11 10 134 https://slaverymonuments.org/files/original/dba00a4a2d4141fa8374689ebefa0f4f.jpg d9b95d4d7821c7e2144bf1330e878a10 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 Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 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 Sojourner Truth (San Diego, California) Creator An entity primarily responsible for making the resource Brown, Manuelita, 1941- Subject The topic of the resource Subject (Topic) Antislavery movements--United States California--San Diego Freedom Public art Public sculpture Women--Suffrage Subject (Name) Truth, Sojourner, c. 1797-1883 Subject (Object Type) Commemorative sculpture Description An account of the resource Truth's body is modeled in contrapposto, an Italian art term that describes a classical body postion with a subject's weight shifted to one side to suggest liveliness and motion. In this statue, Truth steps forward with her body weight on the left leg. Her right knee is bent slightly, and her booted heel raised. Appearing contemplative with a slightly puckered brow, the abolitionist seems to be sorting an idea and/or thinking about her upcoming journey. She wears a deep copper-colored dress and a green-blue shawl; the artist used varied patinas on the bronze surface to highlight Truth's simple clothes. In her right hand she holds a Bible; in the left hand a carpet bag. Overall, the artist represents Truth as a modest, thoughtful, and faithful woman, moving gracefully in the world. RA, 2/13/26 Date A point or period of time associated with an event in the lifecycle of the resource January 22, 2015 Contributor An entity responsible for making contributions to the resource UC San Diego; Vice Chancellor of Resource Management and Planning; Vice Chancellor of Equity, Diversity and Inclusion; UCSD Alumni; the Black Resource Center 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 Ridge Walk, Thurgood Marshall College Campus, University of California at San Diego, San Diego, California, 92161, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque mounted on stone support reads: Sojourner Truth (1797-1883) Suffragist and Abolitionist I feel safe in the midst of my enemies, for the truth is powerful and will prevail. Sculpted by Manuelita Brown Extent The size or duration of the resource. 72 in. (182.88 cm) Medium The material or physical carrier of the resource. Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Johnson, Erika. "Marshall College Unveils New Sojourner Truth Statue." UC San Diego Today, January 29, 2015. Accessed November 4, 2019. https://ucsdnews.ucsd.edu/feature/marshall_college_unveils_new_sojourner_truth_statue. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Rights Information about rights held in and over the resource Thurgood Marshall College Campus, University of California at San Diego, San Diego, California, 92161, United States Source A related resource from which the described resource is derived Photograph: <a href="https://www.tsahaistudio.com/artpiece/sojourner-truth/" target="_blank" rel="noopener">Manuelita Brown</a> Bible bronze figurative portrait https://slaverymonuments.org/files/original/9653d3f9cee2d7063549cfa5a591a1db.jpg de150f9a21ea8ebf789edb423bad517e 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 Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 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 84 in. (213.36 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 Sojourner (Sacramento, California) Creator An entity primarily responsible for making the resource Catlett, Elizabeth, 1919-2012 Subject The topic of the resource Subject (Topic) Antislavery movements--United States California--Sacramento Freedom Public art Public sculpture Women--Suffrage Subject (Name) Truth, Sojourner, c. 1797-1883 Subject (Object Type) Commemorative sculpture Description An account of the resource Unlike many sculptural representations of Sojourner Truth, Elizabeth Catlett’s work is geometric and slightly abstracted. Truth is shown with her arms crossed at her chest as she tilts her head skyward, her eyes closed. The flared skirt of her form-fitting dress adds to the work's sense of upward movement. The stone is polished smooth, save for Truth’s hair, which, although abstracted, is shown uncovered in cropped curls. In January 2013, the sculpture was vandalized, pushed off the pedestal and broke into large pieces. After restoration, the sculpture was placed inside the Crocker Art Museum in Sacramento, California. Date A point or period of time associated with an event in the lifecycle of the resource 1999 Contributor An entity responsible for making contributions to the resource Sacramento Metropolitan Arts Commission, City of Sacramento 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 Crocker Art Museum, 216 O Street, Sacramento, California, 95814, United States Extent The size or duration of the resource. 84 in. (213.36 cm) Medium The material or physical carrier of the resource. Mexican limestone Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="http://sacpedart.com/?p=3840" target="_blank" rel="noopener">Pedestrian Art, Sacramento</a> Rights Information about rights held in and over the resource Sacramento Metropolitan Arts Commission, City of Sacramento, 300 Richards Boulevard, Suite 3, Sacramento, CA, 95811, United States Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Pedestrian Art-Sacramento. "Sojourner Truth-13th & K." September 6, 2012. Accessed February 19, 2025. http://sacpedart.com/?p=3840. abstract figurative limestone portrait https://slaverymonuments.org/files/original/3d532efa0f5e97a9ab8f2e0793030342.jpg eae69e31eb6132b4862af76d0d64c0f4 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 United States Colored Troops (USCT) Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource Included in this thematic collection are seventeen memorials that honor the vital contributions of the United States Colored Troops (USCT) to the Union victory during the American Civil War. The first all-Black units formed unofficially in Louisiana (Louisiana Native Guard, 1862); South Carolina (First South Carolina Volunteer Infantry, 1862-63); and Kansas (First Kansas Colored Infantry, 1862-63). The first official authorization to employ African Americans in federal service was the Second Confiscation and Militia Act of July 17, 1862. The Confiscation Act allowed Union officers to free enslaved men and put them to work as army laborers. However, Abraham Lincoln did not fully authorize the use of Black men in combat until the issuance of the Emancipation Proclamation on January 1, 1863. Beginning in late January 1863, Governor John A. Andrews of Massachusetts raised the first regiment of Black soldiers in the North, the Massachusetts 54th Volunteer Infantry. The abolitionist Frederick Douglass helped recruit men for the Massachusetts 54th, famously issuing a call to free African American men to join the Union Army. In a speech, “Men of Color, To Arms!”, delivered in Rochester, New York on March 2, 1863, Douglass urged his fellow free men of color to fight for the end of slavery and for their freedom: "By every consideration which binds you to your enslaved fellow-countrymen, and the peace and welfare of your country; by every aspiration which you cherish for the freedom and equality of yourselves and your children; by all the ties of blood and identity which make us one with the brave black men now fighting our battles in Louisiana and in South Carolina, I urge you to fly to arms, and smite with death the power that would bury the government and your liberty in the same hopeless grave." On May 22, 1863, the U.S. War Department issued General Order No. 143, authorizing the creation of the Bureau of Colored Troops. By the end of the Civil War, over 200,000 men, including white officers, served in 175 regiments of the USCT, which made up ten percent of the Union army. The compiled military records of the men who served in the USCT can be found in the National Archives and Records Administration. Updated January 26, 2026 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 Soldiers' Memorial (Jefferson City, Missouri) Subject The topic of the resource Subject (Topic) African Americans--History Lincoln University Missouri--Jefferson City Public art Public sculpture United States Colored Troops Subject (Object Type) Commemorative sculpture Description An account of the resource The monument depicts the members of the 62nd and 65th United States Colored Infantry who, in 1866, founded Lincoln University in Jefferson City, Missouri. The work includes two soldiers and Captain Foster, their white commander, who all are shown atop a pedestal. Behind this main group, another USCT soldier on top of the pedestal assists another standing bronze figure to ascend the pedestal. On the base of the pedestal is a bas-relief of three marching soldiers. The commemorative work also includes two bronze soldiers, wearing knapsacks and bed rolls and whose facial expressions appear weary, walking up the lawn toward the front of the monument.  Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Date A point or period of time associated with an event in the lifecycle of the resource May 2, 2007 Contributor An entity responsible for making contributions to the resource Christner, Inc. (landscape architects); United HRB General Contractors, Inc.; Board of Curators; Lincoln University Foundation Board, Inc.; David B. Henson (17th President of Lincoln University) Rights Information about rights held in and over the resource Lincoln University, 820 Chestnut Street, Jefferson City, Missouri, 65101, 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 820 Chestnut Street, Jefferson City, Missouri, 65101, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on base: Dedicated to the Officers and Soldiers of the 62nd and 65th United States Colored Infantries. Inscription on granite plaza: Courage--Sacrifice--Equality Donor bricks Bronze plaque on back of monument: Soldiers Memorial Plaza Dedicated May 2, 2007 President of the University Dr. Carolyn R. Hahoney Board of Curators Greg S. Gaffke, President Rodney J. Boyd, Vice President Marvin O. Teen, Jr., Secretary Dana T. Cutler, Treasurer Cynthia O. Blosser, Member Ralph M. Caro, Member Iris G. Ferguson, Member Gurnie C. Gunter, Member John M. Parker, Member Daniel S. Britts, Student Representatives Bronze plaque on back of monument: Ed Dwight, Sculptor Medium The material or physical carrier of the resource. Bronze; Granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Alan Skerrett, Jr, ed. "Monuments to the United States Colored Troops (USCT) [African American Civil War Soldiers: The List." Jubilo! The Emancipation Century Blog, May 30, 2011. Accessed February 11, 2026. https://jubiloemancipationcentury.wordpress.com/2011/05/30/monuments-to-the-united-states-colored-troops-usct-the-list/. Arenson, Adam. "Fighting for the Legacy of Lincoln." New York Times, December 13, 2013. Accessed February 11, 2026. https://archive.nytimes.com/opinionator.blogs.nytimes.com/2013/12/13/fighting-for-the-legacy-of-lincoln/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://www.visitjeffersoncity.com/listing/soldiers-memorial-plaza-at-lincoln-university/76/" target="_blank" rel="noopener">Jefferson City Convention and Visitors Bureau</a> bas-relief bronze Civil War figurative granite inscription https://slaverymonuments.org/files/original/54d94709792e70123c25adea44a98550.jpg 23bc8de5deead109bfb5a4cc0fbb3f55 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 The monuments and memorials grouped under this theme acknowledge the important contributions of African Americans to American history. Slavery is anchored in the commemorative works as part of the larger story of Black existence in the United States. Some monuments, such as <a href="https://www.slaverymonuments.org/items/show/1133" target="_blank" rel="noopener">South Carolina African-American History Monument</a> and the <a href="https://www.slaverymonuments.org/items/show/1134" target="_blank" rel="noopener">Texas African American History Memorial</a>, include bas-reliefs of enslaved men and women, signaling these states' role in slavery. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1183" target="_blank" rel="noopener">Truths that Rise from the Roots Remembered</a>, honor the ability of ordinary Black people in Alexandria, Virginia (a slave trade center in the United States) to survive and thrive despite slavery, racism, and white supremacy.  Updated January 26, 2026 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 Obelisk and pedestal: 276 in. (701.04 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 South Carolina African-American History Monument (Columbia, South Carolina) Subject The topic of the resource Subject (Topic) African Americans--History Enslaved persons--Emancipation Public art Public sculpture Slave ships Slavery--South Carolina South Carolina--Columbia Subject (Object Type) Commemorative sculpture Description An account of the resource Two semicircular gray granite walls, inlaid with twelve bronze panels illustrating 300 years of African American history, frame an obelisk and pedestal. The twelve scenes of African American history include images of the Middle Passage, an African American family on an auction block, enslaved laborers working in a field, men and women celebrating the Emancipation Proclamation, the Jim Crow era, the Great Migration, and images of contemporary African Americans’ important contributions to engineering, law education, sports, politics, and space exploration. At the base of the monument’s obelisk are four rubbing stones from regions of Africa where people were captured - Senegal, Sierra Leone, the Republic of Congo, and Ghana. In front of the memorial, Dwight included a bronze cast of the famous print of the British slave ship Brookes (1787). Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Date A point or period of time associated with an event in the lifecycle of the resource March 29, 2001 Contributor An entity responsible for making contributions to the resource African American History Monument Commission; South Carolina Arts Commission; State House Committee; Citizens' Advisory Committe; Design Committee; Fundraising Committee; private donors 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 South Carolina State House Grounds, 1100 Gervais Street, Columbia, South Carolina, 29201, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque on front of monument: African American History Monument Dedicated - 2001 Ed Dwight - Sculptor Bronze plaque on back of monument: South Carolina African-American History Monument Dedicated to the people of South Carolina Monument Commission Chairman Senator Glenn F. McConnell Vice-Chairman Representative Gilda Cobb-Hunter Senator John E. Courson Senator Robert Ford Senator Darrell Jackson Senator McKinley Washington, Jr. Representative Daniel T. Cooper Representative James S. Klauber Representative John L. Scott, Jr. Honorable Jesse Washington, Jr. State House Committee Senator J. Verne Smith, Chairman Citizen's Advisory Committe Dr. Mac Arthur Goodman, Chairman Design Committee Dr. Terry K. Hunter, Chairman Dr. Henry G. Michaux Mr. James Wakefield Fundraising Committee Governor Jim Hodges, Honorary Chairman Mr. John S. Rainey, Chairman Ms. Juanita W. Brown, Co-Chairman Mr. E. Perry Palmer, Co-Chairman Extent The size or duration of the resource. Obelisk and pedestal: 276 in. (701.04 cm) Medium The material or physical carrier of the resource. Granite; Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Botsch, Carol Sears. “The African-American Monument.” African Americans and South Carolina: History, Politics, and Culture. University of South Carolina-Aiken. Accessed April 15, 2019. https://polisci.usca.edu/aasc/African-AmericanMonument.htm (site discontinued). Davenport, Jim. “A Slave Memorial Now Stands Amid State's Tributes to Confederacy.” Los Angeles Times, March 25, 2001. Accessed April 15, 2019. https://www.latimes.com/archives/la-xpm-2001-mar-25-mn-42494-story.html. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: Flickr, <a href="https://www.flickr.com/photos/22711505@N05/7917139800" title="African-American History Monument -- State Capitol Grounds Columbia (SC) 2012" target="_blank" rel="noopener">"African-American History Monument -- State Capitol Grounds Columbia (SC) 2012" by Ron Cogswell, CC BY 2.0</a> Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. African American History Monument Rights Information about rights held in and over the resource South Carolina State House, 1100 Gervais Street, Columbia, South Carolina 29201, United States bas-relief bronze figurative granite obelisk slave ship https://slaverymonuments.org/files/original/910a9bfc24eeda04e328c64259f50fca.jpg 5e6d67c68062a6681e07a0808a624184 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 Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 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 84 in. (213.36 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 Spirit of Freedom (Hamilton, Bermuda) Creator An entity primarily responsible for making the resource Dowling, Carlos, 1949- Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cabinet Gardens, 105 Front Street, Hamilton, Bermuda Medium The material or physical carrier of the resource. Bronze Subject The topic of the resource Subject (Topic) Bermuda Islands--Hamilton Public art Public sculpture Resistance Slavery--Bermuda Islands Slavery--England Transatlantic slave trade Subject (Name) Bassett, Sarah (Sally), d. 1730 Subject (Object Type) Commemorative sculpture Description An account of the resource In 1730, the colonial government of Bermuda executed Sarah Bassett, an enslaved woman, for allegedly attempting to poison her granddaughter’s enslavers. In Spirit of Freedom, she is depicted as a slender female figure bound tightly with ropes, her arms restrained behind her back. Her head is tilted slightly upward and turned to the side, her eyes closed in silent defiance. Her legs are tightly bound to a stake and secured on top of a burning pyre. The sculpture stands on a circular pedestal. Around the base, the name “Sarah (Sally) Bassett” is inscribed, along with a description of events from her life. