The monument depicts three bronze figures, two African American Union soldiers and a civilian field hand. The field hand and a soldier support a second soldier, who has been wounded in a Civil War battle.
Subject (Topic)
African Americans--New York
Cemeteries--New York
New York City--History
Northeastern United States
Public art
Public sculpture
Slave trade
Slavery--New York (State)
Subject (Object Type)
Commemorative sculpture
The memorial sits on .35 acres and includes seven distinct design features: Wall of Remembrance, Ancestral Re-Interment Grove, Memorial Wall, The Ancestral Chamber, Circle of the Diaspora, Spiral Processional Ramp, and The Ancestral Libation Court.
The visitor is invited to walk through the monumental triangular structure known as “The Ancestral Chamber,” which represents the Middle Passage across the Atlantic Ocean. After passing through the chamber, the visitor encounters a spiral memorial wall featuring twenty religious symbols including a number of Adinkra symbols (Akan peoples, Ghana). The floor of the monument includes a world map centered on the West African coast with sun rays radiating towards North America, Brazil, Europe, and the Caribbean Islands.
Description of the seven elements from Rodney Leon, “The Ancestral Libation Chamber: Memorial on the African Burial Ground National Memorial,” National Park Service, https://www.nps.gov/afbg/learn/historyculture/upload/Rodney-Leon-Memorial.pdf.
Wall of Remembrance
As one happens by the north wall facing Duane Street you are immediately struck by the scale and detail of a highly polished wall of granite inscribed with following libation text.
For all those who were lost
For all those who were stolen
For all those who were left behind
For all those who were not forgotten
The Wall of Remembrance is intended to draw a person in, and thus begin the process of enlightenment and education.
Ancestral Re-interment Grove
A path extends itself north to south from Duane Street. Along this path are seven burial mounds marking the locations of the seven large sarcophagi containing the remains of the 419 African descendants that were re-interred in October of 2003. In addition, a grove of seven trees create a natural buffer and shelter between the re-interment zone and adjacent building. The burial mounds serve as markers and the trees as guardians for the entrance to the Libation Chamber. It is appropriate to place flowers and other offerings along the path in front of the burial mounds.
Memorial Wall
The Southern wall of the Libation Chamber shall be engraved with a map containing images and text describing the components of the African Burial Ground National Monument site in context of the burial ground's actual boundaries in lower Manhattan. This map will allow people to understand the extent and scope of the burial ground's actual size which extends significantly beyond the boundaries of the memorial site.
The Ancestral Chamber
The Ancestral Chamber is intended to reflect African cultural, spiritual and ancestral essence. This spiritual form rises out of the ground like an ancestral pillar and represents the soaring African spirit embracing and comforting all those who enter. The Ancestral Chamber is oriented towards the east and open to the sky above, allowing natural light to penetrate and illuminate the interior space. The interior of The Ancestral Chamber provides a sacred space for individual contemplation, reflection, meditation and prayer.
Circle of the Diaspora
Signs, symbols and images of the African Diaspora are engraved around the perimeter wall encircling the Libation Court. These symbols come from different areas and cultures throughout the Diaspora, especially Africa, Latin America and the Caribbean. Symbolic meaning is described below the image. As one circumambulates around the perimeter of the court and spirals down the processional ramp, these symbols present themselves as a reminder of the complexity and diversity of African culture's manifestation. They all come together to form a communal place and a reminder of the Burial Ground being an international center of gathering. For a complete list of the symbols, see https://www.nps.gov/afbg/learn/historyculture/adinkra-symbols.htm.
Spiral Processional Ramp
The Spiral Processional Ramp descends down 4’ below street level thereby bringing the visitor physically, psychologically and spiritually closer to the ancestors and original interment level. The ramp and stairs serve as bridges between the living and the spiritual realm. They symbolize the process of transcendence from physical to spiritual and passage from profane to sacred. The process will evolve from the public “secular” space of the city to the spiritual space of the Libation Court and culminate in the sacred space of The Ancestral Chamber.
Ancestral Libation Court
The Ancestral Libation Court is situated on axis with The Ancestral Chamber. It is located 4’ below street level, providing a physical and psychological separation from the public activity of the surrounding urban environment. The Libation Court is a communal gathering place where small to medium-scale public cultural ceremonies may occur. This spiritual space is where re- consecration of the African Burial Ground National Monument will continually take place during the libation or other ceremonial rituals. The sacred ceremonial ritual of “libation” is the act which will serve as an offering and an acknowledgement linking past, present and future generations in the spirit of Sankofa (an Adinkra symbol of West Africa meaning ‘learn from the past’).
“African Burial Ground.” The New York Preservation Archive Project. Accessed April 11, 2019, http://www.nypap.org/preservation-history/african-burial-ground/.
