14 10 134 https://slaverymonuments.org/files/original/1de4473a723c03e56a7ba5710f3f05ba.jpg 4e9edb22c90a0f3d5975e25c9f70023d 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 Traveling Exhibition: Harriet Tubman - The Beacon of Hope (Cape May, New Jersey) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Enslaved persons--Emancipation Freedom New Jersey--Cape Mary Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource A bronze sculpture of Harriet Tubman stands firmly atop an oxen yoke. She stares into the eyes of the viewer, offering a golden key. Her right hand is raised, encircled by a rose compass—both adorned in gold leaf. Underneath the yoke lie countless chains and shackles, some open, others closed. The base features inscriptions on the front and back, bearing her name and the title of the work. In many of the cities, the monument is accompanied by a plaque featuring a quote by Harriet Tubman and Wesley Wofford’s artist statement. Created in 2023, the monument was designed to travel across the United States. Since then, it has been displayed at the Cape May Point Arts and Science Center in Cape May, New Jersey (2023); the Government Office Building in Salisbury, Maryland (2023-2024); City Hall Plaza in Rahway, New Jersey (2024); the National Underground Railroad Freedom Center in Cincinnati, Ohio (2024); the corner of Central Avenue and North Division Street in Peekskill, New York (2024); and the John Brown Farm State Historic Site in Lake Placid, New York (2024), with more locations planned in 2024 and beyond. For the sake of clarity, CMSP has decided to document this monument only once, based on the information from its initial showing. Creator An entity primarily responsible for making the resource Wofford, Wesley, 1972- Date A point or period of time associated with an event in the lifecycle of the resource September 1, 2023 Rights Information about rights held in and over the resource Wesley Wofford, Wofford Sculpture Studio, P.O. Box 2927, Cashiers, North Carolina 28717, 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 101 Lehigh Ave, Cape May Point, New Jersey, 08212, United States Has Version A related resource that is a version, edition, or adaptation of the described resource. Wesley Wofford made a permanent version of this monument, bearing the same name. Located in front of the Dorchester County Courthouse in Cambridge, Maryland, the permanent monument includes a figure of young Araminta Ross beside Harriet Tubman. See <a href="https://www.slaverymonuments.org/items/show/1244" target="_blank" rel="noopener">Beacon of Hope: Harriet Tubman Monument</a> in this database. Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Wofford, Wesley. “Harriet Tubman - The Beacon of Hopw - Wofford Sculpture Studio.” Accessed August 13, 2024. https://www.woffordsculpturestudio.com/exhibitions/harriet-tubman-the-beacon-of-hope. "Beacon of Hope Sculpture." Cape May Point Arts and Science Center. https://www.capemaypointsciencecenter.org/beacon-of-hope-sculpture. 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: THE BEACON OF HOPE Inscription on the back of the base: HARRIET TUBMAN Beside the monument, a plaque reads: HARRIET TUBMAN - THE BEACON OF HOPE "I WAS THE CONDUCTOR OF THE UNDERGROUND RAILROAD FOR EIGHT YEARS, AND I CAN SAY WHAT MOST CONDUCTORS CAN'T SAY—I NEVER RAN MY TRAIN OFF THE TRACK AND I NEVER LOST A PASSENGER." — HARRIET TUBMAN Artist Statement - Wesley Wofford, FNSS "HARRIET TUBMAN-THE BEACON OF HOPE DEPICTS THE TRANSFORMATION OF TUBMAN FROM HER DIFFICULT ORIGINS TO BECOMING A SYMBOL OF FREEDOM AND AN AMERICAN ICON. SHE IS A FREE WOMAN REACHING DOWN WITH AN ENCOURAGING HAND TO THE VIEWER, AND UPON CLOSER INSPECTION, THE VIEWER DISCOVERS A GOLDEN KEY IN HER HAND. THIS "GENERATIONAL KEY" INSPIRES VIEWERS TO REACH WITHIN THEMSELVES TO UNLOCK THE INNER STRENGTH TO FORGE THEIR OWN DESTINY JUST AS TUBMAN DID. THE OXEN YOKE IS A METAPHOR FOR THE YOKE OF SLAVERY AND SHE CRUSHES THIS BROKEN OBSTACLE TO THE POINT OF SNAPPING IT. IT ALSO ILLUSTRATES THE LEGENDARY STORY OF YOUNG ARAMINTA SINGLE HANDEDLY STEERING A TEAM OF OXEN FOR HER FATHER. THE PILED SHACKLES AND CHAINS DEPICT ALL OF THE LIVES ADVERSELY AFFECTED BY THE SCOURGE OF SLAVERY. THE OPEN SHACKLES REPRESENT THOSE FREED BY TUBMAN AND OTHERS ON THE UNDERGROUND RAILROAD, WHILE THE LOCKED ONES DEPICT THOSE NOT LIBERATED UNTIL AFTER THE CIVIL WAR. THE CLOSED MANACLES ALSO SYMBOLIZE THE UNFINISHED WORK AHEAD OF US ESSENTIAL TO ACHIEVING A JUST AND EQUITABLE FUTURE FOR ALL. WHILE TUBMAN USED THE NORTH STAR TO NAVIGATE OUT OF BONDAGE, SHE THEN BECAME THE COMPASS ROSE TO THE THOUSANDS OF ENSLAVED WHO FOLLOWED HER GUIDING LIGHT