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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
African American History
Contributor
An entity responsible for making contributions to the resource
Renée Ater
Description
An account of the resource
<div style="padding-right: 30%;">
<p>The monuments and memorials in this collection acknowledge the important contributions of African Americans to American history including the long arc of slavery. Some monuments, such as <i><a href="https://www.slaverymonuments.org/items/show/1134" target="_blank" rel="noopener">Texas African American History Memorial</a>,</i> include bas-reliefs of enslaved men and women and well-known historical figures, such as Medgar Evers and President Barack Obama. Other memorials such as <i><a href="https://www.slaverymonuments.org/items/show/1183" target="_blank" rel="noopener">Truths that Rise from the Roots Remembered</a>,</i> honor the ability of ordinary Black people to survive and thrive despite slavery, racism, and white supremacy. </p>
</div>
Creator
An entity primarily responsible for making the resource
Written by Grace Yasumura
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
Physical Dimensions
The actual physical size of the original image
Varied: 144 in. to 180 in. (365.76 cm. to 457.2 cm.)
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>Truths that Rise from the Roots Remembered</em> (Alexandria, VA)
Creator
An entity primarily responsible for making the resource
Meadows, Jerome, 1951-
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: June 17, 1995
Contributor
An entity responsible for making contributions to the resource
EDAW (now AECOM); Norfolk Southern Corporation; Carlyle Development; and The City of Alexandria.
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
309 Holland Lane, Alexandria, VA 22314, United States
Medium
The material or physical carrier of the resource.
Bronze; Brick; Grey stone
Rights Holder
A person or organization owning or managing rights over the resource.
Renée Ater
Description
An account of the resource
<em>Truths that Rise from the Roots Remembered</em> is located in the Alexandria African American Heritage Park, a nine acre memorial park. The park was the site of a historic Black Baptist Cemetery, established in 1885, and later descecrated when the City of Alexandria used the space as a landfill in the early 1960s. Through archaeological excavations, (1985-1992), six headstones were identified and remain in their original location. The park was designed to co-exist with the original landscape of the cemetery and to preserve the wetlands on the site.<br /><br /><em>Truths that Rise from the Roots Remembered</em> includes a group of three stylized bronze trees whose surfaces are etched with names, historical information, and photographs of the African American community in Alexandria; a commemorative grave mound sculpture with limestone supports; and a bronze bookstand. The trees and mound are contained within a circle surrounded by gray flag stone and a semi-circular brick wall. Embedded in the gray flagstone is a red limestone circle, marked with the compass points.
Subject
The topic of the resource
<p>Subject (Topic)<br />African American history<br />Alexandria (Va.)--History<br />American South<br />Freedmen--Virginia<br />Public art<br />Public sculpture<br />Resistance<br /><br /></p>
<p>Subject (Object Type) <br />Commemorative sculpture</p>
Extent
The size or duration of the resource.
Varied: 144 in. to 180 in. (365.76 cm. to 457.2 cm.)
Source
A related resource from which the described resource is derived
Photographs by Renée Ater
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
<p>Cressey, Pamela. “Sculpture Provides Inspriation.” <em>Alexandria Gazette Packet</em>, July 20, 1995. Accessed August 14, 2019, <a href="https://www.alexandriava.gov/historic/info/default.aspx?id=42988" target="_blank" rel="noopener">https://www.alexandriava.gov/historic/info/default.aspx?id=42988</a>.</p>
<p>Anderson, Adrian D. <em>The African American Heritage Park, Alexandria, Virginia</em>. Minneapolis, MN: Tellus Consultants, 1992. Accessed August 14, 2019, <a href="https://www.alexandriava.gov/uploadedFiles/historic/info/archaeology/SiteReportAnderson1992AfricanAmericanHeritagePark.pdf" target="_blank" rel="noopener">https://www.alexandriava.gov/uploadedFiles/historic/info/archaeology/SiteReportAnderson1992AfricanAmericanHeritagePark.pdf</a>.</p>
Has Part
A related resource that is included either physically or logically in the described resource.