Frohne, Andrea E. The African Burial Ground in New York City: Memory, Spirituality, Space. New York: Syracuse University Press, 2015.
"African Burial Ground : African Burial Ground National Monument, New York." Tourist Map, National Park Service, 2011. Accessed May 24, 2020, https://www.loc.gov/item/2011587283/.
Subject (Topic)
American South
Georgia--History
Public art
Public sculpture
Savannah (Ga.)--History
Slavery
Slavery--Emancipation
Subject (Object Type)
Commemorative sculpture
Inscription on granite base:
“We were stolen, sold and bought together from the African continent. We got on the slave ships together. We lay back to belly in the holds of the slave ships in each other’s excrement and urine together, sometimes died together, and our lifeless bodies thrown overboard together. Today, we are standing up together, with faith and even some joy.” Maya Angelou
Bronze plaque with inscription on base:
Please help the
African American Monument Association
Cover the debt for the
African American Monument
CONTRIBUTIONS MAY BE SENT TO:
National Bank of Commerce
2225 E Victory Drive
Savannah, GA 31404
or call 912-354-4634
FEDERAL ID NO. 58-1944952
Plaque courtesy of the Savannah College of Art and Design
Bronze plaque with inscription added in 2019:
The African American Monument
Dedicated July 27, 2002
In Honor Of
Dr. Abbie H. Jordan
(1925-2019)
Educator, Leader, Trailblazer, and Community Activist
Dr. Jordan’s vision, tenacity, and financial contributions were the driving force that ensured the Savannah Waterfront was the home of the first statue in Savannah that honors African Americans. The Consortium of Doctors, Ltd., an organization that Dr. Jordan founded in 1991, made signifcant contributions to this effort.
Sculptress: Dorothy Spradley
This plaque unveiled July 26, 2019
Ater, Renée. “Slavery and Its Memory in Public Monuments.” American Art 24, no. 1 (2010): 20-23.
Alderman, Derek H. “Surrogation and the Politics of Remembering Slavery in Savannah, Georgia (USA).” Journal of Historical Geography 36 (2010): 90-101.
Inscription on the work:
"To the memory of the black soldiers of Greater Danbury who served in the 29th and 30th Regiments Conn. Volunteer Infantry during the Civil War 1861-1865.”
Below the inscription is an image of the Grand Army of the Republic medal. The rear of the monument includes the names of the 70 members of the 29th Connecticut Volunteer Infantry Regiment; the names of the 9 members of the 30th Connecticut Volunteer Infantry Regiment, as well as the names of those who served as part of the 8th Connecticut Volunteer Infantry Regiment; the 2nd USCT; the 26th USCT; US Navy; 62nd New York Infantry.
The memorial stands on the site of the New Haven jail, where Pieh and the other Amistad Africans were held during their trials. The three sides of the sculpture depict the life of Pieh: the first side shows him as a young man in Africa; the second side depicts his court trials, and the third side shows Pieh after he won his freedom. A fourth side of the sculpture, only visible from the upper floors of City Hall, includes images of disembodied hands emerging from ocean waves, a reminder of the thousands who perished during the Middle Passage. Pieh's famous courtroom statement, "make us free" is inscribed on the work’s granite base. The memorial rests atop a squared platform, which was inserted into a purpose-built recessed space added to City Hall during a 1990 renovation.
]]>Subject (Topic)
Abolitionists--United States
Amistad Mutiny
Anti-slavery movements--United States
Northeastern United States
Public art
Public sculpture
Slave insurrections
Slave trade
Slavery--United States
Subject (Name)
Pieh, Sengbe (Joseph Cinque), ca. 1814-ca. 1879
Subject (Object Type)
Commemorative sculpture
The Amistad Memorial centers around a large bronze triangular prism adorned with sculptural reliefs, depicting scenes from the life of Sengbe Pieh. In 1839 Pieh led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad. The Amistad was seized off the coast of Long Island, NY, by the U.S. brig, Washington and the Africans on board were imprisoned on charges of murder. The case went to the US Supreme Court, where Pieh and his fellow Africans were found to have rightfully defended themselves as they were free individuals, having been kidnapped and transported illegally.
The memorial stands on the site of the New Haven jail, where Pieh and the other Amistad Africans were held during their trials. The three sides of the sculpture depict the life of Pieh: the first side shows him as a young man in Africa; the second side depicts his court trials, and the third side shows Pieh after he won his freedom. A fourth side of the sculpture, only visible from the upper floors of City Hall, includes images of disembodied hands emerging from ocean waves, a reminder of the thousands who perished during the Middle Passage. Pieh's famous courtroom statement, "make us free" is inscribed on the work’s granite base. The memorial rests atop a squared platform, which was inserted into a purpose-built recessed space added to City Hall during a 1990 renovation.