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Gibson, Stephanie. "Revealing Sally: Unveiling Bermuda's Resistance to Confront its Brutal Past." Monument Lab, May 4, 2020. Accessed February 15, 2021. https://monumentlab.com/bulletin/revealing-sally-unveiling-bermudas-resistance-to-confront-its-brutal-past. Swan, Quito. "Smoldering Memories and Burning Questions: The Politics of Remembering Sally Bassett and Slavery in Bermuda." In Politics of Memory: Making Slavery Visible in the Public Space, ed. Ana Lucia Araujo, 71-91. Routledge, 2012. CIPDH-UNESCO. "Spirit of Freedom." Memorias Situadas: Sites of Memory Related to Serious Human Rights Violations. Accessed February 4, 2026. https://www.cipdh.gob.ar/memorias-situadas/en/lugar-de-memoria/espiritu-de-libertad/. Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Sarah Bassett Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource February 9, 2009 Has Part A related resource that is included either physically or logically in the described resource. Six segments: The lower step of the base of the statue is divided into six segments. The segments are inscribed with events from Sarah Bassett's life. <ul> <li>Sarah (Sally) Bassett</li> <li>Sarah (Sally) Bassett was an enslaved woman owned by the estate of Francis Dickinson of Southampton.</li> <li>On June 1, 1730, she was tried on the "Suspicion of Poisoning several persons" including the mariner Thomas Forester (who owned Sally's granddaughter Beck), his wife Sarah, and Nancey, a household bondswoman.</li> <li>At the time of her sentencing, Sally was valued at one pound, four shillings and sixpence. Another local legend says that Bermuda's national flower, the Bermudiana, grew from Sally's ashes.</li> <li>Sally was charged with supplying Beck with the poison that Nancey discovered in the wall of the kitchen outlet. Although Sally maintained her innocence, stating that she "never deserved" the sentence given, she was burned at the stake for the offence.</li> <li>Local lore holds that it was extremely hot when Sally was executed; and even now, Bermudians may refer to a scorchingly hot day as "a real Sally Bassett day."</li> </ul> Bronze plaque on the upper step of the base of the statue: The African Diaspora Heritage Trail Bermuda Officially Designated a UNESCO Slave Route Proejct Officially Opened 9 February 2009 By the Honorable Premier Dr. the Hon. Ewart F. Brown, JP, MP Extent The size or duration of the resource. 84 in. (213.36 cm) Source A related resource from which the described resource is derived Photograph: <a href="https://en.wikipedia.org/wiki/Sally_Basset#/media/File:Statue_of_Sally_Basset.jpg" target="_blank" rel="noopener">Wikipedia</a> Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Contributor An entity responsible for making contributions to the resource Progressive Labor Party (PLP), Bermuda Rights Information about rights held in and over the resource Government of Bermuda Administration Building, 30 Parliament Street, Hamilton HM12, Bermuda bronze figurative trees https://slaverymonuments.org/files/original/ab2d5df36313d85e1137403652d9c170.jpg e71a03b401ff36f0c54ae2f24d71ca5b https://slaverymonuments.org/files/original/ca3489a40ea3a913e909099eff0449e7.JPG c5cfc7fcf5f8ff8de16cdeb0c778584a https://slaverymonuments.org/files/original/8926566edc9ffe5e5ba5a7e394ffb18e.JPG 2a4a26854b32fc3b8e68997b52e63034 https://slaverymonuments.org/files/original/e2cc00fe11c5e5cc04d8d4dc14cd5796.JPG ed8ed862efa6c0a692586363be85c99c https://slaverymonuments.org/files/original/d302ddf7287cd6da5f91aefeeebf6012.JPG 826ce17761087a656e2c08b98b7f4b56 https://slaverymonuments.org/files/original/fb28f5578601ce44b8fbfc519239627c.JPG 763602f25f9b96cd0bdce827cf6cbb4d https://slaverymonuments.org/files/original/664dfa7d6c1bd1b780ccfbb2b97748ed.jpg cbae47b117c51f27260d5c12c86315b5 https://slaverymonuments.org/files/original/e4e48f920dc7db59e3d9f5a75781d557.jpg 46232514347a9e5264e789577e5f35ee https://slaverymonuments.org/files/original/30e6ae7d7274935d4afa6f242a1155bf.JPG a7425e4c4c2cd28f837702b3bba75c05 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 Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 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 120 x 84 in. (304.8 x 213.36 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 Step on Board (Boston, Massachusetts) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Fugitive slaves Massachusetts--Boston Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource A high relief sculpture with Harriet Tubman and six figures: three women, two men, and a baby. All figures are clothed in nineteenth-century dress. Wearing a dress, shawl, and head wrap, Tubman strides forward, gesturing with her left hand and holding a Bible under her right arm. The figures are backed by a vertical slab of pink granite. On the reverse of statue is a diagram of the route Tubman took when accompanying passengers on the Underground Railroad (Maryland, Delaware, Philadelphia, New York City, Albany, Syracuse, Rochester, Canada). The reverse of the memorial also includes quotations from Harriet Tubman, Frederick Douglass, and Sarah Bradford. Creator An entity primarily responsible for making the resource Cunningham, Fern, 1949-2020 Source A related resource from which the described resource is derived Photographs by Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource June 20, 1999 Contributor An entity responsible for making contributions to the resource CBA Landscape Architects, Boston, Massachusetts; United South End Settlements, Boston, Massachusetts; New England Foundation for the Arts, Boston, Massachusetts; The George B. Henderson Foundation and The Edgar Ingersoll Browne Fund, Boston, Massachusetts; and Boston Parks and Recreation Rights Information about rights held in and over the resource Boston Art Commission, Mayor’s Office of Arts and Culture, Boston City Hall, Room 802, Boston, Massachusetts, 02201, 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 Harriet Tubman Park, Columbus Avenue and Pembrook Street, Boston, Massachusetts, 02116, United States Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Harriet Tubman Memorial Has Part A related resource that is included either physically or logically in the described resource. Inscriptions on back of relief: Step On Board, Harriet Ross Tubman, 1820 – 1913, Go Down Moses, Way Down in Egypt’s Land, Tell Old Pharoah — Let My People Go. “There are two things I’ve got a right to, and these are death or liberty. One or another I mean to have. No one will take me back alive.”—Harriet Tubman “The midnight sky and the silent stars have been the witnesses of your devotion to freedom and of your heroism.” —Frederick Douglass “Tell my brothers to be always watching unto prayer, and when the good old ship of Zion comes along, to be ready to step aboard.”—Harriet Tubman “She expected deliverance when she prayed, unless the Lord had ordered otherwise.” —Sarah Bradford Inscription on bronze plaque: For the Adornment and Benefit of Boston. The design, fabrication, and installation of the memorials at Harriet Tubman park were made possible through the efforts of the United South End Settlements with funding support from the New England Foundation for the Arts, George B. Henderson Foundation, the Edward Ingersoll Browne Fund, a public charitable trust administered by the Trust Office of the City of Boston. The art piece ’Step on Board’ was designed by artist Fern Cunningham in 1999, and ’Emancipation’ was designed by artist Meta Vaux Warrick Fuller in 1913. The park is maintained by the Boston Parks and Recreation Department in partnership with the friends of Harriet Tubman Park, 2000. Extent The size or duration of the resource. 