<p><strong><em>Plaque at the entrance to the Alexandria African American Heritage Park (left):<br /></em></strong>From the establishment of Alexandria in 1749 to the present time, African Americans have been a vibrant part of this city’s history. The City of Alexandria would not exist in its present form were it not for the economic, social, and cultural contributions of African Americans both slave and free. As Alexandria developed in the 19th century, African Americans began to establish enclaves with distinctive names and characteristics. Many of these areas such as: The Berg, The Bottoms, Cross Canal, Hayti, The Hump, Sunnyside, and Uptown survive today and retain historical significance for African Americans currently living in Alexandria. From these original African American neighborhoods, a sense of community developed, which led to the creation of churches, schools, civic and social organizations. these memorial sculptures in this park highlight people and institutions important to Alexandria’s African American heritage.<br /><br />The land for this memorial is of special significance. In 1885 this parcel of land was purchased by the Black Baptist Cemetery Association and a number of gravesites remain here. Hooff’s Run, which runs through this site provided access to the Potomac River and the town of Alexandria for a variety of traders and retailers. By the middle of the 19th century, railroads provided a new transportation system. Established about 1851, the first railroad in this vicinity was the Orange and Alexandria which passed through this land on its way from the town center to more western parts of Virginia.<br /><br />The Norfolk Southern Corporation has set aside this land as a memorial to recognize and celebrate and commemorate African American contributions to the Alexandria community. The Alexandria African American Heritage Park, a gift to the City from the Norfolk Southern Corporation, will contribute to the rich cultural heritage of Alexandria. The history and accomplishments of African American leaders will stimulate young people to develop esteem, hope, determination, and pride in themselves. The memorial park coexists with the original landscape of the cemetery and preserves the interesting and varied plant life on this site. The design creates an atmosphere suitable for nature walks or meditation.</p>
<p><strong><em>Plaque at the entrance to Alexandria African American Heritage Park (right):</em></strong><br />Truths That Rise From The Roots — Remembered<br /><br />We bury more than our bodies at rest<br />Deep within the forgiving soil<br />We bury as well our <br />Our dreams, our legends, our revelry, our toil<br />Here is where we enshrine our wisdom <br />To be joined with that of our yesteryears <br />And here is where our tomorrows are planted <br />As lessons learned against future fears <br /><br />The artistic works incorporated into this Memorial/Park offer a symbolic testament to the efforts and accomplishments of a great many local individuals, institutions and organizations both past and present. The names and images etched upon these forms, as an acknowledgment of but some of those who have ’passed this way before’, represent the foundation, the builders, the source and substance of this historic and vibrant community. As a context in which history and art are joined this public-art setting serves as a cultural marker — a communal space in which the sons and daughters of the here and now celebrate and honor the heroes of their past. <br /><br />Jerome B. Meadows — Artist<br />Zoe Briscoe — Research, Technical Assistant<br />Park Design — EDAW</p>
<p><strong><em>Etching on the commemorative grave mound sculpture:</em></strong><br />Black Baptist Cemetery Association 1885<br /><br />From the past they speak, in varied voice and familiar faces<br /><br />Mary Rome<br />Matilda Gaines<br />Sarah Hunter<br />Abraham Hunter<br />Julia Ann Washington</p>
