14 10 134 https://slaverymonuments.org/files/original/5c9b800bd6480715ba91e2dea5049961.jpeg e8ca09c38aed8517483a725f3b9b970d 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 68.4 in. (173.736 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 Harriet Tubman (second cast) (Gainesville, Georgia) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Georgia--Gainsville Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource The monument depicts Harriet Tubman leading a young African American boy by her left hand and holding a long walking stick in her right. She wears a brimmed hat, a long-sleeve shirt with a shawl wrapped around her neck, and a flowing skirt. As they walk, Tubman peers kindly at the boy, who gazes back at her. The boy wears a vest, long-sleeved shirt, trousers, and laced shoes. Both figures are shown in mid-stride. Creator An entity primarily responsible for making the resource DeDecker, Jane, 1961- Source A related resource from which the described resource is derived Photograph: <a href="https://update.brenau.edu/wp-content/uploads/2016/04/IMG_0007.jpg" target="_blank" rel="noopener">Brenau University</a> Date A point or period of time associated with an event in the lifecycle of the resource 1997 Rights Information about rights held in and over the resource Brenau University, 500 Washington St SE, Gainesville, Georgia, 30501, 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 Thurmond McRae Lecture Hall, Brenau University, 625 Academy Street, Gainesville, Georgia, 30501, United States Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Harriet Tubman and Child Has Part A related resource that is included either physically or logically in the described resource. Inscription on back: "Children if you are tired, keep going. If you're hungry, keep going. If you're scared, keep going. If you want a taste of freedom, keep going." Harriet Tubman Has Version A related resource that is a version, edition, or adaptation of the described resource. First cast: <a href="https://www.slaverymonuments.org/items/show/5" target="_blank" rel="noreferrer noopener">Harriet Tubman, Las Sendas, Mesa, Arizona</a> Extent The size or duration of the resource. 68.4 in. (173.736 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. Wander Woman Project. "Harriet Tubman Statues by Jane DeDecker Across the US." Accessed May 25, 2020. https://wanderwomenproject.com/places/harriet-tubman-statues-by-jane-dedecker-across-the-us/. Vision 2020 Public Arts. "Harriet Tubman and Child." Accessed May 25, 2020. https://www.2030art.com/project-02 (site discontinued). 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 bronze figurative inscription portrait https://slaverymonuments.org/files/original/2c2977390aefc2e66296e96b2719c5a2.jpeg e720bc4638ac33dbc4ea2660cc5e8d81 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 68.4 in. (173.736 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 Harriet Tubman (third cast) (Little Rock, Arkansas) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Arkansas--Little Rock Freedom Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource The monument depicts Harriet Tubman leading a young African American boy by her left hand and holding a long walking stick in her right. She wears a brimmed hat, a long-sleeve shirt with a shawl wrapped around her neck, and a flowing skirt. As they walk, Tubman peers kindly at the boy, who gazes back at her. The boy wears a vest, long-sleeved shirt, trousers, and laced shoes. Both figures are shown in mid-stride. Creator An entity primarily responsible for making the resource DeDecker, Jane, 1961- Source A related resource from which the described resource is derived Photograph: <a href="https://locate.publicartarchive.org/art/Harriet-Tubman?ib=ext" target="_blank" rel="noopener">Public Art Archive</a> Date A point or period of time associated with an event in the lifecycle of the resource 2004 Contributor An entity responsible for making contributions to the resource Dr. Dean Kumpuris, Little Rock Board of Directors, City of Little Rock, Little Rock, Arkansas; John Kinkade, National Sculptors’ Guild at Columbine Gallery, Little Rock, Arkansas; and Peggy and Haskell L. Dickinson (donors), Little Rock, Arkansas. Rights Information about rights held in and over the resource City of Little Rock, 500 W. Markham Street, Little Rock, Arkansas, 72201, 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 764 President Clinton Avenue, Little Rock, Arkansas, 72201, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on back: "Children if you are tired, keep going. If you're hungry, keep going. If you're scared, keep going. If you want a taste of freedom, keep going." Harriet Tubman Has Version A related resource that is a version, edition, or adaptation of the described resource. First cast: <a href="https://www.slaverymonuments.org/items/show/5" target="_blank" rel="noreferrer noopener">Harriet Tubman, Las Sendas, Mesa, Arizona</a> Extent The size or duration of the resource. 68.4 in. (173.736 cm) Medium The material or physical carrier of the resource. Bronze; Concrete base Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Public Art Archive. “Harriet Tubman, Little Rock, Arkansas.” Accessed March 19, 2018. https://locate.publicartarchive.org/art/Harriet-Tubman?ib=ext. Peacock, Leslie Newell. “Forever, Sculpture: Artwork and a City Director, Carve Out a Special Place along Little Rock’s Riverfront.” Arkansas Times, June 15, 2017. Accessed March 19, 2018. https://www.arktimes.com/arkansas/forever-sculpture/Content?oid=7409126. Wander Woman Project. “Harriet Tubman Statues by Jane DeDecker Across the US.” Accessed May 25, 2020. https://wanderwomenproject.com/places/harriet-tubman-statues-by-jane-dedecker-across-the-us/. 