1 10 134 https://slaverymonuments.org/files/original/cc2ecd7f47f8773e6b819eb0eb365e88.jpg 6524389357edc4d91786556ba6da7beb 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 240 in. (609.6 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 Lake Cumberland Slaves Memorial (Somerset, Kentucky) Subject The topic of the resource Subject (Topic) Enslaved persons Kentucky--Somerset Slavery--Kentucky Somerset Community College (Kentucky) Subject (Object) Commemorative sculpture Description An account of the resource The Lake Cumberland Slaves Memorial honors the enslaved people buried in unmarked graves in the Lake Cumberland region. The memorial features a twenty-foot tall, stainless-steel obelisk with a trapezoidal base. The obelisk has four notches on either side and narrows in the middle before expanding at the apex, where a Adinkra symbol, the Sankofa bird, rests on top. Stainless steel tubing runs throughout the interior structure of the memorial, allowing rainwater to flow through the monument. Creator An entity primarily responsible for making the resource Odeleye, Ayokunle, 1951- Source A related resource from which the described resource is derived Photograph: <a href="https://www.odeleyesculpturestudios.com/public_art/pa28.html" target="_blank" rel="noopener">Ayokunle Odeleye</a> Date A point or period of time associated with an event in the lifecycle of the resource October 21, 2019 Contributor An entity responsible for making contributions to the resource Dylan Doyle (sculptor’s assistant); Boswell Crane Service (installation) Rights Information about rights held in and over the resource Somerset Community College, 808 Monticello Street, Somerset, Kentucky, 42501, United States 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 Somerset Community College, 808 Monticello Street, Somerset, Kentucky, 42501, United States Medium The material or physical carrier of the resource. Stainless steel Rights Holder A person or organization owning or managing rights over the resource. 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. WKU Public Radio | The Public Radio Service of Western Kentucky University. “Sculpture Honoring Slaves in Unmarked Graves Installed at Somerset Community College,” October 16, 2019. Accessed October 23, 2024. https://www.wkyufm.org/arts-culture/2019-07-18/sculpture-honoring-slaves-in-unmarked-graves-installed-at-somerset-community-college. Extent The size or duration of the resource. 240 in. (609.6 cm) abstract Adinkra symbols boat obelisk stainless steel https://slaverymonuments.org/files/original/a6d1b37b85f295f73c7191ff87a5663a.jpg d8d13ae108623980b97ce80877a24d79 https://slaverymonuments.org/files/original/e5fef0a98420a8903c63607521f74a79.jpg ded2c2c10d5174c73c1181bb7c668eee 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 On the Banks of Freedom (Louisville, Kentucky) Subject The topic of the resource Subject (Topic) Enslaved persons Freedom Kentucky--Louisville Slavery--Kentucky Subject (Object) Commemorative sculpture Description An account of the resource By the Ohio River bordering Kentucky and Indiana, The (Un)known Project installed On the Banks of Freedom, a two-bench monument fixed into a concrete platform. Facing the river, each bench features a polished, reflective black granite backrest with a white limestone seat. The black granite surfaces are etched with the names of enslaved Kentuckians along with portraits representing an enslaved man and woman. Quotes on the back of the benches are from Jefferson County Public School Justice Now participants. The base of each bench is encircled with chains and a broken shackle that symbolizes freedom. Sandblasted on the concrete platform is a poem titled “Finding Me” by spoken-word poet Hannah L. Drake as well as six sets of footprints, representing enslaved families. Creator An entity primarily responsible for making the resource Duff, William M., 1953- (lead artist) Caudill, Dave, 1950- (collaborating artist) Source A related resource from which the described resource is derived Photographs: <a href="https://unknownprojecttrail.com/projects/on-the-banks-of-freedom/" target="_blank" rel="noopener">Josh Miller, (Un)Known Project</a> Date A point or period of time associated with an event in the lifecycle of the resource June 19, 2021 Contributor An entity responsible for making contributions to the resource City of Louisville; Hannah L. Drake and Josh Miller of IDEAS xLab Rights Information about rights held in and over the resource Office of Arts and Creative Industries, Louisville Metro Government, 444 South 5th Street, Louisville, Kentucky, 40202, United States 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 Louisville Riverwalk, North 9th and 10th Streets, Louisville, Kentucky, 40202, United States Medium The material or physical carrier of the resource. Black granite; Limestone; Concrete Rights Holder A person or organization owning or managing rights over the resource. 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. “On The Banks of Freedom Public Art Installation | (Un)Known Project Trail,” Accessed November 3, 2024. https://unknownprojecttrail.com/projects/on-the-banks-of-freedom/. Wolf, Stephanie. “(Un)Known Project’s Memorial Honors Nearly-Forgotten Black People.” Louisville Public Media, June 19, 2021. https://www.lpm.org/news/2021-06-19/unknown-projects-memorial-honors-nearly-forgotten-black-people. Jones, Maggie. “On a Kentucky Riverbank, a Path to Remembrance.” New York Times, June 9, 2021. Accessed November 3, 2024. https://www.nytimes.com/2021/06/09/arts/design/hannah-drake-unknown-project.html?auth=register-email%5C&register=email. Has Part A related resource that is included either physically or logically in the described resource. Inscription on front of bench (1): On the Banks of Freedom “We are descendants of Kings and Queens who were enslaved in America.” Lamont Collins, Founder of Roots 101 African American Museum [Engraved image of an enslaved woman] Unknown Names of Enslaved Kentuckians Frank, Eliza Julia, Unknown, Hannah, Henry, Elizabeth, James, Joe Unknown, John Sallie, Bert, Margaret, Lucinda, Simon, Unknown, Wallace, Rose, Charlie, Becky, Betsy, Unknown, Marry, Dick, Casar, Unknown, Aynefs, Maria, Will, Fletcher, Pompy, Unknown, Jesse, Louis, Sam, Cora, Harriet, Milton, Unknown, Annie, Mandy, George, Scott Inscription on front of bench (2): Names of Enslaved Kentuckians Aggie, Dan, Maria, Sam, Unknown, Eli, Pompy, Evanline, Barney, Unknown, Nellie, Winney, Rachel, Mary