1
10
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https://slaverymonuments.org/files/original/f55d8049930567b606e5eb0fd5d539a6.jpg
c2cc15c1cbc06873fd9377c065a8cc3a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Slavery Monuments in Mexico, Central America, and South America
Creator
An entity primarily responsible for making the resource
Renée Ater
Contributor
An entity responsible for making contributions to the resource
Renée Ater
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Valongo Wharf</em> (Rio de Janeiro, Brazil)
Subject
The topic of the resource
Subject (Topic)
Slavery
Middle Passage
Transatlantic Slave Trade
Slave Trade
Rio de Janeiro, Brazil
Subject (Object Type)<br />Memorial
Description
An account of the resource
As the last nation in the Americas to officially abolish slavery in 1888, historians estimate that of the approximately 10.7 million enslaved persons brought to the Americas, as many as 50 percent arrived in Brazil. Valongo was the debarkation point for an estimated 900,000 slaves. In July 2007 the United Nations Educational, Scientific, and Cultural Organization added the <a href="https://whc.unesco.org/en/list/1548" target="_blank" rel="noopener">wharf to its World Heritage List</a>. <br /><br />The site consists of a number of archaeological layers, the lowest of which are the remains of the Valongo Wharf’s floor pavings. The bodies of the slaves who died upon arrival in Brazil were burned, and chopped-up bones were buried in mass graves on a site near the wharf.
Relation
A related resource
To watch a video about this site from the United Nations Information Centre for Brazil, click <a href="https://www.youtube.com/watch?v=v1EgNV_4dSk" target="_blank" rel="noopener">here</a>.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Av. Barão de Tefé - Saúde, Rio de Janeiro - RJ, 20220-460, Brazil
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
<span>UNESCO, "Valongo Wharf Archaeological Site," Accessed May 28, 2019: <a href="https://whc.unesco.org/en/list/1548" target="_blank" rel="noopener">https://whc.unesco.org/en/list/1548</a></span>
Rights Holder
A person or organization owning or managing rights over the resource.
Renée Ater
Source
A related resource from which the described resource is derived
UNESCO
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https://slaverymonuments.org/files/original/382d835569deb0d8369ba608f05b83f6.png
72a35c4cd6997e89a4d931d7c9c1267c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Slavery Monuments in Mexico, Central America, and South America
Creator
An entity primarily responsible for making the resource
Renée Ater
Contributor
An entity responsible for making contributions to the resource
Renée Ater
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Zumbi dos Palmares</em> (Salvador da Bahia, Brazil)
Subject
The topic of the resource
Subject (Topic)<br />Slavery<br />Resistance<br />Middle Passage<br />Transatlantic Slave Trade<br />Slave Trade<br />Public art<br />Public sculpture<br />Salvador da Bahia, Brazil
Subject (Name)<br />Zumbi (Zumbi dos Palmares), 1655 – 1695
Subject (Object Type):
Commemorative sculpture
Creator
An entity primarily responsible for making the resource
Duarte, Lázaro Souza
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: May 30, 2008
Contributor
An entity responsible for making contributions to the resource
Palmares Cultural Foundation; A Mulherada; Minster of Culture; Municpality of Salvador
Format
The file format, physical medium, or dimensions of the resource
JPEG
Language
A language of the resource
English
Type
The nature or genre of the resource
Visual Arts-Sculpture
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Praça da Sé, 15-23 - Pelourinho, Salvador - BA, 40020-210, Brazil
Has Part
A related resource that is included either physically or logically in the described resource.