120 x 84 in. (304.8 x 213.36 cm) Medium The material or physical carrier of the resource. Bronze; Pink granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. George B. Henderson Foundation. “Special Projects: Harriet Tubman Sculpture & Park.” Accessed March 19, 2018. http://thehendersonfoundation.com/harriet_tubman_sculpture_park.htm. Friend's of the Harriet Tubman Park. "Harriet Tubman Park." Accessed January 29, 2026. https://tubmanboston.org/#visit">https://tubmanboston.org/#visit. Ater, Renée. Remaking Race and History: The Sculpture of Meta Warrick Fuller. University of California Press, 2010. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad bas-relief Bible bronze figurative granite inscription map portrait https://slaverymonuments.org/files/original/882c01accc8d120bd0af1594c45d0458.jpg b54e89c991485387804707ba3f1a0268 https://slaverymonuments.org/files/original/ce65a8c6f0a817b8b2b3739b50c917ca.jpg f7c5935049d866435a29acebf4b9bf9b https://slaverymonuments.org/files/original/3546210485d2739957b43a1df2eb3824.jpg d49eef35f9a955fdb7b96eaa0e3a3ea2 https://slaverymonuments.org/files/original/d5e84b685a1e6b45363923aec1e8289e.jpg 21c961271d20fdbe807b37240462fb73 https://slaverymonuments.org/files/original/1f6da1b955dd143122082594acf6f612.jpg c616a3649e9d1d1a77e80dfb3ddf5a2b https://slaverymonuments.org/files/original/56cf617b7737ab736b69513396771ea0.jpg c8a8c78b44ddd747320da9d25ce72eff https://slaverymonuments.org/files/original/34a5b02d3bc3a13da3be09e086ffcb1c.jpg 7b773a5894847cf8bde731261972d971 https://slaverymonuments.org/files/original/155c1422b4b33bdf21b97c216438c206.jpg 62212857abf0af743f214ef9023f6e11 https://slaverymonuments.org/files/original/af7687038cfe317e988cebd9a70d74fe.jpg 7c185137e1e179cb66e7cef2b67a4000 https://slaverymonuments.org/files/original/b410f1f955170fc6324e536234898a34.jpg d6766343c25f47786746ee01fdd1b370 https://slaverymonuments.org/files/original/f07754b067e85b3137864aa1d7d1fff1.jpg 76d4b49edcd691a211d1317ad55203ac 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 Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 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 156 x 96 x 132 in. (396.24 x 243.84 x 335.28 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 Swing Low: Harriet Tubman Memorial (New York, New York) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom New York (State)--New York Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource The large-than-life bronze sculpture of Harriet Tubman stands on a rough-cut granite base. The monument is two-toned: a green-blue patina for Tubman's clothing and a black patina for her skin. She wears a buttoned, long-sleeved shirt and a long skirt, the surface of which is adorned with small raised faces, shackles, medicine bundles, and other symbolic elements. Tubman is shown in motion, striding forward with one hand clasping the strap of her shoulder bag. From the side, she is shown pulling away from the gnarled, root-like branches that appear to symbolize her breaking free from bondage. Her facial expression is calm and resolute. Bronze tiles adorn the upper section of the base and show events from Tubman’s life along with traditional quilt patterns. Creator An entity primarily responsible for making the resource Saar, Alison, 1956- Source A related resource from which the described resource is derived Photographs by Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource November 13, 2008 Contributor An entity responsible for making contributions to the resource Quennell Rothschild & Partners, LLP (landscape architects), New York, New York; URS Corporation (engineering), New York, New York; City of New York; Manhattan Borough President’s Office; NYC Department of Cultural Affairs Percent for Art Program; NYC Department of Parks and Recreation; NYC Department of Design and Construction; and NYC Department of Transportation Rights Information about rights held in and over the resource NYC Department of Cultural Affairs Percent for Art Program, 31 Chambers Street, 2nd Floor, New York, New York, 10007, 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 Harriet Tubman Plaza, St. Nicholas Avenue, West 122nd Street, and Frederick Douglass Boulevard, New York City, New York, 07062, United States Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Harriet Tubman Memorial; Harriet Tubman Triangle Has Part A related resource that is included either physically or logically in the described resource. Inscription on bronze plaque: Harriet Tubman Memorial. Alison Saar. Swing Low, 2007 Plaza Design in Collaboration with Quennell Rothschild & Partners, LLP Commissioned by the City of New York Manhattan Borough President’s Office NYC Department of Cultural Affairs, Percent for Art Program NYC Department of Parks and Recreation NYC Department of Transportation NYC Department of Design and Construction Inscription on exterior granite wall: “What a Beautiful Morning It Will Be! O Let My People Go.” Informational plaque: Swing Low: Harriet Tubman Memorial Harriet Tubman Triangle This larger-than-life bronze sculpture depicts abolitionist organizer and Underground Railroad leader Harriet Tubman (c. 1822-1913), and stands at the crossroads of St. Nicholas Avenue, West 122nd Street and Frederick Douglass Boulevard in Harlem. Douglass once said of Tubman that except for John Brown, he knew of "no one who has willingly encountered more perils and hardships to serve our enslaved people." Born into slavery in Maryland around 1822, Tubman escaped in 1849 via the Underground Railroad, the network of places and people dedicated to helping slaves find their way to freedom in non-slaveholding communities. Settling first in Philadelphia, then Canada, Tubman spent ten years returning to Maryland at great personal risk, to guide scores of friends and family members to freedom. Determined to end slavery, she later served the Union Army as a scout, spy and nurse in the Civil War. Settling in Auburn, New York after the war, she continued campaigning for equal rights for women and African-Americans. Her humanitarian work, including caring for the sick, homeless and disabled of all races, resulted in the establishment of the Harriet Tubman Home for the Aged in that community. She died in 1913 and was buried in Fort Hill Cemetery in Auburn with semi-military honors. The memorial, commissioned through the Department of Cultural Affairs' Percent for Art program, was created by African-American sculptor Alison Saar. The artist has depicted Tubman "not as the conductor of the Underground Railroad but as the train itself, an unstoppable locomotive," the roots of slavery pulled up in her wake. Saar designed stylized portraits of "anonymous passengers" of the Underground Railroad in Tubman's skirt, some of which were inspired by West African "passport masks." Around the granite base of the monument are bronze tiles alternately depicting events in Tubman's life and traditional quilting patterns. The multi-agency project included landscaping the formerly barren traffic triangle. Designed by Quennell Rothschild and constructed by URS, the renovated triangle features paving blocks and roughly hewn granite to create a natural setting. Plantings native to both New York and Tubman's home state of Maryland represent the woods and terrain traveled by Tubman and her Underground Railroad passengers, providing a contemplative space in which to consider Tubman's legacy. City of New York Parks & Recreation www.nyc.gov/parks October 2013 Extent The size or duration of the resource. 156 x 96 x 132 in. (396.24 x 243.84 x 335.28 cm) Medium The material or physical carrier of the resource. Bronze; Chinese granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Press Release. “Swing Low: Harriet Tubman Memorial Sculpture is Dedicated in Harlem.” NYC Parks. November 13, 2008. Accessed March 18, 2018. https://www.nycgovparks.org/news/press-releases?id=20772%20. Almino, Elisa Wouk. "Meet LA's Art Community: Alison Saar on her Harriet Tubman Monument and Finding Inspiration." Hyperallergic, November 5, 2019. Accessed January 30, 2026. https://hyperallergic.com/meet-las-art-community-alison-saar-on-her-harriet-tubman-monument-and-finding-inspiration/. NYC Cultural Affairs-Percent for Art. “Alison Saar.” Accessed January 30, 2026. https://www.nyc.gov/site/dclapercentforart/projects/projects-detail.page?recordID=207. Herbert, Amelia Simone. "Swing Low: A Visual Metaphor for Abolition Now." CRWNMAG, June 2020. Accessed January 30, 2026. https://www.crwnmag.com/blog/2020/6/swing-low-a-visual-metaphor-for-abolition-now. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Relation A related resource “It’s My Park: Harriet Tubman Memorial,” NYC Parks, February 6, 2012, https://www.youtube.com/watch?v=sYxY4hEECQY. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad Has Version A related resource that is a version, edition, or adaptation of the described resource. Maquette, New York Historical, 2009. https://emuseum.nyhistory.org/objects/64912/maquette-for-swing-low-harriet-tubman-memorial. Maquette, National Museum of American American History and Culture, 2011. https://nmaahc.si.edu/object/nmaahc_2011.63. bronze figurative granite manacles portrait quilt squares trees https://slaverymonuments.org/files/original/2902ee1d6e78b859129e9bdf72705989.jpg d0bb08dcacdd43cecdafe17f70560a41 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 The monuments and memorials grouped under this theme acknowledge the important contributions of African Americans to American history. Slavery is anchored in the commemorative works as part of the larger story of Black existence in the United States. Some monuments, such as <a href="https://www.slaverymonuments.org/items/show/1133" target="_blank" rel="noopener">South Carolina African-American History Monument</a> and the <a href="https://www.slaverymonuments.org/items/show/1134" target="_blank" rel="noopener">Texas African American History Memorial</a>, include bas-reliefs of enslaved men and women, signaling these states' role in slavery. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1183" target="_blank" rel="noopener">Truths that Rise from the Roots Remembered</a>, honor the ability of ordinary Black people in Alexandria, Virginia (a slave trade center in the United States) to survive and thrive despite slavery, racism, and white supremacy.  Updated January 26, 2026 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 408 x 324 in. ( 1036.32 x 822.96 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 Texas African American History Memorial (Austin, Texas) Subject The topic of the resource Subject (Topic) Abolition of slavery African Americans--History Enslaved persons--Emancipation Juneteenth Public art Public sculpture Slavery--Texas Texas--Austin Subject (Object Type) Commemorative sculpture Description An account of the resource The monumental work includes two bronze walls featuring figural scenes celebrating 400 years of African Americans’ contributions to Texas history. Decorated on both front and back, Dwight includes depictions of African Americans engaged in the cattle, cotton, and oil industries as well as tributes to Mickey Leland, Medgar Evers, Buffalo Soldiers, President Barack Obama, and African American Medal of Honor recipients. The two embellished walls meet at a central column. Scores of African American figures, seemingly comprising the base and shaft of the column, gaze outward at the viewer. The top of the column is adorned with two figures standing on a base that reads “Emancipation.” Both figures, one male, one female, have the cuffs of broken manacles and chains around their wrists. The former raises a lit torch over his head, while the latter holds a copy of the Emancipation Proclamation. The monument also serves as a memorial to Juneteenth (June 19, 1865), when hundreds of Union troops arrived in Texas and announced the abolition of slavery in the US. The memorial sits atop a granite base, which features bronze plaques with didactic text. Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Date A point or period of time associated with an event in the lifecycle of the resource November 19, 2019 Contributor An entity responsible for making contributions to the resource Texas African American History Memorial Committee; Texas Legislative Black Caucus; State of Texas. 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 Texas State Capitol Grounds, 100 West 11th Street, Austin, Texas, 78701, United States Has Part A related resource that is included either physically or logically in the described resource. Panel 1: First Contact and the Spanish Colonial Era 1528-1820 The first recorded people of African descent arrived in Texas with Spanish explorers and settlers. Estevanico, a Moorish slave from Azamor, Morocco, arrived in Texas in 1528 with a party of Spanish explorers who were shipwrecked on the Gulf Coast near Galveston Island. With three other survivors, Andres Dorantes de Castillo, Alvar Nunez Cabeza de Vaca and Alonso del Castillo Maldonado, he walked across southern Texas and northern Mexico, showing a talent for Indian languages and acting as an interpreter for the party. Estevanico was later pressed into service by the Viceroy of New Spain, Antonio de Mendoza, to guide an expedition into what is now Arizona. He was killed at Zuni Pueblo in 1539. His death may have been due to a sacred rattle given to him by Texas Indians, which the Zuni considered an offensive object. Estevanico was one of the thousands of Africans who helped settle Spanish Texas over the course of 300 years. By 1792, African people in Texas comprised 13 percent of the population. Most arrived enslaved. The African-American cultural heritage is a significant legacy that has shaped both our state and national heritage. Panel 2: Slavery During the Mexican National Era 1821-1836 During the Mexican national era, enslaved people of African descent were brought to Texas by the Anglo-American settlers introduced into Texas by Stephen F. Austin and other empresarios, land agents authorized by the Mexican government to help settle Texas. In 1830, Mexican lawmakers prohibited further immigration into Texas from the United States and explicitly banned the introduction of enslaved people into the territory. This ban contributed to increasing tensions between United States settlers and the Mexican government, and was one of the causes of the Texas Revolution from 1835 to 1836. By the time Texas declared independence, there were approximately 5,000 enslaved Blacks in the region. Panel 3: Slavery During the Republic and Early Statehood 1836-1860 Between 1836 and 1860, the slave population in Texas grew from 5,000 to 182,566. The greatest increase in the number of slaves brought to Texas occurred from 1850 to 1865. Among the expanding slave population were children who were purchased and brought to the State, or born in captivity to enslaved parents. Enslaved children typically wore slave cloth shirts made of homespun cotton or wool and were expected to do chores until they were old enough for field work. Enslaved women were expected to bear children and take care of their home life in the slave quarters, and to help farm cotton and other crops. Cotton produced by slave labor was the most important staple in the Texas economy, but slave labor was also integral to the economic growth of Texas in the lumber and construction industries. Several iconic Texas buildings including the 1853 limestone Texas Capitol, the 1856 Governor’s Mansion, and the 1853 Pease Mansion were built with Black slave labor. Most slaves showed skills in farming, animal husbandry, construction, masonry, cooking and blacksmithing. Panel 4: Civil War, Emancipation and Juneteenth, 1861-1865 On the eve of the Civil War, the number of enslaved people in Texas totaled 30 percent of the state’s population. This number continued to grow as slaveholders from other areas of the Confederacy came to Texas as refugees to escape the fighting and brought their enslaved property with them. Scholars estimate that more than 30,000 enslaved people were brought into Texas during the Civil War years alone. The conflict did not readily change the Black experience in Texas, as most African-Americans continued to be held in bondage and forced to labor. Federal troops occupied Texas in June 1865 after the Civil War. General Gordon Granger issued General Order Number 3 at Galveston on June 19, 1865 to enforce the Emancipation Proclamation previously signed by President Abraham Lincoln. That day soon became recognized as Juneteenth or Emancipation Day, although many slaves in Texas were not freed until much later. Juneteenth was officially declared a state holiday in Texas in 1980, and today it continues to be celebrated here and in other states as a milestone of the African-American struggle for freedom. After Emancipation , the former slaves entered the new stage of freedom with a mixture of joy, despair, elation, fear, hope, doubt, certainty and confusion. With little social infrastructure other than their families, they sought to make their way in a nation and state they helped to create, but in which they had very little ownership, input or power. Panel 5: Reconstruction and the Post Slavery Experience 1865-1900 After emancipation, Blacks in Texas, as in other southern states, became members of a society that was unwilling to accept them as equals. Despite efforts to be included in the fabric of Texas society, violence by hostile groups, the lack of access to courts and the ultimate withdrawal of federal troops resulted in the loss of equal protection under the law. In 1866-1867, Blacks could be arrested if they did not have employment, and once