<p><strong><em>Etching on the tree nearest to commemorative grave mound, left side:</em></strong><br />Education<br /><br />Alexandria Academy<br /><br />Washington Free School<br /><br />Mt. Hope Academy 1837-1843<br />Alfred Perry<br /><br />Sylvia Morris<br /><br />Lancasterian School<br /><br />Society of Friends<br /><br />American Baptist Free Mission Society<br /><br />Mary Chase 1861<br /><br />Saint Robe Institute 1881<br />Jane A. Crouch<br />Miss Sarah Gray<br /><br />First Select Colored School 1862<br />Rev. and Mrs. Robinson<br />Rev. G.W. Parker<br />Amanda Borden<br /><br />The First Free Colored Mission Day School 1863<br /><br />Union Town School 1863<br />Nancy Williams<br /><br />The Primary School 1863<br />William K. Harris<br />Richard H. Lyles<br /><br />Newtown School 1863<br />Anna Bell Davis<br />Leannah Powell<br /><br />The Sickles Barracks School 1863<br /><br />The Jacobs Free School 1864<br />Louisa Jacobs<br />Harriet Jacobs<br />Miss S.Y. Lawton<br />Miss E.M. Lawton<br /><br />First National Freedmen’s School 1864<br /><br />Harriet Byron Douglass 1864<br /><br />Second National Freedmen’s School<br />Rev. M.F. Sluby<br />Laura Phenix<br /><br />Miss M.F. Simms<br /><br />Mary M. Nickens<br /><br />The Washington St. School<br />Miss L.V. Lewis</p>
<p><strong><em>Etching on the tree nearest to commemorative grave mound, right side:</em></strong><br />Education<br />Pennsylvania Freedmen’s Relief Association 1865<br />Bureau of Refugees, Freedmen and Abandoned Lands<br />Gustavus Lumpkins 1867<br /><br />First Free School Society of Alexandria<br />George Seaton<br />George W. Bryant<br />Anthony L. Perpener<br />Hannibal King<br />James Piper<br />George P. Douglas<br />John H. Davis<br />Samuel W. Madden<br />J. Mck. Ware<br />Charles Watson<br />George W. Parker<br />Rev. Clem Robinson<br />George W. Sims<br /><br />Snowden School for Boys<br />William F. Powell<br />Carrie Claggett<br />John Parker<br />Patrick H. Lumpkins<br /><br />Hallowell School for Girls<br />Matilda A. Madden<br /><br />Parker-Gray School 1920<br />Henry T. White<br />Laura Dorsey<br />Susie P. Madden<br />Margaret T. Young<br />Sarah D. Gray<br />Harriet Thornton<br />James B. Howard<br />Rozier D. Lyles<br />Mamie <br />E. Anderson<br />Rev. A.W. Adkins<br />Wesley Elam<br />William Pitts<br />Ferris Holland<br />Louis Johnson<br />Edward L. Patterson<br />John T. Butler<br /><br />Lyles-Crouch Elementary School<br />Julia Pritchett<br /><br />Seminary School<br />Geraldine Stevenson<br /><br />St. Joseph’s Catholic School<br />The Oblate Sisters of Providence<br />Sister Mary John Bearchmann<br />Sister Mary Eusebius<br /><br />Charles Houston Elementary School<br />Helen L. Davis<br /><br />Martha Millier-Kindergarten<br /><br />Saretta N. Cope-Kindergarten</p>
<p><strong><em>Etching on the second tree from the commemorative grave mound, left side:</em></strong><br />Religion<br />Alfred Street Baptist Church 1801<br />Jesse Henderson<br />Evans Williams<br />Daniel Taylor<br />Rev. Samuel Madden<br />Rev. Alexander A. Truatt<br />Rev. Andrew W. Adkins<br /><br />“Old Zion” Methodist Church 1832<br /><br />Roberts Memorial United Methodist Church 1832<br />James Harper<br />Francis Hoy<br />James Evans<br />Philip Hamilton<br />Simon Turley<br />Rev. James Thomas<br />Rev. Robert H. Robinson<br />Rev. James Howard<br /><br />Beulah Baptist Church 1863<br />Rev. Clem Robinson<br /><br />Zion Baptist Church 1864<br />Rev. Robert Woodson, Pastor<br /><br />Shiloh Baptist Church 1865<br />Rev. Charles H. Rodgers<br />Rev. Leland Warring<br /><br />Second Baptist Church<br /><br />Third Baptist Church 1865<br />Rev. Samuel Stewart<br />Rev. Samuel Ross<br /><br />Meade Memorial Espiscopal Church 1869<br />Rev. J.W.M. Powell<br />Canon John G. Davis<br /><br />Ebenezer Baptist 1880<br />Rev. Field Cooke<br />Rev. L. Henry Bailey<br />Rev. W. Howard Stanton<br />Rev. N.B. Hargraves<br />Rev. Austin A. Booker<br /><br />Good Shepard Episcopal Chapel 1880<br /><br />St. Cyprian’s Episcopal Mission</p>
