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Ships on the Wall: Retracing African Trade Routes from Marseille, France

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Ships on the Wall: Retracing African Trade Routes from Marseille, France genealogy Article Ships on the Wall: Retracing African Trade Routes from Marseille, France Helen A. Regis Department of Geography & Anthropology, Louisiana State University, Baton Rouge, LA 70116, USA; [email protected] Abstract: With this essay on decolonizing ways of knowing, I seek to understand the phantom histories of my father’s French family. Filling in silences in written family accounts with scholarship on Marseille’s maritime commerce, African history, African Diaspora studies, and my own archival research, I seek to reconnect European, African, and Caribbean threads of my family story. Travelling from New Orleans to Marseille, Zanzibar, Ouidah, Porto-Novo, Martinique and Guadeloupe, this research at the intersections of personal and collective heritage links critical genealogies to colonial processes that structured the Atlantic world. Through an exploration of family documents, literature, and art, I travel the trade routes of la Maison Régis. Keywords: colonial heritage; African history; critical genealogies; slavery; Marseille; Ouidah We must be prepared to make detours into the imperial and colonial zones ... The empires were not simply out there—distant terminal points for trading activ- ity ... Imperial mentalities were brought back home long before the immigrants arrived. —Paul Gilroy(2004, p. 164) There are other ways of remembering the past than by speaking of it. Citation: Regis, Helen A. 2021. Ships —Rosalind Shaw(2002, p. 2) on the Wall: Retracing African Trade Routes from Marseille, France. 1. Introduction: “I Am—De la planète MARS” Genealogy 5: 27. https://doi.org/ 10.3390/genealogy5020027 When I was in my early 20s, my father, Claude Régis, distributed prints of ships to all of his children. He loved sailing, and as a young girl, I spent a few weeks every Received: 7 December 2020 summer with my family on or near a boat. I remember a lot of cleaning, washing and Accepted: 12 February 2021 folding sails, scrubbing the deck, sanding teak and varnishing it, but also playing cards, Published: 25 March 2021 picnics, and swimming in the deep cold waters of the Mediterranean. The prints he gave us did not have anything to do with the boats I knew as a child. They were large, color Publisher’s Note: MDPI stays neutral reproductions of paintings from the port of Marseille, France where he had grown up—the with regard to jurisdictional claims in three-masted schooners and brigs were the kinds of ships involved in long-distance trade published maps and institutional affil- (see Meissonnier 1968; Garcin et al. 2011). The painters, Antoine Roux and son, were known iations. to be so precise in their representations that they could be used for insurance purposes, like photographs today. Claude told me to select two of them. The one I liked the best was a Felouque espagnole, a smaller ship—as I remember it, my father explained it was precisely the kind of fast-moving, highly maneuverable boat that would have been used by pirates Copyright: © 2021 by the author. preying on cargo ships which Roux also painted. In the broader context, I recognized and Licensee MDPI, Basel, Switzerland. admired its subversive aspect. See Figure1. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (https:// creativecommons.org/licenses/by/ 4.0/). Genealogy 2021, 5, 27. https://doi.org/10.3390/genealogy5020027 https://www.mdpi.com/journal/genealogy Genealogy 2021, 5, x FOR PEER REVIEW 2 of 36 GenealogyGenealogy2021 2021, 5, ,5 27, x FOR PEER REVIEW 22 of of 37 36 FigureFigure 1. 1.Antoine Antoine Roux’sRoux’sFelouque Felouque espagnoleespagnole,, Spanish Spanish shebek, shebek, from from 1830. 1830. Public Public domain. domain. TheThe printsprints seemedseemed aa bitbit oldold fashionedfashioned andand stodgy,stodgy, but but I I framed framed them them toto hang hang in in my my homehome in in New New Orleans, Orleans, and and they they have have followed followed me me from from move move to to move move ever ever since. since. It It wasn’t wasn’t untiluntil I I returned returned to to France France in in the the early early 2000s 2000s that th Iat began I began to thinkto think of these of these ships ships as part as part of my of familymy family heritage. heritage. Alison Alison Bechdel Bechdel has writtenhas writte ofn the of waysthe ways in which in which her father’sher father’s restoration restora- oftion their of familytheir family home home expressed expressed truths truths about ab hisout life his through life through décor décor (furniture, (furniture, scrollwork, scroll- cornices,work, cornices, fireplaces, fireplaces, chandeliers) chandeliers) and books, and that books, were