jailed, their labor could be forced. Prisoners, the majority of whom were African-Americans, were leased to contractors as convict laborers. These leased prisoners were used much like slaves, including during the construction of the current State Capitol. Although Blacks did serve on juries, vote and hold office for a few years from the late 1870s until the turn of the 20th century, their rights were constantly threatened at the local level and taken away statewide soon after 1900. During the era of Reconstruction, African-Americans sought to live and prosper in the aftermath of slavery. Fifty-two African-American men served Texas as either state legislative members or Constitutional Convention delegates during the last half of the 19th century. They built communities with churches and schools. Some former slaves served in Texas in four African-American regiments with white officers formed in 1866, the 9th and 10th Cavalry and the 24th and 25th Infantry. Native Americans gave these men the title of “Buffalo Soldiers.” Some African-Americans, including Bob Lemmons, Bill Pickett and Tige Avery became successful cowboys and horse wranglers on many Texas ranches, in part due to skills learned during their years of slavery. Panel 6: Post Reconstruction Challenges and Achievements 1877-1954 The end of Reconstruction proved an uncertain and violent time for African-Americans living in Texas. Riots and lynchings were common occurrences. By the early 20th century, Texas ranked third in the nation for lynching. Violence, however, did not deter Texans of African descent from seeking to improve their economic, political and social status. This period saw major African-American contributions to aviation, sports and the arts--particularly in music. Folk music from the African-Americans in Texas made an important contribution to the development of blues, folk and country music in America. Blacks were barred from attending public schools with Whites in Texas until 1954, when the United States Supreme Court ended public school segregation in the United States. Despite being forced to attend inferior public schools, African-Americans were able to attain higher education at traditionally black colleges including Huston-Tillotson University, Prairie View A&M University, Texas Southern University and Wiley College. During and after World War II, Black Texans played a significant role in advancing Civil Rights. The landmark case Smith v. Allwright (1944) improved the voting rights for African-Americans in the South and Sweatt v. Painter (1950) paved the way for equal access to education by opening the doors of The University of Texas law school to African-American students. More groundbreaking changes followed. African-American voter registration peaked in the 1960s. Activists organized peaceful protests including lunch counter sit-ins, marches and business boycotts. Panel 7: Major Achievements African-American Texans have contributed to the state’s culture, and have gained prominence in a host of fields. Despite the tremendous challenges posed by the institution of slavery, Jim Crow segregation and discrimination, African-Americans overcame and continue to overcome great obstacles to make a place for themselves in the Lone Star State, and are an essential part of Texas history, life and culture. Scott Joplin, a world class composer and pianist, was known as the “King of Ragtime Writers.” Jack Johnson was the first Black heavyweight boxing champion of the world. Bessie Coleman broke historical barriers by becoming the first African-American woman aviator and one of the first licensed female pilots in the world. Navy Mess Attendant Second Class Doris “Dorie” Miller shot down four Japanese warplanes at Pearl Harbor and was awarded the Navy Cross. Barbara Jordan was the first African-American woman elected to the Texas Senate (1966) and later became the first African-American congresswoman from Texas (1972-1978). Congressman Mickey Leland held the office previously occupied by Barbara Jordan and was a champion for equal rights until his untimely death. From exploration of unchartered lands in Texas to exploration of outer space, people of African descent contributed significantly to Texas history. This memorial is dedicated to their struggle and their accomplishments so that both will not be forgotten. Back Panel 1: Battles for Texas Independence from Mexico 1836 Several notable individuals of African descent participated in the battles at the Alamo and San Jacinto in 1836. Joe, slave of William B. Travis, fought at the Alamo and survived. His account of the fighting is one of the most important Alamo narratives. Mack Smith, slave of Ben Fort Smith, and Dick the Drummer, a musician, both participated in the battle of San Jacinto. A story recorded in 1842 by William Bollaert, an Englishman touring Texas, claimed that the Mexican Army probably lost the battle of San Jacinto because of the influence of a mulatto girl named “Emily,” who belonged to Col. James Morgan and was “closeted” in Santa Anna’s tent, detaining him when the Texans charged the Mexican Army camp. No other account of the battle mentions this story, but in 1836 a free woman named Emily D. West, who came to Texas from New York in late 1835, was employed by Col. Morgan as a house worker in New Washington (now Morgan’s Point) on Galveston Bay. Morgan’s settlement was occupied and burned by Santa Anna’s army on April 20, the day before the battle. His servants, unable to escape, were captured by the Mexican Army. Emily, sometimes known as “the Yellow Rose of Texas,” may have been among the prisoners because in 1837, when seeking a passport to leave Texas, she said she had lost her free papers at San Jacinto in April 1836. Back Panel 2: Hendrick Arnold and Samuel McCulloch, Jr. Hendrick Arnold and Samuel McCulloch, Jr. played important roles in the Texas Revolution and the formation of the Republic of Texas. After Texas became independent, both were considered free Blacks, but they were placed under severe legal restrictions. Samuel McCulloch, Jr., who lived near the Lavaca River with his family, has been called “a genuine Texas hero.” McCulloch volunteered to serve in the Texas Army and was wounded at the Battle of Goliad, the only Texan to be injured. After the war in 1837, he petitioned the Republic of Texas for citizenship rights and land. His petition was rejected, but McCulloch performed other military duties for the Republic of Texas, including serving as a spy during the Mexican invasion of San Antonio in 1842. After twenty years of petitioning the Congress of the Republic of Texas and the Texas State Legislature, McCulloch finally received his land in 1858 and settled at Von Ormy in Bexar County, where he farmed and ranched until his death in 1893. Hendrick Arnold’s family resided in San Antonio. In 1835, Arnold and his father-in-law, Erastus Smith, went on a hunting trip. When they attempted to go home, Mexican soldiers, who had since occupied San Antonio, refused to let them return. Subsequently, both Arnold and his father-in-law joined the Texas Army under Stephen F. Austin and worked as soldiers, spies and guides. Arnold became known in military circles as an associate of Sam Houston, an efficient and brave spy, and was cited for his service in the Texas Revolution. With his commendation from the Republic of Texas, he acquired land outside of San Antonio where he is buried today. Back Panel 3: The 21st Century The State of Texas has thrived economically. Early history indicates that the development of the cotton industry, initially dependent on slave labor, as well as the cattle market and the discovery of abundant supplies of oil contributed to this economic wealth. These three profitable industries facilitated Texas’ economic progress. However, such achievements were often at the expense of African-Americans who rarely reaped the benefits of such growth. For 200 years, Texans of African descent struggled for economic, social and political success. They fought to gain access to basic judicial and human rights to secure their enfranchisement and their role in Texas society. In some cases, they achieved some success. In other areas, there is work yet to be done. This Memorial is dedicated to both the struggles and achievements of African-American Texans and the impact of both on the economic and cultural vitality of the State of Texas. Extent The size or duration of the resource. 