<p><strong><em>Etching on the second tree from the commemorative grave mound, right side:</em></strong><br />Religion<br />Mt. Jezreel 1890<br />Rev. Coleman<br />Rev. O.L. Miles<br /><br />Oakland Baptist Church 1891<br />Rev. E.R. Jackson<br />Clara Adams<br />William Carpenter<br />Brook Johnson<br />William Jerrell<br />John W. Casey<br />Maggie Hall<br />Smith Wahler<br />Daniel Simms, Jr.<br />Nancy Shepherd<br />Harriet Short<br />Matilda Woods<br />Mollie Nelson<br /><br />St. Joseph’s Catholic Church 1915<br />Thomas Blair<br />Katie Bowman<br />Carrie Crouch<br />John Johnson<br />John Parker<br /><br />Tabernacle of God and Saints of Christ 1921<br /><br />St. John’s Baptist Church 1926<br /><br />Rev. and Mrs. J.G. West<br />Deacon David Askew<br />Deacon Raymond<br />Deacon Holmes<br /><br />Bethel Presbyterian Church<br /><br />Community Presbyterian Church 1928<br />Rev. Richard B. Strong<br /><br />United House of Prayer<br /><br />Russell Temple C.M.E. 1941<br /><br />Alleyne AME Zion Church 1949<br />Rev. Frederick Douglass Williams<br />Rev. Grayson Kelch</p>
<p><strong><em>Etching on the third tree from the commemorative grave mound, left side:</em></strong><br />Civic<br />Thomas Fuller - 1789<br />Bejamin Banneker - 1791<br />William Goddard<br />Dominick Bearcroft<br />Alexander Bryan - 1833<br />Mary Savoy - 1839<br />David Jarbour<br />H. Dulany - 1850<br />Mary Cole<br />John Williams<br />Moses Hepburn<br />John Hepburn<br />Henry Anderson<br />Charles Watson<br />George Seaton<br />John Seaton<br />Nellie Whiting<br />Magnus L. Robinson<br />Norman B. Pinn<br /><br />Freeman N.M. Murray<br />The Home News, 1900<br />Edmund Hill<br />W. Walter Jackson<br />Murray Brothers Printers, 1903<br />Raymond H. Murray<br />F. Morris Murray<br />Norman D. Murray<br />Miss. Susie B. Buckner<br /><br />Florence Murray<br />Lewis Smith<br />Samuel A. Tucker<br />L.H. Williams<br /><br />Alexandria Home Bakery<br />John W. Jackson<br /><br />Margaret Evans<br />Washington Jackson<br />Thomas Arrington<br />Laura Watson<br />Harriet Ware</p>
<p><strong><em>Etching on the third tree from the commemorative grave mound, right side:</em></strong><br />Civic<br />Professor T.E. Dulany<br />C. William Gray<br />W.C. Arnold<br />Lloyd Lewis<br />Richard N. Poole<br />Henry Brooks<br />Mrs. Mattie Brooks<br />Mrs. Katie Skinner<br />Mrs. Lorraine Funn Atkins<br />Mrs. Annie B. Rose<br />Mrs. Connie Chissell<br />George Gaddis<br />Arthur Bracey<br /><br />Library Sit-In - 1939<br />B. Wilbert Tucker<br />Morris Murray<br />Edward Gaddis<br />Clarence "Buck" Strange<br />Sgt. George Watson<br /><br />Doctors<br />Albert Johnson - 1892<br />J. Milton Hopkins - c. 1894<br />Frederick P. barrier - c. 1917<br />Oswald Durant<br />Henry Ladrey<br />C. Aubrey Lindo<br />Abe Penn<br />Paul Piper<br />Charles West<br />Herbert G. Chissell<br />James Carpenter<br />Newman C. Taylor<br />Frederick Perry<br />W. Lee Harris<br />Elijah E. Lacey<br />T. Bernard Blue<br />William Skinner<br /><br />Lawyers<br />James Webster<br />Thomas Watson<br />William Macmurray<br />J. Byron Hopkins<br />Alfred Collins<br />Judge Joseph Waddy<br />James Raby</p>
African American history
civic
education
Jerome Meadows
religion
Virginia
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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
Cemeteries and Memorial Parks
Contributor
An entity responsible for making contributions to the resource
Renée Ater
Description
An account of the resource
<div style="padding-right: 30%;">