TO FREEDOM. THE BEACON OF HOPE IS A MONUMENT THAT TELLS HARRIET TUBMAN'S STORY, SO THAT ALL MAY LEARN FROM IT; THAT AMPLIFIES HER MESSAGE OF EQUALITY, SO THAT ALL MAY HEAR IT; AND THAT CHRONICLES HER JOURNEY, WITH THE HOPE THAT WE ALL FIND THE INSPIRATION AND THE COURAGE TO WALK IN HER FOOTSTEPS." Source A related resource from which the described resource is derived Photograph by <a href="https://www.drba.net/sites/default/files/2023-10/beacon_of_hope_by_frank_scott.jpg" target="_blank" rel="noopener">Frank Scott</a>, Delaware River & Bay Authority bronze chains figurative North Star shackles https://slaverymonuments.org/files/original/24240a1961b0c15a570faaad83d6c688.jpg 83a96d82795559ddc3a6b7bb927dacb9 https://slaverymonuments.org/files/original/b6ac4fd81e859f1eef3e54c121865723.jpg 953b7ad296e8cdbef002e5df4519e4f6 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 93.6 in. (237.74 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 Frederick Douglass (Hillsdale, Michigan) Creator An entity primarily responsible for making the resource Wolfe, Bruce, 1941-2022 Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Michigan--Hillsdale Public art Public sculpture Underground Railroad Subject (Name) Douglass, Frederick, 1818-1895 Subject (Object Type) Commemorative sculpture Description An account of the resource Located on Hillsdale College’s Liberty Walk, the bronze statue of Frederick Douglass is the first African American figure to be included on the Liberty Walk. The bearded Douglass clasps his hands around a book, his torso turning gently leftward as he shifts his weight to his left leg. Source A related resource from which the described resource is derived Photograph: <a href="https://www.brucewolfe.com/frederick-douglass/" target="_blank" rel="noopener">Bruce Wolfe Ltd.</a> Date A point or period of time associated with an event in the lifecycle of the resource May 12, 2017 Contributor An entity responsible for making contributions to the resource Hillsdale College (President Larry Arnn) and James Nagy (benefactor). Rights Information about rights held in and over the resource Hillsdale College, 33 E College Street, Hillsdale, Michigan, 49242, 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 Lane Hall, Liberty Walk, Hillsdale College, 33 E College Street, Hillsdale, Michigan, 49242, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque on granite base: Frederick Douglass Dedicated May 11, 2017, in proud recognition of the speech given at Hillsdale College by Frederick Douglass on January 11, 1863 "Neither law, learning, nor religion, is addressed to any man’s color or race. Science, education, the Word of God, and all the virtues known among men, are recommended to us, not as races, but as men. We are not recommended to love or hate any particular variety of the human family more than any other. Not as Ethiopians; not as Caucasians; not as Mongolians; not as Afro-Americans, or Anglo-Americans, are we addressed, but as men. God and nature speak to our manhood, and to our manhood alone. Here all ideas of duty and moral obligation are predicated." —Blessing of Liberty and Education—September 3, 1894 With Gratitude to Mr. James Nagy in Memory of his beloved Wanda Nagy Dr. and Mrs. Larry Arnn Bruce Wolfe—Sculptor Medium The material or physical carrier of the resource. Bronze; Granite Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Extent The size or duration of the resource. 93.6 in. (237.74 cm) Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Hillsdale College. "Frederick Douglass: A Brief History."  Accessed May 24, 2020. https://www.hillsdale.edu/frederick-douglass/. Hillsdale College. "Hillsdale College Unveils Statue of Frederick Douglass." Accessed May 24, 2020. https://www.hillsdale.edu/news-and-media/press-releases/hillsdale-college-unveils-statue-frederick-douglass/. Hillsdale College. "A Man Worth Emulating: Frederick Douglass Statue Dedicated on Hillsdale's Liberty Walk." Accessed May 24, 2020. https://www.hillsdale.edu/hillsdale-blog/hillsdale-magazine/worth-emulating-frederick-douglass/. Wolfe, Bruce. "Frederick Douglass, Statue Unveiling at Hillsdale College." Accessed May 24, 2020. https://www.brucewolfe.com/frederick-douglass/. book bronze figurative granite portrait https://slaverymonuments.org/files/original/79dbb3250a9613ab576f7b6c91f18367.jpeg 7c64c9087e25f85e2726b5ca979690ed 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 Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. 