drawings of the survivors of the last slave ship, he asked that I call him “Kazoola,” the name given him by his father and mother in Africa, because is was the name he loved. He lived and died in the house he built for himself 75 years ago – a year after he was brought to Alabama – and in all that time he spent only two nights away from its roof. Here Celie, his African wife, who was afraid at first that Americans would eat her, had lived and died; here his sons had been born, grew up, and died, too. Here during their lifetime the Africans gathered on Sunday afternoons to talk of their African home and to speak their native language. It is substantially built – two rooms opening on a gallery which extends across the front length, with two smaller rooms at the rear. There are no glass windows – only wooden shutters. &#13;
After he was too weak to be about, when I called to see him the doors and windows would be closed tight. Opening a door, I’d call, “Kazoola,” and out of the gloom a low moan and a “Thank God” would answer me. A feeble one-eyed, old negro ministered to him and a daughter-in-law brought him food. He was made comfortable to the end, and his one sadness was that there was no one left in all the world who could speak to him in his native language. &#13;
On my last visit I found him sitting in an old rocking chair by the window, the wooden shutter thrown back. He was sitting very straight – his breath short. He looked younger – more like himself of a quarter of a century ago. His eyes seemed very large and full of dreams. I touched his hands and they were as cold as death, though the afternoon was warm. “How is it, Kazoola, that I find you sitting up?”&#13;
“I will tell you. I remembered that, in Africa, when one was sick and the sun was ready to go down, the sick one was lifted up and held out so.”He held out his arms, as if a limp, sick body might lie across them. “He was held out until the sun went down; then he was put back in bed so.” He made another movement as if laying the sick one back upon a bed, his gesture one of care and gentleness. “I was lying on my bed, and I looked up and knew the sun was about to go down, so I got up to sit by my window, where I can look out.” The window opened to the east, but his eyes were fixed on the reflected glow of the sunset sky. I shall always remember Kazoola as I saw him then, surrounded by the gloom of the room, a shaft of reflected sunset across his face and hands – a veritable Rembrandt painting come to life. &#13;
He sang for me in his native language the Tarkar death chant as sung in his African home, a stirring chant built upon minor cadences. He then told me that, after he and the other Africans adopted the Christian religion, Poleete, Charlee and he transposed the words of the chant to fit their new belief. “This is how we put it in the American language, and I want you to remember it when I am gone.” He sang these American words to the tune of his African chant:&#13;
“Jesus Christ, Song of God,&#13;
Please, Jesus, save my soul.&#13;
I want to go to heaven&#13;
When I die,&#13;
Jesus Christ, Son of God.”&#13;
Kazoola could neither read nor write, but he was witty, intelligent and had a remarkable memory. His dialect, which many could not understand, was not of the negroid type we know in the south. He was quite eloquent at times, and his words were often fraught with an indescribable pathos. He liked to speak in parables, and most of his talk was allegorical, but toward the end he dropped this manner of speech and spoke more directly, but always picturesquely. He knew his Scripture, could repeat many lines, and tell correctly the verse and chapter from which they were taken.&#13;
He and his African companions were in Alabama for 10 years before they embraced Christianity. They then built a substantial church on the green next to Kazoola’s home, and he always ranf the bell for services. After he had sung to me his African death chant, he asked that I get pencil and paper and write down the date and place of his conversion. It was Stone Street church in Mobile, in 1869. Benjamin Bush was the pastor. Bush asked Kazoola, “Where do you want to go when you die?” Kazoola replied, pointing to the sky, “I want to go yonder.” Bush then told him of God and the Bible – and Kazoola asked that I record that, ever since hearing the story, he has been ready and willing to die for Jesus.&#13;
Though no religionist, I have been profoundly touched by Kazoola’s devoted faith. When he has been a recipient of small favors, I have seen him look up to the sky, stretch out his hands and fervently say, “Lord, God, I thank Thee! Jesus, I thank Thee!” When much time elapsed between my visits, when he saw me again, tears of gratitude would flow down his cheeks, and he would look up to the God he believed lived just above him in the sky and say, “Lord! God! I thank Thee that I see her once again.”&#13;