Bronze Plaque: <br /><br />"Zumbi dos Palmares “É chegada a hora de tirar nossa nação das trevas da injustica racial.” <br /><br />Nasceu livre, em 1655, na Serra da Barriga, união dos Palmares, Alagoas. Neto de Aqualtune, não permitiu a submissão de seu povo ao jugo da corda portuguesa, pois queria a liberdade para todos, dentro ou fora do Quilombo. Persistiu na luta e tornou-se líder do Quilombo, sento ferido em 1694, quando a capital Palmares foi destruída. Em 20 de Novembro de 1695, foi morto e decapitado. <br /><br />Após 300 anos, a data da morte desse líder da resistência negra foi instituída, pelo moviment negro, como o dia nacional da consciência negra."<br /><br />Bronze Plaque: <br /><br />“Zumbi” (a Felicidade Guerreira) Letra de Waly Salomâo & música de Gilberto Gil (par o filme Quilombo) 1983 <br /><br />Zumbi, comandante guerreiro <br />Ogunhê, ferreiro-mor capitão <br />Da capitania da minha cabeça <br />Mandai a alforria pro meu coração <br /><br />Minha espada espalha o sol da guerra <br />Rompe mato, varre céus e terra <br />A felicidade do negro é uma felicidade guerreira <br />Do maracatu, do maculelê e do moleque bamba <br /><br />Minha espada espalha o sol da guerra <br />Meu Quilombo incandescendo a serra <br />Tal e qual o leque, o sapateado do mestre – escola de samba <br />Tombo – de – ladeira, rabo – de – arraia, fogo – de – liamba... A felicidade do negro é uma felicidade guerreira"<br /><br />Bronze Plaque: <br /><br />Esta escultura em bronze do Zumbi dos Palmares, herói da resistência negra contra a escravidâo, foi criada, projetada e executada pela escultora márcia, magno, resultado, de extensa pesquisa inconográfica, técnica e plástica, possui 2,20m de altura e expressa Altivez, força, dignidade e Beleza plástica. <br /><br />Simboliza “as multiplas faces dos espíritos de África”. Em posição de alerta, apresenta uma perna apoiada a outra, semelhante a um pássaro silvestre, ágil, dia e noite em permanente vigília. O guerreiro Zumbi dos Palmares está portando uma lança de caça e um gládio, cópia fiel do “Mukwale”, peça preciosa, utilizada por grandes guerreiros cuja decoração, do cabo representa o chefe tradicional em pé e atento a qualquer circunstãncia. <br /><br />30 de Maio de 2008"<br /><br />Bronze Plaque: <br /><br />"Homenagem a Zumbi dos Palmares <br />Projecto Autoria: Lázaro Souza Duarte <br /><br />Zumbi dos Palmares líder da primeira experiência democrática do país. O Monumento de Zumbi dos Palmares é o símbolo da resistência do povo negro brasileiro e a materializaçâo da memória de lutas e conquistas pelo exercício da liberdade no fortalecimento pela consciência negra. <br />Salvador, 30 de Maio de 2008 <br /><br />Comissâo Gestora <br />Mönica Kalile, Raimundo Bujâo, Lázaro Duarte, Jorge Conceiçâo e Valmir Dois Mundo <br />Joâo Henrique de Barradas Carneiro, Prefeito <br />Gilberto Passos Gil Moreira Ministro da Cultura"<br /><br />English translations of the plaques can be found <a href="https://www.hmdb.org/marker.asp?marker=26125" target="_blank" rel="noopener">here</a>.
Medium
The material or physical carrier of the resource.
Bronze, Granite
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
Douglas J. Hamilton, Kate Hodgson, and Joel Quirk. <em>Slavery, Memory and Identity: National Representations and Global Legacies</em>. London: Pickering & Chatto, 2012: pg. 125-126.
Rights Holder
A person or organization owning or managing rights over the resource.
Renée Ater
Description
An account of the resource
The work is dedicated to Zumbi dos Palmares, a <a href="https://www.britannica.com/topic/quilombo" target="_blank" rel="noopener">Quilombo</a> leader and one of the principle forces behind the resistance to slavery in Brazil. The muscular, semi-nude figure of Zumbi dos Palmares, stands with his weight shifted to his right foot. He brings the sole of his left foot to his right shin and holds a spear in his left hand as he turns his head slightly to the left.
Source
A related resource from which the described resource is derived
Laura De la Rosa, ResearchGate
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https://slaverymonuments.org/files/original/979a2fb759f91704cd1d41a1e86f0939.jpg
811ab5bdd403345552a8c57aef6fb8c9
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Slavery Monuments in Mexico, Central America, and South America
Creator
An entity primarily responsible for making the resource
Renée Ater
Contributor
An entity responsible for making contributions to the resource
Renée Ater
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>1763 Monument</em> (Georgetown, Guyana)
Subject
The topic of the resource
Subject (Topic)<br />Slavery; Resistance<br />Middle Passage<br />Transatlantic Slave Trade<br />Slave Trade<br />Public art<br />Public sculpture<br />Georgetown, Guyana
Subject (Name) <br />Cuffy (Coffy, Kofi or Koffi), d.1763
Subject (Object Type) <br />Commemorative sculpture
Description
An account of the resource
Unveiled three days before the 10th anniversary of Guyanese Independence, the work celebrates the Guyanese anti-colonial struggle, resistance against, and eventual emancipation from slavery. The work is dedicated to the memory of Cuffy, <span>an Akan man sold into slavery </span>who led a revolt against the Dutch owners of the Magdalenburg plantation on the Canje River in Berbice (now Guyana). Although the uprising was ultimately unsuccessful, Cuffy’s rebellion anticipated the eventual end of slavery in Guyana.