Inscription on base:
This monument is a memorial to the 1839 Amistad Revolt and its leader, Sengbe Pieh, also known as Joseph Cinque. Sengbe Pieh was one of the millions of Africans kidnapped from their homes and transported in bondage to the Americas. Sold into slavery in Cuba, he and forty-eight other men, and four children were bound aboard the schooner La Amistad. During a storm, Sengbe Pieh successfully freed himself and his fellows. The Africans seized the ship, but their offers to steer La Amistad homeward were thwarted. After futile weeks at sea, they were captured off Long Island by the U.S.S. Washington.
Inscription on base:
On this site, the Amistad Africans were jailed awaiting trial for piracy and murder. To aid their struggle for freedom, the Amistad Committee formed, counting in its number ministers Simeon Jocelyn, Joshua Leavitt, and James Pennington; merchant Lewis Tappan; professor Josiah Gibbs; and lawyer Roger Baldwin. The Africans were tried twice prior to their ultimate triumph before the United States Supreme Court, where former President John Quincy Adams courageously defended them. Sengbe Pieh and his fellows were declared Free Persons.
Inscription on base:
"Make Us Free"
The Africans sought to return home. To raise funds for their voyage and to further the anti-slavery cause, they engaged in a series of speaking tours. In 1841, after a sojourn that profoundly influenced the abolitionist movement, they set sail, free at last.
To commemorate the heroism of the Amistad Africans and those who shared in their quest for freedom, the 1989 Amistad Committee commissioned his sculpture by Ed Hamilton and dedicated it on September 26, 1992.
Hernandez, Esteban. "New Haven to Celebrate 175th Anniversary of Amistad, the Slave Ship that Led to Freedom." New Haven Register. Accessed April 12, 2019, https://www.nhregister.com/connecticut/article/New-Haven-to-celebrate-175th-anniversary-of-11338269.php.
"Our Public Art Collection." Department of Arts, Culture, and Tourism, City of New Haven. Accessed May 27, 2020, https://www.newhavenct.gov/gov/depts/arts/public_art/public_art_collection.htm.
"The Amistad Memorial." Amistad Committe, Inc. Accessed May 27, 2020, https://www.amistadcommitteeinc.org/amistad-memorial.
Subject (Topic)
Abolitionists--United States
Anti-slavery movements--United States
Northeastern United States
Public art
Public sculpture
Temporary art
Underground Railroad
Subject (Name)
Tubman, Harriet, 1822-1913
Subject (Object Type)
Commemorative sculpture
Princethal, Nancy. "Inspired by Harriet Tubman: An Artist Takes Glass to Extremes." New York Times, January 4, 2018. Accessed April 1, 2018, https://www.nytimes.com/2018/01/04/arts/design/joyce-j-scott-grounds-for-sculpture-harriet-tubman.html.
Dube, Ilene. "I Was an Artist in Vitro": Joyce J. Scott and Her Darkly Beautiful Art. Hyperallergic, January 30, 2018. Accessed April 1, 2018, https://hyperallergic.com/423894/i-was-an-artist-in-vitro-joyce-j-scott-and-her-darkly-beautiful-art/.
Sims, Lowery Stokes and Patterson Sims. Joyce J. Scott: Harriet Tubman and Other Truths. Exh. cat. Hamilton, NJ: Grounds for Sculpture, 2018.
The memorial is located in the coastal Ghanaian district of Anlo, once known for its substantial involvement in the slave trade. A high-walled circular enclosure with a small wooden door, which serves as a narrow entrance, leads the viewer to the central feature of the memorial: a life-size sculptural group of a tall European slave-trader brandishing a whip over two kneeling African figures. The African figures, dressed in traditional garb, are chained at the neck. The interior walls of the monument are embellished with a narrative frieze illustrating a popular local legend. The narrative frieze of the memorial tells the story of a popular white trader who lived in Atorkor (a small village located in the district of Anlo): As the story goes: “One day, the Trader announced a dancing competition for the best dancers and drummers amongst the youth on his ship. The best dancer in the village was a beautiful young girl, but her parents forbade her from attending the party, as she had not completed her chores for the day. All the other young people in the village went to the dancing competition on the boat, where they were plied with rum before being shackled and sold into slavery.” As artist and educator Senam Okudzeto notes, “There are many versions of the story. This particular one corresponds with the official government version and was sourced from a website put up by the present chief of Atorkor, Samuel Adjorlorlo, who runs the Atorkor Development Foundation (ADF), an NGO for the development of the region” (see bibliographic citation).