About a year ago I called – the interval had been long since I had seen him. “How are you, Kazoola?” I asked&#13;
“I will tell you,” he replied, and resorted to a parable. “Suppose you own a little cat and a little dog. In the morning you get up and feed the little cat and give it water but you forget all about the little dog – how is it that you expect that little dog to live?”&#13;
He had much wisdom and only a few years ago he refused an opulent offer to appear in a vaudeville show in New York city. &#13;
In sight of his home on a gentle hillside under tall pines lie his wife and all his African companions. “All I have lies in American soil,” he would say, pointing to the graves beneath the pines. On July 29 Kazoola, the last of that pitiful, gallant band of Africans, was laid on the hillside, too, and perhaps his last words to me are true, “Kazoola is not dead – he has gone to heaven to rest.”&#13;
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              <text>25th Original Africatown Folk Festival slated for this weekend&#13;
By Rhoda A. Pickett&#13;
Staff Reporter&#13;
The 25th Original Africatown Folk Festival will have a new twist this year when author and researcher Sylviane Diouf presents her book about the history of the community and the ship that started the Africatown story.&#13;
	The festival begins Friday with Diouf signing copies of her book, “Dreams of Africa in Alabama: The Slave Ship Clotilda and the Story of the Last Americans Brought to America.”, at the Museum of Mobile in downtown from 4 to 6 p.m.&#13;
	Diouf, curator of digital collections at the Schomburg Center for Research in Black Culture in New York City, said Tuesday that her book centers on the historical perspective of the community created more than 140 years ago by Africans brought to Alabama as slaves aboard to topsail schooner Clotilda.&#13;
	“I was really struck by the fact that they were very, very young when they became free again,” Diouf said, “They had incredible unity, and they were very tight-knit.&#13;
	The story of Africatown begins when 110 young Africans were brought to mobile in 1860. The trip was financed by Timothy Meaher, a Mobile shipyard owner in business with his brothers Burns and James Meaher.&#13;
	Timothy Meaher had commissioned the voyage to buy the captive Africans, despite a federal ban on importing slaves. The Clotilda’s arrival marked the last known instance of captured Africans being brought to the United States as slaves.&#13;
	Diouf said that during her research about the transplanted Africans, she discovered the “love they had for their home place and their families and where came from.”&#13;
	“It was really a safe haven in their imagination.” She said. When tragedy struck, for them or for their children, they always mention that that would not have happened there (in Africa) and how good it was there.”&#13;
	Diouf said she hopes her readers and listeners come away with an interest in learning about their own ancestors.&#13;
	“What they did is extraordinary”, Diouf said of Africatown’s original inhabitants “They did things that nobody knows about or has any clue about. They were very strong and very inspiring people. When you explore their story, it gives you the strength to deal with whatever comes your way in a strong and dignified way. It’s very empowering.”&#13;
	The debut of Diouf’s book and the folk festival came at an opportune time, said Museum of Mobile Director Sheila Flanagan. The two coincide with the national traveling exhibit “Captive Passage: The Transatlantic Slave Trade and the Making of the Americas” – being shown here, and the local exhibit, “On the Heels of Slavery,” Flanagan said&#13;
	“All of this is so appropriate, and it is serendipitous that her book was published and available at the same time.” Flanagan said.&#13;
	Festival organizers also expect representatives from the West African nations of Benin, Ghana, Togo and Nigeria to attend this weekend’s activities, said Robert Battles, executive director of the Africatown USA Community Mobilization project Inc. The delegation is expected to include a film crew that will be in Mobile March 25, preparing a documentary on Africatown, Battles said.&#13;
	“What we expect to achieve is to really solidify reconciliation with the people of Africa and the people of Alabama with regard to the Africatown community,” he said. “What we hope to do is put Africatown on the map as a tourism destination.”&#13;