Ellen, Unknown, Bobbet, James, Louisa, Edward, Unknown, Joseph, Rosetta, Abraham, Unknown, Alfred, Charlotte, Mack, Wilson, Phebe, Unknown, Catherine, Unknown, Caroline, Edwin, Dennah, Unknown, Laura Ann, William, Patsy, Unknown, Kate, Arnold [Engraved image of an enslaved man] Unknown On the Banks of Freedom “Countless stories of enslaved people have not been told. Say their names and listen to what you hear. It is time for their legacies to appear.” Sage Snyder, JCPS Justice Now Student Sandblasted poem on the concrete platform: Finding Me By Hannah L. Drake If I close my eyes, I can see them. And if I quiet myself, I can hear them. Their voices carry on the wind like the tune from chimes floating in the distant breeze. Who are you? Where did you come from? When you dreamed, what did you dream of? What is your story? What was your name before they gave you that name? Was the name passed down through our family? Am I your descendant? I stare at my face and wonder if I look like you. I try to put faces to shadows. Can I find pieces of your memory in cotton fields and red mud? Scattered bones in unmarked graves that attempt to erase you from history But you were here. You were always here. You existed. Unknown no longer. I found your name…I found you And in finding you, I found me. bench black granite chains inscription limestone names poetry shackles https://slaverymonuments.org/files/original/1d16606325ed2abe55fbfd83f5f49a13.jpg 0d0a8dd7c1fc0fe92a50171a6864a741 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 Baldwin Hall Memorial (Athens, Georgia) Subject The topic of the resource Subject (Topic) Cemeteries--Georgia Enslaved persons Slavery--Georgia University of Georgia Subject (Object) Commemorative sculpture Description An account of the resource The Baldwin Hall Memorial at the University of Georgia in Athens includes "a circular form for the memorial plaza, creating a focal point that will serve as a place of contemplation to honor and respect these individuals; an elevated fountain in the center of the memorial plaza; a granite marker, purposefully designed with elements similar to a marker at Oconee Hill Cemetery, which includes text about the memorial; two granite benches facing the granite marker; and vertical elements that will create a sense of ascension and will provide visibility from the street. . . . The remains of the individuals were first discovered during construction of an addition to Baldwin Hall in November 2015. They were reinterred at Oconee Hill Cemetery in March 2017, in accordance with guidance from the State Archaeologist’s Office. The university also held a memorial service at Oconee Hill Cemetery to commemorate their lives, and a granite marker was placed at the gravesite. Acknowledgment in the form of a plaque also was placed inside the new entrance of the Baldwin Hall addition.” –University of Georgia, https://news.uga.edu/memorial-dedicated-baldwin-hall/ Creator An entity primarily responsible for making the resource Baldwin Hall Memorial Advisory Task Force Source A related resource from which the described resource is derived Photograph: <a href="https://medium.com/@carsen.christy/the-bones-beneath-uga-baldwin-hall-a-controversy-still-ongoing-eight-years-later-ae6eeaea6936" target="_blank" rel="noopener">Carsen Christy, Medium</a> Date A point or period of time associated with an event in the lifecycle of the resource November 16, 2018 Contributor An entity responsible for making contributions to the resource Millie Long Estate Quarry (granite); Baldwin Hall Memorial Advisory Task Force: Alicia Battle, Director for Workforce Development at Goodwill of North Georgia and Chair of the Clarke County Mentor Program; Dawn Bennett-Alexander, Associate Professor of Employment Law and Legal Studies; Paige Carmichael, Professor of Veterinary Pathology; Michelle Cook, Vice Provost for Diversity and Inclusion and Strategic University Initiatives (Chair); Gwynne Darden (Ex Officio), Associate Vice President for Facilities Planning; Dexter Fisher, Director of Services in the Facilities Management Division; Ammishaddai Grand-Jean, President of the Student Government Association; Mike Hamby, Athens-Clarke County Commissioner for the 10th District; Lawrence Harris, Director of the Athens Community Career Academy with the Clarke County School District; Kathy Hoard, Former Clarke County Commissioner; Meredith Gurley Johnson, Executive Director of the UGA Alumni Association; The Honorable Steve Jones, U.S. District Court Judge for the Northern District of Georgia; The Rev. Benjamin Lett, Pastor of the Hill Chapel Baptist Church; Charlie Maddox, Athens Rotary Club President and Member of the Athens Housing Authority Board of Commissioners; Alison McCullick, UGA Director of Community Relations; Arthur Tripp, Assistant to the President of UGA; Victor Wilson, Vice President for Student Affairs; and Henry Young, Kroger Associate Professor of Clinical and Administrative Pharmacy and President of the Black Faculty and Staff Organization. Rights Information about rights held in and over the resource University of Georgia, Athens, Georgia, 30602, United States 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 Baldwin Hall, University of Georgia, 355 S Jackson Street, Athens, Georgia, 30602, United States Medium The material or physical carrier of the resource. Granite Rights Holder A person or organization owning or managing rights over the resource. 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. “UGA Finalizes Baldwin Hall Memorial.” UGA Today, August 21, 2018. Accessed March 4, 2026. https://news.uga.edu/uga-finalizes-baldwin-hall-memorial/. “Memorial Dedicated at Baldwin Hall.” UGA Today, November 16, 2018. Accessed March 4, 2026. https://news.uga.edu/memorial-dedicated-baldwin-hall/. Grady Newsource. “UGA Student Government Approves Resolution to Honor Enslaved Peoples at Chapel Bell.” March 25, 2019. Accessed March 4, 2026. https://gradynewsource.uga.edu/uga-student-government-approves-resolution-to-honor-enslaved-peoples-at-chapel-bell/. “The Baldwin Hall Controversy.” UGA & Slavery. Accessed March 4, 2026. https://slavery.ehistory.org/baldwin-hall. Carsen, Christy. “The Bones Beneath UGA Baldwin Hall: A Controversy Still Ongoing Eight Years Later.” Medium, October 19, 2023. Accessed March 4, 2026. https://medium.com/@carsen.christy/the-bones-beneath-uga-baldwin-hall-a-controversy-still-ongoing-eight-years-later-ae6eeaea6936. University of Virginia. "Universities Studying Slavery." President's Commission on Slavery and the University. https://slavery.virginia.edu/universities-studying-slavery/. Wilder, Craig