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 bronze figurative inscription portrait https://slaverymonuments.org/files/original/919d65fce9e8f33328adc49703e2bec2.jpg cbab4a0d282379255e0a6418607ceb9a 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 22 x 24 in. (55.88 x 60.96 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 Swing Low: Harriet Tubman Memorial (reduced version) (Claremont, California) Subject The topic of the resource <subject topic="" br=""></subject>Antislavery movements--United States California--Claremont Freedom Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Creator An entity primarily responsible for making the resource Saar, Alison, 1956- Description An account of the resource The sculptor Alison Saar created this smaller version of Harriet Tubman based on the full-scale Swing Low: Harriet Tubman Memorial in New York City. 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. She wears a buttoned, long-sleeved shirt and a long skirt, the surface of which is adorned with small raised faces, manacles, and other symbolic elements. Source A related resource from which the described resource is derived Photograph: <a href="https://www.scrippscollege.edu/news/releases/scripps-college-to-dedicate-sculpture-of-harriet-tubman-for-new-sculpture-garden" target="_blank" rel="noopener">Scripps College</a> Date A point or period of time associated with an event in the lifecycle of the resource March 10, 2010 Contributor An entity responsible for making contributions to the resource Installation made possible with gifts from Jacqueline Avant, Carol Vernon, and Robert Turbin Extent The size or duration of the resource. 22 x 24 in. (55.88 x 60.96 cm) Rights Information about rights held in and over the resource Scripps College, 1030 Columbia Avenue, Claremont, California, 91711, 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 Bixby Court, Ruth Chandler Williamson Gallery, 251 E 11 Street, Claremont, California, 91711, United States Medium The material or physical carrier of the resource. Bronze; Stone Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. News Releases. "Scripps College Dedicates Sculpture of Harriet Tubman for New Sculpture Garden." News. Scripps College. Accessed April 1, 2018. http://www.scrippscollege.edu/news/releases/scripps-college-to-dedicate-sculpture-of-harriet-tubman-for-new-sculpture-garden. Video. "Swing Low: Harriet Tubman Sculpture Dedication." Scripps College. Accessed April 1, 2018. <http://rcwg.scrippscollege.edu/blog/2010/03/10/swing-low-harriet-tubman-sculpture-dedication/. "Swing Low: Harriet Tubman Memorial: Installed in College's New Sculpture Garden." Scripps Magazine, Spring 2010. Accessed April 1, 2018. https://issuu.com/scrippscollege/docs/2010-spring1. 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 Has Version A related resource that is a version, edition, or adaptation of the described resource. <a href="https://www.slaverymonuments.org/items/show/12" target="_blank" rel="noreferrer noopener"> Swing Low: Harriet Tubman Memorial, New York City, New York</a> bronze figurative manacles portrait trees https://slaverymonuments.org/files/original/8e7ee1e2c65ce7c49ba8004800293d24.jpg f388f9163ef52cc41b0e6f4af0db2af4 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 First Kansas Colored Volunteer Infantry Statue (Butler, Missouri) Subject The topic of the resource Subject (Topic) African Americans--History Missouri--Butler Public art Public sculpture United States Colored Troops Subject (Object Type) Commemorative sculpture Description An account of the resource The monument depicts a soldier from the First Kansas Colored Infantry during the Battle of Island Mound, which took place on October 28 and 29, 1862. The soldier is shown charging forward, his left foot stepping ahead. His facial expression is grave and tense, with deeply furrowed brows and tightly clenched lips. He grips the barrel of his rifled musket with his left hand and holds the butt with his right. The soldier wears the standard Union army uniform: a forage cap, a light buttoned coat, trousers, and boots. A leather shoulder strap crosses his chest, prominently featuring a circular brass eagle plate prominently at its center. The sculpture stands atop a white granite trapezoidal plinth and base. Creator An entity primarily responsible for making the resource Randell, Joel Date A point or period of time associated with an event in the lifecycle of the resource October 12, 2008 Contributor An entity responsible for making contributions to the resource The Amen Society 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 Bates County Courthouse, 1 North Delaware Street, Butler, Missouri, 64730, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on the base: First Kansas Colored Volunteer Infantry The 1st Kansas Colored Volunteer Infantry fought and won the Battle of Island Mound, also known as The Battle at Fort Toothman on October 28 & 29, 1862 in Charlotte Township approx. 7.5 miles southwest of Butler. It is said to have been the only battle fought on Bates County soil, in which regular U.S. troops were involved. The First Kansas Colored Volunteer Infantry was the first black unit to fight in the Civil War. Reportedly Southern rebels outnumbered the black troops five to one, attacked the fort in fierce hand-to-hand combat ensued. Of the Kansas Infantry's involvement it was written, 'They Fought Like Tigers.' First Kansas Colored Volunteer Infantry They Fought Like Tigers Founded & Organized by The Amen Society Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Medium The material or physical carrier of the resource. Bronze Source A related resource from which the described resource is derived Photograph: <a href="https://www.waymarking.com/waymarks/WMNJHT_First_Kansas_Colored_Volunteer_Infantry_Monument_Butler_Missouri" target="_blank" rel="noopener">Waymarking</a> 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/. Rights Information about rights held in and over the resource City of Butler Missouri, 22 West Ohio, Butler, Missouri, 64730, United States bronze Civil War figurative granite inscription