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 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 Neg Mawon Emancipation Monument (Roseau, Dominica) Subject The topic of the resource Subject (Topic) Dominica--Roseau Enslaved persons--Emancipation--Dominica Freedoom Maroons--Dominica Public art Public sculpture Slavery--Dominica Slavery--England Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Standing resolutely forward, the muscular figure of a shirtless self-emancipated man ('neg mawon'), with broken shackles and chains around his wrists and neck, holds a conch shell to his lips. The bronze figure, located in the center of a traffic circle, celebrates the self-emancipated (maroon) societies that engaged in a sustained struggle against slavery and French colonialism. The work was unveiled during Dominica’s 2013 Emancipation Celebrations. Creator An entity primarily responsible for making the resource Zamora, Franklyn Date A point or period of time associated with an event in the lifecycle of the resource August 1, 2013 Contributor An entity responsible for making contributions to the resource Government of the Commonwealth of Dominica; Ministry of Culture; National Cultural Council. 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 Turkey Lane and Victoria Street, Roseau, Dominica Has Part A related resource that is included either physically or logically in the described resource. Plaque next to monument: This monument is a symbol of freedom and emancipation. It is a tribute to all the enslaved Africans who suffered and were executed in the history of Dominica. It honours the Maroons who risked their lives to fight for the emancipation of all. It pays homage to those who were sold and executed at the Old Roseau Market and who were held at the Barracoon Building in Roseau before being sold and sent to the plantations. This monument salutes the memory of our African ancestors and the immense contribution of their skills to our early infrastructure and the development of agriculture in Dominica through the shedding of their blood, sweat and tears. It celebrates the powerful and lasting influence which our which our African ancestors had on Dominica's present day culture, especially in our forms of music, language, costumes and cuisine. This memorial is a reminder to all Dominicans that we should continue to sustain our African heritage and its many cultural expressions. Extent The size or duration of the resource. 84 in. (213.36 cm) 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: Ariane Colenbrander, <a href="https://www.flickr.com/photos/arianec/49267300456/in/album-72157712340816712/" target="_blank" rel="noopener">Flickr</a> 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. Dominica News Online. "Emancipation Statue Unveiled." August 2, 2013. Accessed February 15, 2025. https://dominicanewsonline.com/news/homepage/news/culture/emancipation-statue-unveiled/. Government Information Service. "Emancipation Monument Officially Unveiled." Government of the Commonwealth Dominica. August 6, 2013. Accessed February 15, 2025. https://news.gov.dm/news/news-items/emancipation-monument-officially-unveiled. Rights Information about rights held in and over the resource Government of the Commonwealth of Dominica, Government Headquarters, Kennedy Avenue, Roseau, Commonwealth of Dominica. bronze figurative inscription manacles seashell https://slaverymonuments.org/files/original/405fbbd7e71c57c5cde5f476d3ca458b.jpeg 2cd08776795ac9da4fd6fdbcdc1e135a 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 Sites of Slavery Creator An entity primarily responsible for making the resource Written by Renée Ater Description An account of the resource For this thematic grouping, sites of slavery are designated as historic places (including plantations, wharves, archaeological sites) where "slavery happened" and that commemorate enslaved Africans, their lives, and their labor. We include sites that act as memorials and often have sculpture, public art, or monuments located on their grounds.  Founded in 2014 as a museum, the <a href="https://www.slaverymonuments.org/items/show/1218" target="_blank" rel="noopener">Whitney Plantation</a> educates the public about the history of slavery in Louisiana and the brutal production of sugar along the Mississippi River, between New Orleans and Baton Rouge. The historic plantation complex comprises twelve historic structures including slave cabins, a kitchen, a jail, and the main house. This site of slavery includes four memorials: The Wall of Honor, Allées Gwendolyn Midlo Hall, The Field of Angels, and the 1811 German Coast Uprising Memorials. Other sites of slavery include the <a href="https://www.slaverymonuments.org/items/show/1144" target="_blank" rel="noopener">ACTe Mémorial </a>in Pointe-à-Pitre, Guadaloupe, a memorial building and