Steven. Ebony and Ivy: Race, Slavery, and the Troubled History of America's Universities. Bloomsbury Publishing, 2014. Has Part A related resource that is included either physically or logically in the described resource. Granite memorial block: In memory of the unknown individuals interred in this area during the 19th century, on land that was part of the Old Athens Cemetery. In 2015 remains were discovered during the construction of the Baldwin Hall addition. The vast Majority of the remains identified were those of men, women, and children of African descent, most likely slaves or former slaves. Upon guidance of the State of Georgia, they were reinterred at the Oconee Hill Cemetery. The University recognizes the contributions of these and other enslaved individuals and honors their legacy. May they continue to rest in peace. columns fountain granite inscription https://slaverymonuments.org/files/original/02ba49b9d8557ae157057c81bd5e42c0.jpg 5941330f916def3f23f3daca4efd4b50 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 Nkyinkyim (Montgomery, Alabama) Subject The topic of the resource Subject (Topic) Alabama--Montgomery Enslaved persons Equal Justice Initiative Slavery--Alabama Transatlantic slave trade Subject (Object) Commemorative sculpture Description An account of the resource Located on the grounds of The National Memorial for Peace and Justice in Montgomery, Alabama, Nkyinkyim is a sculptural grouping that is dedicated to the memory of the enslaved Africans who were victims of the transatlantic slave trade. This work depicts a coffle of seven seminude enslaved African men and women, bound by rusted shackles around their wrists, ankles, and necks. A man and a woman kneel on the ground, their shackled arms outstretched behind their backs, as they lean forward and away from the center of the monument. Between them, a standing Black male figure leans forward, pulled by two chains binding his neck shackle to those of others. Another woman, holding a screaming baby, reaches for the arm of a male figure standing before her with a look of desperation, while he stares straight ahead, his feet firmly planted. A pair of open shackles lie at the woman’s feet. The seventh figure depicts a pregnant enslaved woman squatting low to the ground, her shackled hands outstretched behind her. Creator An entity primarily responsible for making the resource Akoto-Bamfo, Kwame, 1983- Source A related resource from which the described resource is derived Photograph: <a href="https://www.flickr.com/photos/mdelli/43388298332/in/photostream/" target="_blank" rel="noopener">Michael Delli Carpini, Flickr, CC BY-NC 2.0</a> Date A point or period of time associated with an event in the lifecycle of the resource April 26, 2018 Contributor An entity responsible for making contributions to the resource Equal Justice Initiative Rights Information about rights held in and over the resource Equal Justice Initiative, 122 Commerce Street, Montgomery, Alabama, 36104, United States 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 The National Memorial for Peace and Justice, 417 Caroline Street, Montgomery, Alabama, 36104, United States Medium The material or physical carrier of the resource. Concrete; Resin Rights Holder A person or organization owning or managing rights over the resource. 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. Ater, Renée. “The National Memorial for Peace and Justice (Equal Justice Iniati Initiative).” Smarthistory, January 2019. https://smarthistory.org/national-memorial-for-peace-and-justice/. Sheets, Hilarie M. “Freedom Monument Sculpture Park’s Unflinching Look at Slavery.” The New York Times, October 11, 2023. Accessed October 22, 2024. https://www.nytimes.com/2023/10/11/arts/design/freedom-monument-sculpture-park-alabama.html Equal Justice Initiative. “EJI Releases Video on Sculpture about Enslavement.” Accessed March 4, 2026. https://eji.org/news/eji-releases-video-sculpture-about-enslavement/. chains concrete figurative manacles shackles https://slaverymonuments.org/files/original/ca34513954f239187d5717cdec4b3079.jpg d0a0350b6d1defbe3d412f76c78aa098 https://slaverymonuments.org/files/original/6afff488e8952d6cd7b1232648a7ccf1.jpeg eb911e16a01fa7e1a7c8e15e08e5e723 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 Building Physical Dimensions The actual physical size of the original image 240 x 240 in. (609.6 x 609.6 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 Menokin Remembrance Structure (Warsaw, Virginia) Subject The topic of the resource Subject (Topic) Enslaved persons Plantations Slavery--Virginia Virginia—Warsaw Subject (Object) Buildings and Structures Description An account of the resource The Menokin Remembrance Structure is a memorial that honors the enslaved persons who once worked at Menokin, as well as their modern descendants. Built on a former plantation, the wooden structure replicates an enslaved person’s eighteenth-century dwelling. The structure is sited directly above the archaeological remains of the dwelling. The wooden framing of the gable-roofed structure is covered with sheer translucent building fabric. At night, solar lighting illuminates the entire pavilion, creating a soft, luminous effect. Creator An entity primarily responsible for making the resource Freeman, Joseph Reid, 1966- REID Architecture Source A related resource from which the described resource is derived Photograph: <a href="https://reidarc.com/remembrance-structure" target="_blank" rel="noopener">Reid Architecture</a> Date A point or period of time associated with an event in the lifecycle of the resource July 10, 1905 Contributor An entity responsible for making contributions to the resource The Menokin Foundation Rights Information about rights held in and over the resource The Menokin Foundation, 4037 Menokin Road, Warsaw, Virginia, 22572, United States 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 Building and Structures Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Menokin Foundation, 4037 Menokin Road, Warsaw, Virginia, 22572, United States Medium The material or physical carrier of the resource. Sawn pine; Hewn pine; Hewn white oak; Translucent building fabric; Solar panels Rights Holder A person or organization owning or managing rights over the resource. 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. REID Architecture. “Menokin Remembrance Structure, The Menokin Foundation, Warsaw, Virginia.” Accessed October 22, 2024. https://reidarc.com/remembrance-structure. Menokin Foundation. "The Remembrance Structure." Accessed October 22, 2024. https://www.menokin.org/remembrance-structure. Extent The size or duration of the resource. 