Creator
An entity primarily responsible for making the resource
Moore, Philip, 1921-2012
Date
A point or period of time associated with an event in the lifecycle of the resource
Unveiled: May 23, 1976
Contributor
An entity responsible for making contributions to the resource
Morris Singer Foundry
Format
The file format, physical medium, or dimensions of the resource
JPEG
Language
A language of the resource
English
Type
The nature or genre of the resource
Visual Arts-Sculpture
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Square of the Revolution Georgetown, Guyana
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
<em>Cuffy Monument</em>
Has Part
A related resource that is included either physically or logically in the described resource.
NEED A BETTER IMAGE CANT SEE THE INSCIOPTIONS (Might be found in Visualising Slavery: Art Across the African Diaspora
edited by Celeste-Marie Bernier, Hannah Durkin, but need to go to the library to check it out)
Extent
The size or duration of the resource.
180''
Medium
The material or physical carrier of the resource.
Bronze
Rights Holder
A person or organization owning or managing rights over the resource.
Renée Ater
Source
A related resource from which the described resource is derived
Wikipedia Commons
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https://slaverymonuments.org/files/original/d7af90a63c21d37c73bf8c773db015d6.jpg
c839d4a7bd90a2496d9eea1e67a9b9fb
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Slavery Monuments in Mexico, Central America, and South America
Creator
An entity primarily responsible for making the resource
Renée Ater
Contributor
An entity responsible for making contributions to the resource
Renée Ater
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Sculpture
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Gaspar Yanga</em> (Yanga, Veracruz, Mexico)
Subject
The topic of the resource
Subject (Topic)<br />Slavery-Emancipation<br />Middle Passage<br />Transatlantic Slave Trade<br />Slave Trade<br />Diaspora<br />Yanga, Veracruz, Mexico
Subject (Name) <br />Yanga, Gaspar
Subject (Object Type) <br />Commemorative sculpture
Description
An account of the resource
The muscular, semi-nude figure looks resolutely forward as he raises a machete in his right hand and holds a long (sugar cane?) in his left. A shackle with a broken chain is still attached to his left wrist. The work was created to celebrate Gaspar Yanga, a 17th century self-emancipated (former slave) leader of a maroon colony of self-emancipated people (former slaves) near Veracruz, Mexico. He successfully resisted a Spanish attack on the maroon colony in 1609 and later negotiated with the Spanish colonial government to secure self-rule for the maroon settlement.
Relation
A related resource
To read about UNSECO's decision to name the city of Yanga, Veracruz a World Heritage Site, click <a href="http://imagine-mexico.com/yanga-veracruz-mexico/" target="_blank" rel="noopener">here.</a>
Format
The file format, physical medium, or dimensions of the resource
JPEG
Language
A language of the resource
English
Type
The nature or genre of the resource
Visual Arts-Sculpture
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Yanga Park, Av. 2, Centro, 94930 Yanga, Ver., Mexico
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
<em>El Yanga</em>
Has Part
A related resource that is included either physically or logically in the described resource.
An English translation of the Spanish inscription on the base: <br /><br />"African Black liberator and precursor of the black slaves who founded the town of San Lorenzo de Cerralvo (now Yanga) by agreement of the viceroy of New Spain, Rodrigo Pacheco, on the third day of October 1631 by order of the viceroy’s pen.Village Captain Hernando of Castro Espinosa H. Ayuntamento Constl. 1973-1976.”
Rights Holder
A person or organization owning or managing rights over the resource.
Renée Ater
Creator
An entity primarily responsible for making the resource
Lendechy, Erasmo Vásquez, b. 1918
Source
A related resource from which the described resource is derived
Wikipedia Commons
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: August, 1976