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A celebration of heritage&#13;
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Those looking to honor their African heritage are gathering Saturday at the Plateau Community Center for a day-long Kwanzaa celebration.</text>
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              <text>African Dreams&#13;
Historian Sylviane Diouf pens a new book about the saga of the Clotilda, its occupants and the unusual community they established in Mobile&#13;
By Roy Hoffman&#13;
Staff Reporter&#13;
NEW YORK CITY -- In the heart of Harlem, at the Schomberg Center for Research in Black Culture, Sylviane Diouf, curator of digital collections, has researched numerous stories of enslaved Africans who were displaced throughout the world.</text>
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'AfricaTown' bill is offered&#13;
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              <text>Africatown grew on slaves' legends and lore&#13;
Immigrants established a cultural outpost at Magazine Point&#13;
(EDITOR'S NOTE: Alabama Folkways is a monthly column of human interest features exploring topics that reflect Alabama's traditional culture. It is offered as a public service by Alabama Center for Traditional Culture, operating within the framework of the Alabama State Council on the Arts.)&#13;
By Henry Willett&#13;
Alabama Center for Traditional Culture&#13;
In front of the Union Baptist Church in the Magazine/Plateau community about three miles north of Mobile, there is a bust of Cudjoe Kazoola Lewis, the last survivor of a voyage on the slave ship "Clotilda" from the west coast of Africa in 1860.</text>
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              <text>Local&#13;
Africatown on verge of historic breakthrough&#13;
Park Service poised to add community built by slave-ship survivors to National Register of Historic Places&#13;
John Sharp&#13;
jsharp@al.com&#13;
Nothing has ever come easy for the Africatown community, founded generations ago by the people who were aboard the last slave ship to enter the U.S. from Africa.Robert Battles Sr., the 67 year old director of the Africa town welcome center and head of the community’s  mobilization  project, can  relate. &#13;
He and other  volunteers  have  had  to  deal  with  vandals  eroding resources and a long struggle to win governmental   recognition  of  Africa town’s  significance. &#13;
A   payoff  could  be  forthcoming  within  45 days or so,  the  National  Park  Service could   add the  approximately  400 building  within Africa town  in northern 	Mobile  to  its  National  Register  of Historic  Places. &#13;
What  this  means  for  me is it  illustrates  perseverance  Battles said.  And strength which is the same characteristic  of  the  Africans  who came  in 1859. &#13;
The  pending  federal  action  was endorsed  by  both  local  and  state  review  panels  earlier  this year. &#13;
The  state’s endorsement  in   September   was particularly  important , Rarely, does the federal  government  deny an  application  that has reached this stage, although  it may call  for changes  in  the application  terms  and scope. &#13;
I don’t believe well have  any  problems “ said Devereaux  Bennis, director of  the  Mobile Historic  Development  Commission. &#13;
The addition to the National  Register  while  mostly ceremonial, does, provide certain  protections to the properties  on the  list  and  allows  their  owners  access  to tax  credits  and  grants. &#13;
Africa Town’s  history has long  been somewhat  obscure  locally-Battles  refers to  it as a step  child  -and  he said  that  past  efforts  to earn   historical  and  preservation  status  received  push back  from  property owners  and  others . &#13;
There  have been  some recent efforts  to raise  the  community’s  profile. For  instance, a historical  marker   was  enacted  in  2011  and the  Old  Plateau  Cemetery  and  Africa  town  Grave yard where it’s estimated  some  3,000  people  are  buried. &#13;
Bennis  said  discussions to get  the  entire  community on   the federal  registry  have  been  going  on  for years ,  but its  only been   in the  past two  years  or  so  where  momentum built  “ it’s not something  you  can  do  in  15  minutes” Bennis said. “You need  to  do  a survey ;  research  and  we’ve  been  working  on I  it for   probably  two  and  a  half  years.&#13;
The  ship  Clotilda arrived  in the  Mobile Bay  in  either  1859  or 1860,  Aboard  were more  than 100  African  slaves  who were eventually sent inland to work. The Civil  War left them  free; but with  nowhere  familiar  to go, they returned  to the river  side north of Mobile.&#13;