186 x 300 in. (472.44 x 762 cm) archaeology historic architecture wood https://slaverymonuments.org/files/original/4117d64fb952ea6436cab2d90162e816.jpg 18e7ca6b0c0aee9ef2f8afe3dae85cbf 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 Slavery Memorial (Cambridge, Massachusetts) Subject The topic of the resource Subject (Topic) Enslaved persons Harvard Law School Massachusetts--Cambridge Slavery--Massachusetts Subject (Object) Commemorative sculpture Description An account of the resource The Slavery Memorial at Harvard Law School consists of a large boulder with a bronze plaque inset into it. The plaque reads: “In honor of the enslaved whose labor created wealth that made possible the founding of Harvard Law School. May we pursue the highest ideals of law and justice in their memory.” Creator An entity primarily responsible for making the resource Harvard Law School Source A related resource from which the described resource is derived Photograph: <a href="https://www.nytimes.com/2022/09/12/us/harvard-slavery-reparations-ancestors.html" target="_blank" rel="noopener">Vanessa Leroy for The New York Times</a> Date A point or period of time associated with an event in the lifecycle of the resource September 5, 2017 Contributor An entity responsible for making contributions to the resource Harvard Law School: Martha Minow, John F. Manning, Annette Gordon-Reed, and Janet E. Halley Rights Information about rights held in and over the resource Harvard Law School, 1585 Massachusetts Avenue, Cambridge, Massachusetts, 02138, United States 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 The Crossroads (plaza between Langden Hall and Caspersen Student Center), Harvard Law School, Cambridge, Massachusetts, 02138, United States Medium The material or physical carrier of the resource. Stone; Bronze Rights Holder A person or organization owning or managing rights over the resource. 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. Wright, Kim. “Harvard Law School Unveils Memorial Honoring Enslaved People Who Enabled Its Founding.” Harvard Law Today, September 5, 2017. Accessed January 24, 2026, https://hls.harvard.edu/today/harvard-law-school-unveils-memorial-honoring-enslaved-people-contributed-founding/. Halper, James D. “Law School Unveils Slavery Monument, Reflects History.” The Harvard Crimson, September 6, 2017. Accessed January 24, 2026, https://www.thecrimson.com/article/2017/9/6/hls-plaque-honors-slaves/. Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque affixed to boulder: In honor of the enslaved whose labor created wealth that made possible the founding of Harvard Law School May we pursue the highest ideals of law and justice in their memory inscription stone https://slaverymonuments.org/files/original/1da4af73f64d430d673c799eea793338.jpeg 2c89316a1c15f54cb0d5500fbcb39885 https://slaverymonuments.org/files/original/dadbed17e1b9aa8d6cfd43521ea52c89.jpeg ba2f6b65d2c1f778251268d4f470ebfb https://slaverymonuments.org/files/original/dae99574dbb8f525f6470c09fd926cc4.jpeg f0637698787987ee82b2a45bd8acf708 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 Black Brigade Monument (Cincinnati, Ohio) Subject The topic of the resource Subject (Topic) African Americans--History Black Brigade of Cincinnati Ohio--Cincinnati United States--History--Civil War, 1861-1865 Subject (Name) Dickson, William Martin, 1827-1889 Jones, Marshall P. H., 1826-1891 Subject (Object) Commemorative sculpture Description An account of the resource This monument consists of three life-size bronze sculptural groupings, relief panels detailing the history of the Black Brigade of Cincinnati, and the 718 names of the soldiers of the Black Brigade etched in the pink granite beneath the bas-reliefs. The first sculptural group consists of a bronze wooden desk with an accompanying chair. Atop the desk is a copy of the Cincinnati Daily Gazette from September 2, 1862. The headline reads: “TO ARMS! Mayor George Hatch Calls for the Defense of Cincinnati!” Engraved on the wall behind this sculptural group are the words: “THE BLACK BRIGADE OF CINCINNATI.” The second bronze sculptural group, Mothers and Children Anxiously Awaited Return of Their Loved Ones by Carolyn Manto, depicts a mother sitting on the ground with her left arm resting on her propped leg. She holds a young Black boy in her right arm. The boy looks at his mother as he points his right finger forward. The third bronze sculptural group features two men—Black Brigade member Marshall P.H. Jones in uniform and Colonel William M. Dickson. As they face each other, the two men’s hands overlap as Jones presents a ceremonial sword to the Colonel. Creator An entity primarily responsible for making the resource Hebenstreit, John, 1972- Manto, Carolyn, 1979- Source A related resource from which the described resource is derived Photographs: <a href="https://www.hmdb.org/m.asp?m=244949" target="_blank" rel="noopener">Historical Marker Database</a> Date A point or period of time associated with an event in the lifecycle of the resource September 9, 2012 Contributor An entity responsible for making contributions to the resource Design and Art: Jan Brown Checco, Erik Brown, Tyrone Williams, and Sasaki Associates. Sponsors: Honorable Mr. William Mallory Sr. and Cincinnati Park Board. Funding: Carol Ann and Ralph V. Haile, Jr., US Bank Foundation, City of Cincinnati, Cincinnati Parks Foundation, and U.S. Department of Housing and Urban Development. Foundry: Casting Arts Technology Rights Information about rights held in and over the resource Cincinnati Parks Foundation, 421 Oak Street, Cincinnati, Ohio, 45219, United States 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 Smale Riverfront Park, 8 West Mehring Way, Cincinnati, Ohio, 45202, United States 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 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Cincinnati Parks Foundation. “Art in Your Parks: Black Brigade Monument- Cincinnati Parks Foundation.” April 6, 2021. Accessed October 10, 2024. https://cincinnatiparksfoundation.org/art-in-your-parks-black-brigade-monument/. National Underground Railroad Freedom Center. “The Black Brigade of Cincinnati. Accessed October 10, 2024. https://freedomcenter.org/black-brigade/. Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque for Carolyn Manto statue: Mothers and Children Anxiously Awaited the Return of Their Loved Ones Sculpture by Carolyn Manto Bronze plaque for John Hebenstreit statues: Colonel William Dickson Receives a Sword from the Black Brigade Sculpture by John Hebenstreit Inscription on dedication plaque: This monument to the Black Brigade of Cincinnati was conceived and realized by the following team: Sponsors Honorable William Mallory Sr. Cincinnati Park Board Design & Art Team Jan Brown Checco, Erik Brown, John Hebenstreit, Carolyn Manto, Tyrone Williams and Sasaki Associates Funding Carol Ann and Ralph V. Haile, Jr. and US Bank Foundation, City of Cincinnati, Cincinnati Parks Foundation, U.S. Department of Housing and Urban Development "Cincinnati educator Peter Clark was commissioned by the Black Brigade to document their story. This made it clear to me that the Brigade wished for future generations to know about their contribution to the Defense of Cincinnati. I am pleased that this monument was created by the Cincinnati Park Board and the Cincinnati Parks Foundation." --William L. Mallory Sr., Former Majority Floor Leader Ohio House of Representatives Inscriptions on eleven bronze plaques along the relief wall: White Volunteers Enlist to Defend Cincinnati Thousands of local men report to volunteer to help build and defend fortifications in Cincinnati and Northern Kentucky. They are joined by twelve thousand volunteer militia from all over the state of Ohio. Asking if they can serve, Cincinnati's African American residents are told they are not welcome to participate in home defense. The word on the street: "Stay away! This is a white man's war." Black Men are Taken from Their Homes The locally organized Provost Guard decides to forcibly press black men into service by whatever means necessary. Hundreds of Cincinnati's black residents are dragged from their homes and marched off like felons, but to where and for what, none can tell. Families are left to wait and worry. Hundreds of Black Men Await Their Fate on the Banks of the Ohio Herded into mule pens, the prisoners seat themselves on the shaded side of the yard on blocks of wood and piled up bricks. William Homer, captain of the conscription squads, orders all to rise, marches them to the Ohio River northern banks, and orders them to squat. He tells the guard, “Shoot the first one who rises.” Cincinnati Daily Gazette Wednesday Morning, September 3, 1862 The Press Reports the Abuse of Black Men Reading about the abuse of black men in the morning paper, Judge William M. Dickson goes to see General Wallace who made at the same moment, "…the order commanding him to take charge of the colored people in Cincinnati, Covington and Newport, directing all officers to obey him accordingly." The Gazette alone protests these warrantless arrests of free black men, denied the dignity of voluntary service in defense of freedom. Union General Lew Wallace Sends Dickson to Reverse the Action Colonel Dickson rides directly to Fort Mitchel to organize the black laborers, and brutality gives way to fair treatment. The men are immediately returned to their homes to allay the fears of their families and to prepare themselves for voluntary service. Those who are willing are asked to report at five o'clock the next morning to return to work on the fortifications. Black Men Muster into Service On Friday morning over seven hundred men report for duty, three hundred more than had been previously abducted by the Provost Guard. Glowing with enthusiasm, they march cheerfully to their duty. Receiving the treatment of men, they are ready for anything. Ready for Departure, the Volunteers Are Given a Flag I have the kind permission of your commandant, Colonel Dickson, to hand you this national flag - to encourage and cheer you on to duty. The duty of the hour is work - hard, severe labor on the fortifications of the city. Let it be cheerfully undertaken. Men of the Black Brigade, rally around your flag! Assert your manhood, be loyal to duty, be obedient, hopeful, patient. Slavery will soon die; There will then be a land of the free - one destiny. - Captain James Lupton The Works of the Black Brigade "Their work has been entirely voluntary. Wherever they appear they are cheered by our troops. One of the companies is officered by white captains, the others by black volunteers. The latter proved so decidedly superior that both regiments will hereafter be commanded by officers of their own race." - from a letter in the Cincinnati Herald The Best Defense: Be Prepared Confederate troops arrived at the line of defense on September 11 They discovered the fortifications, and 70,000-armed defenders. Deciding not to attack, they withdrew on September 13. Returning Home in Glory The men with happy hearts, with the good will of soldier and citizen, returned to the city and were dismissed to their homes. And thus closed, in joy and happiness, a service that had been commenced with violence, in anxiety and gloom. --Colonel William Dickson Presenting a Sword to Colonel Dickson Sir, the members of the Black Brigade deeply thank you for the great interest you have taken in our welfare, for your collecting all of the working parties into one brigade, for the kindness you have manifested to us in these trying times. As a small expression of the high esteem of the members of the Black Brigade, they all, each and every one, present you with this sword, the emblem of protection, knowing that, whenever it is drawn, it will be drawn in favor of freedom. --Marshall P.H. Jones bas-relief bronze figurative inscription poetry https://slaverymonuments.org/files/original/9b907a31a383b1fcf85ff2275c69d3cb.jpg ee68d658b77170a5cfabbde88db2af56 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 72 in. (182.88 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 The Bench by the Road (Sullivan’s Island, South Carolina) Subject The topic of the resource Subject (Topic) African Americans--History Enslaved persons Middle Passage Slavery--South Carolina South Carolina--Sullivan’s Island Transatlantic slave trade Subject (Name) Morrison, Toni, 1931-2019 Subject (Object) Commemorative sculpture Description An account of the resource The Toni Morrison Society launched the Benches by the Road project on February 18, 2006, in honor of Toni Morrison’s 75th birthday. On July 28, 2008, the Toni Morrison Society dedicated the first Bench by the Road on Sullivan’s Island, South Carolina, as part of their memorial history and community outreach initiative to honor the lives of enslaved Africans. The bench is made of black steel and features a sturdy frame with curved elements along the slatted backrest and seat. A small bronze plaque is mounted at the center of the