408 x 324 in. (1036.32 x 822.96 cm) Medium The material or physical carrier of the resource. Granite; Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. “Texas African American History Memorial, Dedication Ceremony, South Lawn Texas Capital, Saturday, November 19, 2016, 10:00 am.” Program (PDF). Accessed April 15, 2019. https://lrl.texas.gov/scanned/blog/aam_program2.pdf. State Preservation Board, Texas Capitol. “Texas African American History Memorial.” Accessed April 15, 2019. https://tspb.texas.gov/prop/tcg/tcg-monuments/21-african-american-history/index.html. Legislative Reference Library of Texas. “New Texas African American Monument.” Accessed April 15, 2019. https://lrl.texas.gov/whatsnew/client/index.cfm/2017/2/14/New-Texas-African-American-Monument. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: Flickr, “<a href="https://www.flickr.com/photos/jpestana/31271259748" title="Texas African American History Memorial: Ed Dwight..." target="_blank" rel="noopener">Texas African American History Memorial: Ed Dwight...</a>” by <a href="https://www.flickr.com/photos/jpestana/" target="_blank" rel="noopener">José Pestana</a>, <a href="https://creativecommons.org/licenses/by-nc-sa/2.0/deed.en" rel="noopener" target="_blank">CC BY-NC-SA 2.0</a> Rights Information about rights held in and over the resource Capitol Historical Artifact Collection, State Preservation Board, 201 East 14th Street, Suite 950 (Sam Houston State Office Building), Austin, Texas, 78711, United States bas-relief bronze Civil War figurative granite https://slaverymonuments.org/files/original/7a209a02b934d468734c38e1d233cdd0.jpg cf3e22d46f30d9288228a02b2b1631ad 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 United States Colored Troops (USCT) Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource Included in this thematic collection are seventeen memorials that honor the vital contributions of the United States Colored Troops (USCT) to the Union victory during the American Civil War. The first all-Black units formed unofficially in Louisiana (Louisiana Native Guard, 1862); South Carolina (First South Carolina Volunteer Infantry, 1862-63); and Kansas (First Kansas Colored Infantry, 1862-63). The first official authorization to employ African Americans in federal service was the Second Confiscation and Militia Act of July 17, 1862. The Confiscation Act allowed Union officers to free enslaved men and put them to work as army laborers. However, Abraham Lincoln did not fully authorize the use of Black men in combat until the issuance of the Emancipation Proclamation on January 1, 1863. Beginning in late January 1863, Governor John A. Andrews of Massachusetts raised the first regiment of Black soldiers in the North, the Massachusetts 54th Volunteer Infantry. The abolitionist Frederick Douglass helped recruit men for the Massachusetts 54th, famously issuing a call to free African American men to join the Union Army. In a speech, “Men of Color, To Arms!”, delivered in Rochester, New York on March 2, 1863, Douglass urged his fellow free men of color to fight for the end of slavery and for their freedom: "By every consideration which binds you to your enslaved fellow-countrymen, and the peace and welfare of your country; by every aspiration which you cherish for the freedom and equality of yourselves and your children; by all the ties of blood and identity which make us one with the brave black men now fighting our battles in Louisiana and in South Carolina, I urge you to fly to arms, and smite with death the power that would bury the government and your liberty in the same hopeless grave." On May 22, 1863, the U.S. War Department issued General Order No. 143, authorizing the creation of the Bureau of Colored Troops. By the end of the Civil War, over 200,000 men, including white officers, served in 175 regiments of the USCT, which made up ten percent of the Union army. The compiled military records of the men who served in the USCT can be found in the National Archives and Records Administration. Updated January 26, 2026 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 The 29th Colored Regiment Monument (New Haven, Connecticut) Subject The topic of the resource Subject (Topic) African Americans--History Connecticut--New Haven Public art Public sculpture United States Colored Troops Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial features a black granite obelisk, partially encircled by eight stone markers featuring the names of the members of the 29th Colored Regiments. The obelisk itself includes images and/or texts on all four sides. The west side features a bronze plaque with a bronze bas-relief that depicts soldiers carrying the flag of the 29th Regiment and the U. S. flag. The plaque also shows the unit’s dates of engagement and the names of those killed in battle or who died of disease. The south side of the obelisk gives a history of the regiment. The east side presents two photographs etched into the granite of Alexander H. Newton and Daniel S. Lathrop, the two members who achieved the unit’s highest rank of sergeant major. The north side includes the work’s dedicatory information. Creator An entity primarily responsible for making the resource Hamilton, Ed, 1947- Date A point or period of time associated with an event in the lifecycle of the resource September 20, 2008 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 Criscuolo Park, Chapel and James Streets, New Haven, Connecticut, 06513, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on the west face of the obelisk: The Connecticut Twenty-Ninth Colored Regiment C.V. Infantry Battle Engagements New Market Road-- October 13, 1864 Darbytown Road--October 13, 1864 Kell House/Fair Oaks-- October 27-28, 1864 Chaffins Farm-- September 29, 1864 Petersburg-- September 24, 1864 Richmond-- September 29, 1863 Officers died of disease: 1 Officer killed or mortally wounded: 1 Enlisted men killed or mortally wounded: 44 Enlisted men died of disease or accident: 152 Inscription on the south face of the obelisk: History of Regiment Recruiting for the 29th Regiment Connecticut Volunteers Colored began early in the autumn of 1863. Most of the men came to the regiment for training at a place called Grapevine Point now called Criscuolo Park. This part is located at East Chapel Street and James Street. The 29th Connecticut Infantry was organized at Fair Haven and mustered in on 8 March 1864. On this date, the regiment was formally mustered into the service of the United States. On March 4th LT. Colonel William B. Wooster, Formerly of the 20th Connecticut Volunteers assumed command of the regiment. On March 19th, the regiment formed in line, and after the presentation of a flag by the Colored Ladies of New Haven, marched on board the transport “Warrior”. On March 10th, the regiment sailed out of the New Harbor and disembarked an Annapolis, Maryland. Service Moved from Beaufort, SC to Bermuda Humored, VA 8-13 August 1864, Siege operations against Petersburg and Richmond 13 August 1864 to 2 April 1864. Inscription on the north face of the obelisk: Dedicated By the Descendants of the Connecticut 29th Colored Regiment C.V. Infantry 2008 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Tedeschi, Bob. "An Honor for Troops Who Withstood Dishonor." New York Times, August 29, 2008. Accessed January 23, 2019. https://www.nytimes.com/2008/08/31/nyregion/nyregionspecial2/31colct.html. Alan Skerrett, Jr, ed. "Monuments to the United States Colored Troops (USCT) [African American Civil War Soldiers: The List." Jubilo! The Emancipation Century Blog, May 30, 2011. Accessed February 11, 2026. https://jubiloemancipationcentury.wordpress.com/2011/05/30/monuments-to-the-united-states-colored-troops-usct-the-list/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://en.wikipedia.org/wiki/29th_Colored_Regiment_Monument#/media/File:29th_Colored_Infantry_Monument_Front1.jpg" target="_blank" rel="noopener">Wikipedia</a> Contributor An entity responsible for making contributions to the resource Descendants of the Connecticut 29th Colored Regiment C.V. Infantry 2008 Rights Information about rights held in and over the resource Arts, Culture & Tourism, City of New Haven, 165 Church Street, 2nd Floor, New Haven, Connecticut, 06510, United States Medium The material or physical carrier of the resource. Black granite bas-relief black granite Civil War inscription names obelisk https://slaverymonuments.org/files/original/227fcca055883a0d10219743558ff0f5.jpg a392acd856e1cb414545e9b0593fe107 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 Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 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 156 in. (396.24 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 Beacon of Hope: Harriet Tubman Monument (Cambridge, Maryland) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Enslaved persons--Emancipation Freedom Maryland--Cambridge Public art Public sculpture Underground Railroad Subject (Name)  Tubman, Harriet, 1822-1913 Subject (Object Type): Commemorative sculpture Description An account of the resource Facing true North, a bronze monument of Harriet Tubman and her younger self, Araminta Ross, stands atop a granite base. With her right foot planted firmly on an oxen yoke, Tubman uses her left foot to propel herself upward. She gazes into the eyes of Araminta Ross, handing her a golden key. Tubman's right hand is raised, encircled by a rose compass—both adorned in gold leaf. Araminta Ross’ hand hovers over the key as she looks up at Harriet Tubman. She is seated atop countless chains and shackles, some open and others closed. The base features rugged steps on either side of the figures, with inscriptions on both the front and back. Parallel to the monument, an open-faced book atop a podium presents an overview of Tubman's life.  