that never were expressed never expressed in words (Bechdelin words 2006(Bechdel). In the 2006). same In way,the same in my way, own in family, my own ships family, on the ships wall on silently the wall convey silently our convey histories our ofhistories global trade.of global It seemed trade. It all seemed of my relativesall of my hadrelatives them. had Whether them. inWhether the form in ofthe original form of oiloriginal paintings oil paintings or elaborate or elaborate model ships model encased ships inencased glass displays, in glass displays, when I have when stepped I have intostepped family into members’ family members’ homes in homes France, in IFrance think, toI think myself, to myself, “Oh! They “Oh! have They them, have them, too.” Sometoo.” ofSome their of paintings their paintings predated predated our ancestors’ our ance rolestors’ in maritimerole in mariti commerce,me commerce, such as asuch view as ofa view Marseille of Marseille from a Turkishfrom a Turkish perspective perspective I once sawI once in saw the in living the living room room of a relative. of a relative. See FigureSee Figure2. 2. Figure 2. A view of the port of Marseille by a Turkish artist, possibly Matrakçi Nasuh, in 1563. FigureFigure 2. 2.A A viewview ofof the the port port of of Marseille Marseille by by a a Turkish Turkish artist, artist, possibly possibly Matrakçi Matrakçi Nasuh, Nasuh, in in 1563. 1563. Print Print courtesy of the Regis family. Public domain. courtesyPrint courtesy of the Regisof the family.Regis family. Public Public domain. domain. Genealogy 2021, 5, x FOR PEER REVIEW 3 of 36 Genealogy 2021, 5, 27 3 of 37 Sometimes,Sometimes, thethe maritimemaritime scenesscenes werewere lighterlighter andand featuredfeatured pleasurepleasure boats,boats, aa rowboat,rowboat, oror aa sailingsailing dinghy.dinghy. However,However, everywhere everywhere therethere were were boats boats and and water. water. Nathalie Nathalie Rachlin Rachlin ((2014,2014, p. p. 48)48) explainsexplains whywhy residentsresidents ofof Marseille,Marseille, likelike my my family, family, often often look look out out to to sea: sea: SurroundedSurrounded byby mountainsmountains andand builtbuilt inin thethe shapeshape ofof anan amphitheater,amphitheater, facing facing the the Mediterranean,Mediterranean, MarseilleMarseille turns turns its its back back on on Paris Paris and and the the rest rest of of France. France. Looking Looking outwardoutward toto otherother MediterraneanMediterranean portport cities,cities, likelike Genoa,Genoa, Barcelona,Barcelona, Algiers,Algiers, oror Athens.Athens. It It has has a a good good deal deal more more in in common common with with them them than than it does it does with with Le HavreLe Ha- 1 orvre Brest. or Brest.(See1 (See Appendix AppendixA) A) OnOn thethe IndianIndian Ocean,Ocean, inin thethe coastalcoastal citiescities ofof Mombasa,Mombasa, Zanzibar,Zanzibar, and andLamu, Lamu,members members ofof SwahiliSwahili merchantmerchant families families displayed displayed their their heritage heritage as as coastal coastal elites elites in in the the interior interior design design ofof theirtheir homeshomes asas well.well. “Trade“Trade ornamentsornaments andand decorative decorative objectsobjects werewere carefully carefully staged staged to to foregroundforeground a a family’s family’s direct direct connection connection to to overseas overseas social social and and cultural cultural networks” networks” (Meier (Meier 20092009,, p.p. 10).10). AsAs MeierMeier shows,shows, platesplates andand porcelainporcelain bowlsbowls importedimported fromfrom ChinaChina andand Persia,Persia, asas wellwell asas furniturefurniture fromfrom IndiaIndia andand Europe,Europe, hadhad importantimportant meanings, meanings, speaking speaking to to Swahili Swahili families’families’ maritime maritime heritage, heritage, mercantile mercantile success, succe andss, and cosmopolitan cosmopolitan identities identities similar similar to those to ofthose Marseille. of Marseille. See Figure See 3Figure. 3. FigureFigure 3.3.A A postcardpostcard depicting depicting “Marseille “Marseille le le Vieux Vieux Port,” Port,” the the old old port port of of Marseille, Marseille, could could be be found found in in shops around city in the early 2000s, showing a place defined by its relationship to the sea. Im- shops around city in the early 2000s, showing a place defined by its relationship to the sea. Image age courtesy of the Regis family. courtesy of the Regis family. WhenWhen II livedlived MarseilleMarseille inin thethe springspring ofof 2006,2006, fortyforty percentpercent ofof residentsresidents werewere bornborn outsideoutside ofof France.France. TheThe citycity waswas inin thethe midstmidst ofof aa regionalregional andand cosmopolitancosmopolitan renaissance.renaissance. OnOn thethe radio,radio,
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