backrest, displaying the site’s name, the sponsoring organization, and the installation date. Nearby, a bronze marker embedded in the pavement includes a quotation from Morrison, and a description of the project. Since 2008, the Society have installed 32 benches throughout the United States, one in Martinique, and another in France. Creator An entity primarily responsible for making the resource Toni Morrison Society Source A related resource from which the described resource is derived Photograph: <a href="https://www.flickr.com/photos/ronc-photography/7759485844/in/photolist-cQG3kw-9Sffcv-cPFoNG-cPFpp5-74tQZH-74xKqU-6pgxJY-6pcpak-74tQWc-2hoavZi-6pgwNS-6pcoPZ-6pcpy4-cPhJ6A-cPjBE5-4gvb6F-WMKEh4-WMKDQ2-cQG3zQ-WMKE8B-WMKE12-2ho8Hgs-74xKkG-6pcpj6-74tQQZ-2hoaBrR-74xKjw-9SfeX2-9SfeGv-9S4qTu-2ho8NoX-74tR5K-74yJoU-6pcpFi-cSENK5-74tQGP-2hoawum-2ho8KVL-2ho8JKV-6pcpHF-2ho8JuQ-7DkPhs-6pcpKk-74tRhV-74tRcH-2iuRveD-74tR8Z-2iuU2VN" target="_blank" rel="noopener">Ron Cogswell, Flickr, CC BY 2.0</a> Date A point or period of time associated with an event in the lifecycle of the resource July 28, 2008 Contributor An entity responsible for making contributions to the resource Toni Morrison Society; National Park Service Rights Information about rights held in and over the resource Toni Morrison Society, Inc., P.O. Box 54346, Atlanta, 30308, Georgia, United States 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 Fort Moultrie Visitor Center, 1214 Middle Street, Sullivan's Island, South Carolina, 29482-9717, United States Has Version A related resource that is a version, edition, or adaptation of the described resource. The thirty-four benches are in the following locations in order of installation: Sullivan’s Island, South Carolina (July 26, 2008); Site on the Underground Railroad in Oberlin, Ohio (April 23, 2009); Mississippi Freedom School in Hattiesburg, Mississippi (October 9, 2009); Paris, France (November 6, 2010); Caesar Robbins House in Concord, Massachusetts (May 21, 2011); George Washington University in Washington, D.C. (September 21, 2011); First Congregational Church in Atlanta, Georgia (May 27, 2012); Mitchellville Freedom Park in Hilton Head, South Carolina (April 16, 2016); Walden Woods in Lincoln, Massachusetts (May 22, 2013); Fort-de France, Martinique (June 26, 2013); Eden Cemetery in Collingdale, Pennsylvania (April 24, 2014); Margaret Walker Center in Jackson, Mississippi (April 10, 2015); Middleton, Delaware (April 17, 2015); Middleton, Delaware (April 17, 2015); Nyack, New York (May 18, 2015); Hosana AUMP Church in Lincoln University, Pennsylvania (September 18, 2015); Baton Rouge, Louisiana (February 6, 2016); Woodruff Library at Atlanta University Center in Atlanta, Georgia (February 28, 2016); Cozad-Bates House in Cleveland, Ohio (April 24, 2016); Schomburg Library in Harlem, New York (July 24, 2016); Library of Congress in Washington, D.C. (April 28, 2017); Adrian, Michigan (October 20, 2017); Southview Cemetery in Atlanta, Georgia (April 7, 2018); Home of Frederick Douglass in New Bedford, Massachusetts (September 16, 2018); Howard University in Washington, D.C. (April 5, 2019); Lincoln University in Lincoln University, Pennsylvania (November 14, 2019); Cartersville Train Depot in Cartersville, Georgia (October 10, 2020); Tulsa, Oklahoma (April 17, 2020); Mabel Little Heritage House in Tulsa, Oklahoma (April 17, 2020); Old 8th Ward in Harrisburg, Pennsylvania (April 27, 2021); Booker T. Washington High School in Tulsa, Oklahoma (July 29, 2021); Prudence Crandall Museum in Canterbury Connecticut (September 19, 2021); A&M University in Prairie View, Texas (March 19, 2024); and, Marietta, Georgia (June 19, 2024). Medium The material or physical carrier of the resource. Black steel Rights Holder A person or organization owning or managing rights over the resource. 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. Toni Morrison Society. “The Official Website of the Toni Morrison Society | Bench by the Road.” Accessed November 18, 2024. https://www.tonimorrisonsociety.org/bench.html. Lee, Felicia R. “Toni Morrison’s on Sullivan’s Island: A Bench of Memory at Slavery’s Gateway.” The New York Times, July 29, 2008. Accessed November 18, 2024. https://www.nytimes.com/2008/07/28/arts/design/28benc.html?st=cse&oref=slogin&scp=2&pagewanted=all&oref=slogin. Extent The size or duration of the resource. 72 in. (182.88 cm) Has Part A related resource that is included either physically or logically in the described resource. Inscription on the naming plate of first bench in South Carolina: A BENCH BY THE ROAD Placed by the Toni Morrison Society Sullivan’s Island, South Carolina July 26, 2008 Inscription on a plaque near the monument contextualizing the project: A BENCH BY THE ROAD There is no place you or I can go, to think about or not think about, to summon the presences of, or recollect the absences of slaves; nothing that reminds me of the ones who made the journey and of those who did not make it. There is no suitable memorial or plaque or wreath or well or park or skyscraper lobby. There’s no 300-foot tower. There’s no small bench by the road. Toni Morrison 1989 The bench by the Road Project was launched by the Toni Morrison Society in honor of Nobel Laureate Toni Morrison. The first bench is placed in memory of the enslaved Africans who perished during the Middle Passage and those who arrived on Sullivan’s Island, a major point of entry for Africans who entered the U.S. during the Transatlantic Slave Trade. Nearly half of all African Americans have ancestors who passed through Sullivan’s Island. July 26, 2008 Toni Morrison Society, Inc. bench inscription https://slaverymonuments.org/files/original/f1dd3ed93d76a41f46ba02f3afa1bdce.jpg a9034ffec18e1f56973c927675727c72 https://slaverymonuments.org/files/original/2077d879ebe4586dc736751d7215a3b9.jpg 64966657d49082b096d7a41f8ec3a8cf https://slaverymonuments.org/files/original/bbd7a92b139cc80d18a4625d2b16e179.jpg 0369d6758f7604a026f2c401ba7e10c5 https://slaverymonuments.org/files/original/a96704597ae086ab52a2869e31d67aea.jpg a64debf9ecbd467a1724dd72d3bc2c7e https://slaverymonuments.org/files/original/7fc5a5a2ff406d7be2e03f02e0c0e5e2.jpg 90557dc466f80235ebdde70ad38093ec https://slaverymonuments.org/files/original/8c8c541e2665c16734e8aeb81ba53a68.jpg 09144059968314fe6f29af3d45f2d29a https://slaverymonuments.org/files/original/3a32fcf8c8ed0db44cd0c45406f7f99a.jpg 42ee920f32a589ec5ac21fdcaecf4534 https://slaverymonuments.org/files/original/69957d987e59cde468c6b0750ec6cb4e.jpg 83935ea6f9193c6c402a153bbd2bde21 