The African Muslim Slave

Every picture, indeed, tells a story.

This one was painted in the far-flung year of 1734 and is known as “The Fortunate Slave.”

At first glance, it seems a regular old English painting – stoic, rigid – displaying the era’s characteristic visages.

But this one stands apart; it’s the first one bearing a black subject amidst myriad portraits featuring renowned English personages.

The subject of this portrait?

Ayuba Suleiman Diallo.

Born to an esteemed Muslim household in Eastern Senegal, Diallo’s journey uncovers itself as a testament to his resilience. He was praised for his sharp memory and intellect. By the tender age of 15, he had the entire Quran memorized and was well-versed in the Maliki school of Islamic law. A scholar and a refined young man, he was, however, ensnared by the brutalities of the Trans-Atlantic Slave Trade. Abducted, enslaved, and shipped to the United States at thirty, Diallo’s life took a drastic turn from scholarly pursuits to the ruthless world of slavery.

Diallo’s devotion to his faith remained unwavering even in such debilitating adversity. He took refuge in the solace of prayer, quietly slipping into the nearby woods to observe his rituals.

Yet, when faced with the humiliation at the hands of a child, Diallo decided to escape the plantation but was recaptured and locked away.

From the depths of his imprisonment, Diallo penned a letter to his father, the words bearing the weight of his ordeal. This letter, seized by James Edward Oglethorpe – the then director of the Royal African Company and founder of the American Colony of Georgia, stirred him. Deeply moved, Oglethorpe facilitated Diallo’s release and ensuing journey to England.

On reaching England in 1733, Diallo was greeted as a free man. His intelligence, monotheistic beliefs, and piety left an indelible mark on even the highly esteemed circles he moved into. Diallo’s persona made him stand out in a time rife with racial injustice. Soon, he was commissioned by painter William Hoare to have his likeness captured on canvas.

Rarely chosen as subjects, people of African descent in 18th-century paintings were often portrayed in belittling or horrifying ways. Diallo’s portrait defied all such stereotypes. It presented an African Muslim ex-slave not just as a human but as a figure of nobility - a changemaker in the perception.

What stands out in Diallo’s portrayal is a red book hung around his neck – one of the three Qurans he had composed entirely from memory during his imprisonment. The posture, the facial expressions, and everything about the portrait magnify Diallo’s power and resilience as an enslaved yet zealous West African Muslim man.

He never lost pride in his Black Muslim identity despite the hardships he faced.

Diallo’s journey is a testament to enduring faith, resilience, and perseverance. His life was lived unapologetically, in proud service of his beliefs and identity. It serves as a beacon, a lesson – a potent reminder that no challenge is too great to surmount when met with unwavering faith and indomitable spirit.