<p>This collection is just a fraction of the burial sites dedicated to enslaved persons, "<a href="https://www.ncpedia.org/contrabands" target="_blank" rel="noopener">contrabands</a>," and freed persons. Many of these cemeteries and memorial parks have suffered greatly over the years--some have been desecrated and destroyed while others have been long ignored and fallen into disrepair. The monuments and memorials in this collection are part of local efforts to restore and recognize the importance of black life in death, including the <a href="https://www.slaverymonuments.org/items/show/1130" target="_blank" rel="noopener">Freedman's Cemetery Memorial</a> in Dallas, Texas, and the <a href="https://www.slaverymonuments.org/items/show/1128" target="_blank" rel="noopener">African Burying Ground Memorial</a> in Portsmouth, New Hampshire.</p>
<p><strong>Further reading:</strong></p>
<p>Seth Freed Wesler, "Black Deaths Matter," The Nation, October 15, 2015, <a href="https://www.thenation.com/article/archive/black-deaths-matter/" target="_blank" rel="noopener">https://www.thenation.com/article/archive/black-deaths-matter/</a>.</p>
</div>
Creator
An entity primarily responsible for making the resource
Written by 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
African Burying Ground Memorial (<em>We Stand in Honor of Those Forgotten</em>) (Portsmouth, NH)
Subject
The topic of the resource
<p>Subject (Topic)<br />African Americans--New Hampshire--History<br />Cemeteries--New Hampshire<br />New Hampshire--History<br />Northeastern United States<br />Public art<br />Public sculpture<br />Slavery</p>
<p>Subject (Object Type)<br />Commemorative sculpture</p>
Description
An account of the resource
<p>The memorial is composed of a number of distinct elements. A rectangular granite stele on State Street marks the memorial’s entrance. On one side, below the engraved text that reads “African Burying Ground Memorial,” a life-size bronze figure of a man stands with his back against the stone stele. His left-hand reaches out and back, towards the other side of the stele. On the opposite side, a life-size bronze figure of a woman mirrors the gesture of her male counterpart. The sculptor, Jerome Meadows, leaves a gap between the outstretched hands of the two figures. <br /><br />On the opposite end of the memorial, a group of eight life-size vertical bronze and concrete silhouettes, each inscribed with a line from a poem written by Meadows, stand in a semi-circle around the burial vault. The figural group is surrounded by a metal railing, embellished with ceramic tiles. The design of the 110 ceramic tiles is inspired by Kinte cloth patterns and based on the original drawings created in a workshop Meadows facilitated with students from a local middle school. The burial vault contains the re-interred remains of the 13 individuals found on the site in 2003. The vault is marked with a Sankofa, a West African Adinkra symbol that means “Return and Get It — Learn from the Past.” <br /><br />The sculptural groups are connected by the “Petition Line,” a ribbon of pinks stone, which contrasts with the gray stone walkway of the memorial. The Petition Line contains excerpts from a formal document submitted to the New Hampshire legislature in 1779 by 20 enslaved individuals petitioning for their freedom. To the right is an information marker that provides visitors with the historical context for the memorial, as well as the poem by Meadows - <em>I Stand For Those Forgotten</em>.</p>
Creator
An entity primarily responsible for making the resource
Meadows, Jerome, 1951-
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
Contributor
An entity responsible for making contributions to the resource
Portsmouth City Council; African Burying Ground Committee; Roberta Woodburn, Woodburn & Company Landscape Architecture; community members; Portsmouth school children; and various non-profit partners including the Portsmouth Black Heritage Trail, Inc., the Seacoast African American Cultural Center, the Portsmouth Historical Society, and Art-Speak.
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
Portsmouth African Burying Ground, 97 Chestnut Street (between Court and State Streets), Portsmouth, New Hampshire, 03801, United States
Has Part
A related resource that is included either physically or logically in the described resource.