https://slaverymonuments.org/files/original/3eaec6097ce1eea36f1fffd50ae8f3e7.jpg 94412c76e18181956aaad728c606b80a https://slaverymonuments.org/files/original/bb3a3e608a2f9c1ae9b16de265dd7077.jpg 91374fbcec15daf0fdd31f40f2de60e8 https://slaverymonuments.org/files/original/c474c5c93b4a82f82345a08715a34ac9.jpg a1b91fe16b1d17025fafc547f6c0965f 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 Kunta Kinte-Alex Haley Memorial (Annapolis, Maryland) Subject The topic of the resource Subject (Topic) African Americans--History Enslaved persons Maryland--Annapolis Slavery--Maryland Transatlantic slave trade Subject (Name) Haley, Alex, 1921-1992 Subject (Object) Commemorative sculpture Description An account of the resource The Kunta Kinte-Alex Haley Memorial is located at the City Dock in Annapolis, Maryland. The bronze sculpture group includes a life-size statue of Alex Haley who sits on a stone bench. He is shown reading with one hand on an open book and his other hand resting in his lap. Three children, two girls and a young boy, sit or lay on the brick plaza in front of Haley, looking and listening to him with rapt attention. On Leonard A. Blackshear Walkway, parallel to the memorial, a “Story Wall” consists of ten markers with bronze plaques containing text from Alex Haley’s Roots; each plaque is framed with bas-reliefs that relate to the message of the text. Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Source A related resource from which the described resource is derived Photograph: <a href="https://www.flickr.com/photos/presmd/21601264555/in/photolist-yUQ8nM-8zLSUt-2ocuZ7N-8zLSVX-8zQ1Ay-2ocuKS6-8zQ1Dh-8zLT5x-8zLSSr-38yRfV-2ocqXfC-2octzGW-2ocvQ1F-2ocv2oX-3QDVJ-2octyh6-2octHDn-2ocuMwi-3QEin-2ocw5La-2ocqSg9-dWLNjV-2octoHM-2octorV-2ocuPrq-2ocvQTR-2ocvQx5-2octoEW-dMSsgM-2ocqKt1-2ocuR6n-2ocqJNy-2ocw9MG-yEjCYa-2ocqLEu-2ocw9xJ-2ocvQTs-2octo1u-2ocvDs6-2ocqJ8F-2ocuPN7-2octpYY-2ocqUq4-2ocvH1J-2ocvT6G-2ocuUJz-2ocvUeU-2octyty-2ocqJjc-2octFqV/" target="_blank" rel="noopener">Preservation Maryland, Flickr, CC BY-SA 2.0</a> Story Wall Photographs by Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource June 12, 2002 Contributor An entity responsible for making contributions to the resource Kunta Kinte-Alex Haley Foundation; Gary S. Schwerzler (site design); Peter D. Tasi (Story Wall & Information Stand); Patricia Fisher McHold (Story Wall & Information Stand); Wiley A. Hall (Story Wall: Narrative); Joe Baker (construction); City of Annapolis (construction); Fort Meyer Construction Company (construction); Pagliaro Brothers Stone Company (construction); Signcraft, Inc. (construction) Rights Information about rights held in and over the resource City of Annapolis, 160 Duke of Gloucester, Annapolis, Maryland, 21401, United States 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 City Dock, Compromise and Main Streets, Annapolis, Maryland, 21401, United States 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 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Kunta Kinte-Alex Haley Foundation, Inc., “The Memorial.” Accessed October 9, 2024. https://kintehaley.org/the-memorial/. Has Part A related resource that is included either physically or logically in the described resource. Inscription on bronze plaque on granite triangle: Alex Haley, Family and Heritage Alex Haley, in his family’s story, Roots, shows how the strength of the human spirit to overcome challenges comes from maintaining strong family connections and pride in one's heritage. Here Alex shares heritage stories with children of diverse ethnic groups. Take time to share heritage stories with children so they can pass on their proud heritage and learn respect for the heritage of others. Inscription on bronze plaque on granite triangle: Kunte Kinte-Alex Haley Memorial. An educational, inspirational, and healing place revealing universal messages of Alex Haley’s Roots saga. Components of this site were dedicated in three stages: September 1997; December 1999; and June 2002. Participants in the dedications included the Kunte Kinte-Alex Haley Foundation; notable officials from the Federal, Maryland State, Anne Arundel County, and City of Annapolis Governments; the United States Naval Academy; the Haley and Ridout families; and Roots film star John Amos. Thousands of people from across the USA and other countries attended the dedications thereby reflecting the universal appeal of Haley's messages. Interpretive Architect: Gary S. Schwerzler Sculptor: Ed Dwight Writer: Wiley A. Hall, III Designer: Peter D. Tasi Kunte Kinte-Alex Haley Foundation President and Founder: Leonard A. Blackshear Inscription of original “arrival” bronze plaque (1981): To commemorate the arrival in this harbor of Kunte Kinte, immortalized by Alex Haley in Roots, and all others who came to these shores in bondage and who by their toil, character and ceaseless struggle for freedom have helped to make these United States. A luta continua! Sponsors: V.O.T.E., Anne Arundel Coalition of Tenants Dedicated September 21, 1981 Inscription of Story Wall plaque, Dedication: You must hear me now with more than your ears! Omoro Kente, Roots This Story Wall is dedicated to those nameless Africans, brought to the New World against their will, who struggled against terrible odds to maintain family, culture, identity and above all, hope. • DEDICATION • Inscription of Story Wall plaque, Heritage: The farthest-black person they ever talked about was a man they called the "African." Alex Haley, Roots Alex Haley's Pulitzer Prize-winning book Roots inspires all peoples to embrace their heritage. As we discover our personal history, we realize that all members of the human family share a universal bond. • HERITAGE • Inscription of Story Wall plaque, Servitude: Share his pain! Mandinka Elder, Roots Millions of Africans were stolen from their families and forced to endure the horrors of the Middle Passage and slavery. The New World was built largely on their labor, on the subjugation of Native Americans, and on the indentured servitude of Europeans and Asians. • SERVITUDE • Inscriptions of Story Wall plaque, Perseverance: We all suffer. If a man's wise, he learns from it. Boteng Bediako (Uncle Pompey), Roots The strength and perseverance of our ancestors, such as Kunta Kinte, teach universal lessons including survival through faith, strength through family, and wisdom through forgiveness. • PERSEVERANCE • Inscriptions of Story Wall plaque, Faith: Behold! The only thing greater than yourself! Omoro Kinte, Roots Faith allows us to endure even the most bitter trials and tribulations. Through