The back of the podium features the sculptor Wesley Wofford's description of the monument in his own words. Creator An entity primarily responsible for making the resource Wofford, Wesley, 1972- Source A related resource from which the described resource is derived Photograph: <a href="https://harriettubmanbyway.org/newhtbw/wp-content/uploads/2023/09/DayOfResilience_Sept2022_ByJillJasuta-4023.jpg" target="_blank" rel="noopener">Jill Jasuta</a> Date A point or period of time associated with an event in the lifecycle of the resource September 10, 2022 Contributor An entity responsible for making contributions to the resource Rock of Ages (granite base); William V. Sipple & Son Monuments (base engraving); Alpha Genesis Community Development Corporation (funder); The City of Cambridge (granite base); Dorchester County Government (site preparation) Rights Information about rights held in and over the resource City of Cambridge, 410 Academy Street, Cambridge, Maryland, 21613, 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 Dorchester County Circuit Courthouse, 206 High Street Cambridge, Maryland, 21613, United States Has Version A related resource that is a version, edition, or adaptation of the described resource. Wesley Wofford made a traveling version of this monument without the figure of young Araminta Ross. Instead, Harriet Tubman looks and holds her hand out to the public. See <a href="https://www.slaverymonuments.org/items/show/1246" target="_blank" rel="noopener">Traveling Exibition: Harriet Tubman - The Beacon of Hope</a> in this database. Medium The material or physical carrier of the resource. Bronze; Blue gray granite; Gold leaf; Concrete; Brick 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. “‘Beacon of Hope’ Statue Honors Tubman in Her Homeland.” Harriet Tubman Underground Railroad Byway, May 21, 2024. Accessed August 7, 2024. https://harriettubmanbyway.org/new-beacon-of-hope-harriet-tubman-statue-finds-permanent-home-in-her-homeland/. Miller, Lauren. “The Beacon of Hope Statue Has Been Unveiled.” WBOC, September 10, 2022. Accessed August 7, 2024. https://www.wboc.com/news/the-beacon-of-hope-statue-has-been-unveiled/article_0bb23378-316c-11ed-91b1-8fe4ec0d16d4.html. Extent The size or duration of the resource. 156 in. (396.24 cm) Has Part A related resource that is included either physically or logically in the described resource. Inscription on the front of the base: HARRIET TUBMAN BORN ARAMINTA ROSS 1822 DORCHESTER COUNTY MARYLAND Inscription on the back of the base: ARAMINTA ROSS, ENSLAVED CHILD OF THIS LAND NOURISHED BY THE LOVE OF HER FAMILY FORTIFIED BY HER COMMUNITY AND GOD EDUCATED BY MOTHER NATURE FORGED BY FATHER TIME COURAGES OF HEART, OBSERVER OF INJUSTICE EYES SKYWARD, DESTINY’S KEY IN HAND DAUGHTER OF SLAVERY, NOW HARRIET TUBMAN LEADER TO FREED . . . OUR NORTH STAR Left (verso) page of the inscription on the book atop the Tubman biographical bronze podium: Harriet Tubman (c. March 1822 – March 10, 1913) was an American abolitionist, political activist, liberator, nurse, war hero and human rights advocate. Born Araminta Ross to enslaved parents in Dorchester County, Maryland, she made the treacherous journey north in 1849, hoping to escape slavery and the constant fear of being sold south. She settled in Philadelphia and changed her name to Harriet, after her mother. Soon thereafter, despite the danger, Tubman returned to Maryland to rescue her family. One of her first daring rescues was from here, the site of the Dorchester County Courthouse. She subsequently made at least 13 missions to liberate approximately 70 enslaved people, using a network of antislavery activists and safe houses known as the Underground Railroad. Right (recto) page of the inscription on the book atop the Tubman biographical bronze podium: It was Tubman’s experiences in Dorchester County — both horrific slavery and love of God and family — that were the basis for forming her into the woman she became. Her legacy and her commitment to the ideals of true freedom and equality have made her an icon of courage and determination that is still relevant today. The impetus for this sculpture came during a tumultuous time for our country, a time of heightened social unrest coupled with a deadly pandemic. Yet, in Dorchester County, a grassroots movement arose, uniting a diverse community inspired by our shared admiration and respect for Tubman’s legacy. Two hundred years after Tubman’s birth, we unveiled “The Beacon of Hope” in 2022, celebrating our common experiences and shared values that form a foundation of respect and admiration to build a more equitable future. Inscription on the back of the Tubman biographical bronze podium, artist statement: HARRIET TUBMAN The Beacon of Hope Not far from here, Araminta Ross was struck in the head with a scale counterweight at the Bucktown General Store, an injury she attributed to her having visions. In many ways this event marked the beginning of Harriet Tubman’s own storied journey towards freedom which resulted in the liberation of hundreds of other enslaved people. As young Araminta lifted herself from the ground, she had her first vision of the strong woman she would become. The sculpture depicts Harriet reaching down to help her younger self up and offering her a key to remove the shackle from her little arm. Also, with this “generational key” Araminta unlocked her inner strength to forge her own destiny: the rebirth of Araminta Ross as Harriet Tubman. The oxen yoke is a metaphor for the yoke of slavery and Harriet crushes this broken obstacle to the point of snapping it. It also illustrates Dorchester County’s legendary story of young Minty single handedly steering a team of oxen for her father. The pilled shackles and chains depict all of the lives adversely affected by the scourge of slavery. The open shackles represent those freed by Harriet while the locked ones depict those left behind. The close manacles also symbolize the unfinished work ahead of us essential to achieving a just and equitable future for all. While Harriet used the North Star to navigate out of bondage, she then became the compass rose to the thousands of enslaved who followed her guiding to Freedom — Wesley Wofford, FNSS Sculptor Transcription of audio that plays from QR code on the back of the Tubman biographical bronze podium: Hello, my name is Wesley Wofford. I'm the sculptor of the Beacon of Hope, the statue where you are currently standing. I just wanted to point out a couple of special things about the statue for you to discover as you walk around it. This is an origin story statue of Harriet Tubman, so Araminta Ross was born an enslaved child here in Dorchester County. There was an event in the Bucktown General Store where she was hit in the head with a two-pound weight; and, I invite you to find the two-pound weights lying at her feet; and, in that moment, she was knocked on conscious and she attributes that event to her future visions. She also attributes that event to becoming Harriet Tubman. So this sculpture is about the young Araminta Ross having her first vision and the vision is of her future self giving her the inner strength to forge her own destiny. Look for the key. There's a generational key and it's also a key that will unlock the shackle on her arm. There's lots of symbolism built into the piece, but it's meant so that it can be reinterpreted by the viewers and their own perspectives. I invite you to use your own perspectives to find something meaningful in the sculpture that directly relates to you. The other part of the story of the statue is that Harriet Tubman used the North Star to navigate out of Cambridge to freedom and she later became that North Star for others to follow; thus, the transformation of her hand into the North Star via the symbol of a rose compass, and so she becomes a symbol of strength that we can all draw from two hundred years later. bronze chains concrete figurative granite North Star shackles