“I  think  it’s long overdue  and  wonderful  “ said  Sylviane Anna Diouf, author of the 2007 book, “Dreams of Africa in Alabama: The Slave Ship Clotilda and the Story of the Last Africans Brought to America” and curator of the Schomburg Center for Research in Black Culture in New York. “The existence of the site is a tribute to the achievement of its founders and proof of their determination at remaining a distinct community.”&#13;
Bill Clark, a retired Democratic state representative from Prichard, said the designation could be the launching pad for developing Africatown as a tourist destination, the ultimate goal for the coalition of volunteers at Africatown.&#13;
“This is really just the break of the ice on what we consider a very unique history we need to tell,” said Clark, chairman of the subcommittee of the Africatown project.&#13;
Some building blocks for the future have already been established. For one, the city donated to the coalition a new trailer to serve as a welcome center and to replace one that was in disrepair.&#13;
Now, Battles hopes to replace vandalized busts of Cudjoe Lewis – the last survivor of the Clotilda, and perhaps the community’s most recognizable personality – and the late Prichard Mayor John Smith. Donated in May 2007 by filmmakers Thomas Akodjinou of Benin and Felix Eklu of Togo, the busts were destroyed by vandals in 2011. &#13;
In their place, Battles envisions a monument similar to the Vietnam Wall in Washington, D.C., listing the names of everyone who was aboard the Clotilda. Coalition members will be meeting on Wednesdays to craft a plan for the community’s future prospects.&#13;
Battles said the purpose of the coalition is to preserve memories of the last Africans to arrive as slaves. “But it’s also to teach our youth about the importance of culture and how culture plays into self-esteem and helps stop violence and all negative things,” he said.&#13;
Diouf is hopeful.&#13;
“It is an absolutely unique place in American history and it needs to be maintained and preserves as a living site that can contribute to the development of the community, which in turn will ensure its preservation,” she said. “And keep alive the memory of the extraordinary men and women who tried to re-create Africa in Alabama.”&#13;
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              <text>OPINION&#13;
EDITORIAL&#13;
Africatown project reviving history&#13;
An effort to locate old graves in the Africatown Cemetery is driven by the conviction that history is more than a record of famous events and famous people.</text>
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            <elementTextContainer>
              <elementText elementTextId="26845">
                <text>Editorial on Africatown Cemetery project</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="26848">
                <text>23 January 2010</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="46">
            <name>Relation</name>
            <description>A related resource</description>
            <elementTextContainer>
              <elementText elementTextId="26849">
                <text>"Africatown project reviving history." &lt;em&gt;Press-Register&lt;/em&gt;, 23 Jan. 2010, p. 6A.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="26850">
                <text>Scanned image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="26851">
                <text>English</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="26853">
                <text>files-clotilda-africatownprojectreviving-01</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="30517">
                <text>Mobile Public Library, Local History &amp; Genealogy</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="30781">
                <text>Mobile Public Library's Clotilda Collection</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="31383">
                <text>text</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="1359">
        <name>Africatown</name>
      </tag>
      <tag tagId="1597">
        <name>Africatown Cemetery</name>
      </tag>
      <tag tagId="1357">
        <name>Clotilda</name>
      </tag>
      <tag tagId="1421">
        <name>Magazine Point</name>
      </tag>
      <tag tagId="1598">
        <name>McElroy</name>
      </tag>
      <tag tagId="1363">
        <name>Norman</name>
      </tag>
      <tag tagId="1446">
        <name>Old Plateau Cemetery</name>
      </tag>
      <tag tagId="1410">
        <name>Plateau</name>
      </tag>
      <tag tagId="1383">
        <name>Press-Register</name>
      </tag>
    </tagContainer>
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</itemContainer>