<p><em><strong>First bronze plaque on Information Marker:</strong></em><br />I stand for the Ancestors Here and Beyond<br />I stand for those who feel anger<br />I stand for those who were treated unjustly<br />I stand for those who were taken from their loved ones<br />I stand for those who suffered the middle passage<br />I stand for those who survived upon these shores<br />I stand for those who pay homage to this ground<br />I stand for those who find dignity in these bones<br />--Jerome Meadows, artist and sculptor<br /><br />The Entry Figures--The male figure stands for the first enslaved Africans brought to Portsmouth and those who followed. The female figure represents Mother Africa, endlessly straining past the obstacles that keep her from her children of the Diaspora. Together, as each figure reaches around the edge of the granite slab towards the other, they physically embody the separation and uncertainty of those brought here as captives as well as their perserverance. The gap between their fingertips is a reminder of their forced separation and of the divisions of past injustices.<br /><br />The Petition Line--In 1779, twenty men who had been forcibly brought from West Africa when they were children and were purchased by prominent local families, petitioned the New Hampshire legislature for their freedom and for the end of slavery in the state. Quoting phrases from this “Petition for Freedom,” the petition line is a visual and historical thread linking the elements of the monument and putting eloquent voice to those so long forgotten and ignored. Extending from the entry figures through a space of contemplation, the line disappears into the burial vault beneath the plaza. The West African symbol adorning this line is “Nsoromma” that means “Child of the Heavens” and is an icon of guardian ship.<br /><br />Burial Vault Lid--The Adinkra figure “Sankofa” meaning “Return And Get It--Learn From The Past” forms a shield and cover for the burial vault containing the reinterred remains of those exhumed in 2003 and additional partial remains found at the site during preparations for the memorial.<br /><br />Community Figures--These life-sized bronze sihouettes represent the collective community of greater Portsmouth, gather with resolve to acknowledge, protect, and pay homage to the souls whose remains were uncovered in 2003. Each figure bears a line from the poem by the memorial designer and sculptor Jerome Meadows, inspired by this sacred place.<br /><br />Decorative Railing--The design is based on an African Kente cloth motif suggestive of boat paddles. The ceramic tiles embedded in the railing were created by students from Portsmouth Public Schools. By forming the tiles, these school children link hands with past children who worked here and future generations who will stop, remember, and stand for those fogotten.</p>
<p><em><strong>Second bronze plaque on Information Marker:</strong></em><br />We Stand In Honor Of Those Forgotten<br /><br />This Memorial was created by the people of Portsmouth. Those buried here are not part of black history or white history. This is our collective history.<br /><br />The symbol chosen to represent the solemn intent of the African Burying Ground Memorial and its close historical connection to West Africa is the distinctive Sankofa symbol from the Akan people of Ghana. For those Africans forcibly removed from their homeland to be enslaved in America, and for those of us reflecting on that history now, we take the Sankofa and its timeless meaning to heart: “Return And Get It--Learn From The Past.”<br /><br />The first known enslaved African, a man from Guinea, arrived in Portsmouth in 1645. He was among hundreds of African captives to live in slavery in New Hampshire. Throughout the Colonial Era, New Hampshire's affluent port had the largest number of slaves in the colony, up to 4 percent of the population recorded in the census of 1767. By 1810, few if any people of African ancestry were still enslaved in Portsmouth. Although early town records and other public documents made references to the “Negro Burying Yard,” the memory of the African Burying Ground and its occupants--which may number over 200--faded as the decades passed.<br /><br />The burying ground was built over and nearly forgotten--until October 7, 2003 when a work crew unexpectedly exposed deteriorating wooden coffins containing human remains. Forensic archaeology and DNA analysis confirmed the individuals exhumed as African. Portsmouth began a community discussion about this historic and sensitive site and determined that space should be restored to sacred ground. The process to create a memorial and to re-inter the disturbed remains began. In the spring of 2015, the remains were re-interred in the burial vault that is the focal point of this Memorial.<br /><br />The Portsmouth African Burying Ground Memorial stands for those who were fogotten. The burial site acknowledges their humanity, and ours. With design elements chosen in a series of community dialogues about the past, present, and future, this Memorial provides an opportunity to look back and reflect on the history shared with those buried here, in a space whose extent is not fully defined. Although their identities are not known, their presence beneath our feet urges us to recognize them--and others forgotten--as individuals with stories that come alive as we look back and remember.</p>
Medium
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Bronze; Concrete; Stone
Bibliographic Citation
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<p>“Memorial Park Design.” Portsmouth African Burying Ground. Accessed May 6, 2019, <a href="http://www.africanburyinggroundnh.org/mpd.html" target="_blank" rel="noopener">http://www.africanburyinggroundnh.org/mpd.html</a>.</p>
<p>“Portsmouth African Burying Ground Memorial Park.” Department of Public Works, City of Portsmouth. Accessed May 6, 2019, <a href="https://www.cityofportsmouth.com/publicworks/portsmouth-african-burying-ground-memorial-park" target="_blank" rel="noopener">https://www.cityofportsmouth.com/publicworks/portsmouth-african-burying-ground-memorial-park</a>.</p>
Rights Holder
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Renée Ater
Source
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Photographs by Sally Promey
Alternative Title
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Portsmouth African Burying Ground
Extent
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Height: 91.2 in. (231.65 cm.)
archaeology
black cemetery
Jerome Meadows
New Hampshire
slavery