museum on the site of a former sugar plantation; the <a href="https://www.slaverymonuments.org/items/show/1164" target="_blank" rel="noopener">Valongo Wharf</a>, an archaeology site in Rio de Janeiro, Brazil, that was the debarkation point of an estimated 900,000 enslaved Africans; and the <a href="https://www.slaverymonuments.org/items/show/1152" target="_blank" rel="noopener">Mémorial de l'abolition de l'esclavage</a> in Nantes, France, on the Quai de la Fosse along the Loire River, the symbolic departure point of slave ships that sailed from France to Africa. Additional sites to be added include the Freedom Monument Sculpture Park along the Alabama River in Montgomery, Alabama, and the African Ancestors Memorial Garden at the International African American Museum located on Gadsden’s Wharf in Charleston, South Carolina. Note: All sites of slavery in West Africa can be found under the theme of the <a href="https://www.slaverymonuments.org/collections/show/14" target="_blank" rel="noopener">Transatlantic Slave Trade/Middle Passage.</a> Updated January 26, 2026 Contributor An entity responsible for making contributions to the resource Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Archaeological site 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 Cais do Valongo (Rio de Janeiro, Brazil) Subject The topic of the resource Subject (Topic) Brazil--Rio de Janeiro Enslaved persons Slavery--Brazil Slavery--Portugal Transatlantic slave trade Subject (Object Type) Archaeological site Description An account of the resource As the last nation in the Americas to officially abolish slavery in 1888, historians estimate that of the approximately 10.7 million enslaved persons brought to the Americas, as many as 50 percent arrived in Brazil. Valongo was the debarkation point for an estimated 900,000 enslaved Africans. In July 2007 the United Nations Educational, Scientific, and Cultural Organization added the wharf to its World Heritage List. The site consists of a number of archaeological layers, the lowest of which are the remains of the Valongo Wharf’s floor pavings. The bodies of the enslaved who died upon arrival in Brazil were burned, and chopped-up bones were buried in mass graves on a site near the wharf. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Jornal do Comércio Square, Av. Barão de Tefé - Saúde, Rio de Janeiro - RJ, 20220-460, Brazil Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. UNESCO. "Valongo Wharf Archaeological Site." Accessed May 28, 2019. https://whc.unesco.org/en/list/1548. Querin, Camilla. "An Antidote for Social Amnesia: The Memory Space of the Cais do Valongo." Smarthistory. Accessed February 15, 2025. https://smarthistory.org/memory-space-cais-valongo/. Angeleti, Gabriella. "Valongo Wharf--Historic Hub of Brazil's Slave Trade--Opens Following Overdue $400,000 Renovation." Art Newspaper, January 4, 2024. Accessed February 15, 2025. https://www.theartnewspaper.com/2024/01/02/valongo-wharfhistoric-hub-of-brazils-slave-tradeopens-to-the-public-following-overdue-400000-renovation. Chuva, Màrcia, Leila Bianchi Aguiar, and Brenda Coelho Fonseca. "Sensitive Memories at a World Heritage Site: Silencing and Resistance at the Valongo Wharf." In Decolonizing Global Heritage, eds. Britta Timm Knudsen, John Oldfield, Elizabeth Buettner, and Elvan Zabunyan, 175-192. Routledge, 2022. 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/wagnertamanaha/11381354915/in/photolist-W8RDRL-ikJr3Y-ikJqia-iwRo36-iwR3za-iwRwSk-YbicD9-iwKagt-iwQY5Z-iwRChD-iwRhg7" target="_blank" rel="noopener">"Cais do Valongo -- Rio de Janeiro (Brazil) 2013" by Wagner Tamanaha, CC BY-SA 2.0</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1811-1831 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 Archaeological Site Rights Information about rights held in and over the resource Rio de Janeiro City Hall, Rua Afonso Cavalcanti, 455 - Cidade Nova, 20211-110, Brazil Medium The material or physical carrier of the resource. Paving stone Has Part A related resource that is included either physically or logically in the described resource. Plaque: Patriomonio Cultural Carioca Circuito da Herança Africana Foi construido em 1811 para o desembarque e comércio de africanos escravizados. Remodelado em 1843 como Cais da Imperatriz, foi alerrado em 1911 para dar lugar a Praça do Comércio. Em 2011 foi redescoberto nas obras do Porto Maravilha. English translation: Built in 1811 for the disembarkation and trade of enslaved Africans. Remodeled in 1843 as the 'Cais da Imperatriz,' it was demolished in 1911 to make way for the 'Praça do Comércio.' In 2011, it was rediscovered during the Porto Maravilha works. archaeology