belief and faith, people are empowered to accomplish great things, if not for themselves, then for their children. • FAITH • Inscriptions of Story Wall plaque, Family: Your sweet grandma and all of them-they are up there watching you. Cousin Georgia, Roots Knowing our family is knowing ourselves. Our values and traditions are forged through the struggles, heartache, pain, hopes and dreams of our ancestors. • FAMILY • Inscriptions of Story Wall plaque, Forgiveness: When you clench your fist, no one can put anything in your hand, nor can your hand pick up anything. Omoro Kinte, Roots Knowledge of history can be the first step away from anger and bitterness. Truth leads to understanding. Understanding and forgiveness lead to reconciliation and healing. • FORGIVENESS • Inscriptions of Story Wall plaque, Love: We must be in this place as one village! Mandinka Elder, Roots Love ties us to the past, connects us in the present, and links us to the future. It is not enough that we learn to live together. We must learn to respect and love each other. • LOVE • Inscriptions of Story Wall plaque, Challenge: Things don't ever get better unless you make them better. Tom Murray, Roots In Roots, Alex Haley reminds us that only through individual efforts will this country overcome racial and ethnic anger, guilt, hatred and fear, and remain a beacon of opportunity and hope for oppressed people around the world. • CHALLENGE • Inscriptions of Story Wall plaque, Diversity: Hear me! Though we are different tribes and tongues, remember we are the same people! African Elder, Roots America’s strength is diversity. People come here from all over the world, bringing new energy and new dreams. Each person has a story to tell, and every story enriches and invigorates us. • Diversity • bas-relief bench book bronze figurative inscription https://slaverymonuments.org/files/original/65af46a67fcc33da4f65e526f8c404d7.jpg 63ce44941fa6937cba8d18c921839e50 https://slaverymonuments.org/files/original/2bc1f0edc691080db2efb75826851172.jpg 1b52a7b04f990462cca5910ca2c309e7 https://slaverymonuments.org/files/original/023b2645a39b3328faa258a472ea65d9.jpg 53496cd17ac3427071e32b136f096270 https://slaverymonuments.org/files/original/9f258fdaebac3184564a33f541cd9923.jpg 53affaea163681af14b2f3eb878a8308 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 The Slave Memorial (Mount Vernon, Virginia) Subject The topic of the resource Subject (Topic) Cemeteries--Virginia Enslaved persons George Washington’s Mount Vernon Plantations--Virginia Slavery--Virginia Subject (Object) Commemorative sculpture Description An account of the resource Near the Mount Vernon cemetery for enslaved persons, the memorial consists of three concentric circles acting as steps that are inscribed with the words: “Faith,” “Hope” and “Love.” The steps lead toward the central, gray granite column, which is truncated to suggest “life unfinished.” Inscribed on the surface of the column: “In memory of the Afro Americans who served as slaves at Mount Vernon this monument marking their burial ground.” The commemorative work is located 50 yards southwest of George and Mary Washington’s tomb. Creator An entity primarily responsible for making the resource Howard University Architecture Students Source A related resource from which the described resource is derived Photograph: <a href="https://www.flickr.com/photos/timevanson/16759857225/in/photostream/" target="_blank" rel="noopener">Tim Evanson, Flickr, CC BY-SA 2.0</a> Date A point or period of time associated with an event in the lifecycle of the resource September 21, 1983 Contributor An entity responsible for making contributions to the resource Mount Vernon Ladies’ Association (MVLA); Black Women United for Action Rights Information about rights held in and over the resource Mount Vernon Ladies’ Association, Mount Vernon, 3200 Mount Vernon Memorial Highway Mount Vernon, Virginia, 22121, United States 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 3200 Mount Vernon Memorial Highway Mount Vernon, Virginia, 22121, United States Medium The material or physical carrier of the resource. Granite Rights Holder A person or organization owning or managing rights over the resource. 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. George Washington’s Mount Vernon. “The Slave Memorial.” Accessed October 9, 2024. https://www.mountvernon.org/george-washington/slavery/the-slave-memorial-at-mount-vernon. Has Part A related resource that is included either physically or logically in the described resource. Inscription on the monument: In memory of the Afro Americans who served as slaves at Mount Vernon. This monument marking their burial ground dedicated September 21, 1983, Mount Vernon Ladies’ Association Inscription on plaque near memorial entrance: Slave Memorial In 1929, the Mount Vernon Ladies' Association placed a marker noting the location of the slave cemetery, believed to be the first commemoration of its kind at a historic site. Despite this recognition, the burial ground lay unattended for decades, until a group of citizens began a concerted effort to honor the enslaved people buried here. In 1983, Mount Vernon dedicated a new memorial, which was designed by architecture students at Howard University. It is a lasting tribute to the memory of those individuals who lived and toiled in bondage here. Approaching Slave Memorial Quiet please and remain on gravel path Inscription on Slave Burial Area plaque: Slave Burial Area “Near (George Washington’s) tomb you see the burying place of his slaves containing 150 graves.” Visitor to Mount Vernon 1833 Many African American—free and enslaved—who worked at Mount Vernon from the 1750s into the 19th century are believed to be buried near here, according to early visitor accounts, oral tradition and a circa 1860 map. Among them is William Lee, George Washington’s personal servant during the Revolutionary War, who was granted freedom and an annuity in Washington’s will. West Ford (1784-1863), a freed slave was hired by the Washington family in the 19th century, is also thought to be buried here. The Mount Vernon Ladies’ Association sought Ford’s advice in the early restoration of the estate. Today, a memorial stands at the center of the burial area, serving as a testament to the hundreds of slaves who labored on Mount Vernon’s grounds and lay in unmarked graves. 1929 Marker In memory of the many faithful, colored servants of the Washington family buried at Mount Vernon from 1760 to 1860. Their unidentified graves surround this spot. columns granite inscription