2 10 134 https://slaverymonuments.org/files/original/69b984947b3732c2834c69dcdd9e11bd.jpg 5e307ca5a1f1c59eb06987d3514eef9f 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 Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and 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 Atorkor Slave Trade Memorial (Atorkor, Ghana) Subject The topic of the resource Subject (Topic) Enslaved persons Ghana--Atorkor Slave market Slavery--Ghana Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial is located in the coastal Ghanaian district of Anlo, once known for its substantial involvement in the slave trade. A high-walled circular enclosure with a small wooden door, which serves as a narrow entrance, leads the viewer to the central feature of the memorial: a life-size sculptural group of a tall European slave-trader brandishing a whip over two kneeling African figures. The African figures, dressed in traditional garb, are chained at the neck. The interior walls of the monument are embellished with a narrative frieze illustrating a well-known local legend about a white trader who lived in Atorkor and the young men and women from the village who were deceived by the cunning trader and sold into slavery. 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 Keta District Tourism Development Committee; Keta Municipal Assembly; Anlo Traditional Council; Atorkor Development Foundation (ADF); National Tourism Development Committee 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 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Okudzeto, Senam. "Emotive Histories: The Politics of Remembering Slavery in Contemporary Ghana." Atlantic Studies 9, no. 3 (2012): 337-61. Akyeampong, Emmanuel. "History, Memory, Slave-Trade and Slavery in Anlo (Ghana)." Slavery and Abolition 22, no. 2 (2010): 1-24. 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.flickr.com/photos/atorkor/5569821868/in/photolist-9ubMZw-d2ykwh-9uaUwM-9uaYde-9udZaN-9udYEE-9udZjS-9uaU18-9uaRSF-9udWk1-9udN8A-9uaQKT-9ubNwC-9udXKY-9u8RvV-9u9bMP-9uc74G-9uaSYB-9uaRgc-9uaUH8-9uaUkR-9udUdf-9uaKe2-9uaJHc-9ubQVL-9ucdFL-9u8QYt-9u99ZT-9ubT6Q-9uaYog-9uc7BG-9FHCYT-9FHDet-9FHDi6-9FLzp9-9FHCUM-9FHCSP-9FHDbZ-9FHD8T-9FLzvs-9FHDma-9FLz8u-9FHD22-9FLze5-9FHD5t-9uc9SA-9u82Dt-9dqvhU-94gqXu-9dnjNn" target="_blank" rel="noopener">Flickr, Atorkor Village</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Atorkor Vocational Technical Institute, Alonga District, Atorkor, Ghana Medium The material or physical carrier of the resource. Concrete (?); Pigment Creator An entity primarily responsible for making the resource Unknown Rights Information about rights held in and over the resource Keta Municipal Assembly, WX2Q+5QJ, Keta, Ghana figurative manacles https://slaverymonuments.org/files/original/1d16606325ed2abe55fbfd83f5f49a13.jpg 0d0a8dd7c1fc0fe92a50171a6864a741 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Baldwin Hall Memorial (Athens, Georgia) Subject The topic of the resource Subject (Topic) Cemeteries--Georgia Enslaved persons Slavery--Georgia University of Georgia Subject (Object) Commemorative sculpture Description An account of the resource The Baldwin Hall Memorial at the University of Georgia in Athens includes "a circular form for the memorial plaza, creating a focal point that will serve as a place of contemplation to honor and respect these individuals; an elevated fountain in the center of the memorial plaza; a granite marker, purposefully designed with elements similar to a marker at Oconee Hill Cemetery, which includes text about the memorial; two granite benches facing the granite marker; and vertical elements that will create a sense of ascension and will provide visibility from the street. . . . The remains of the individuals were first discovered during construction of an addition to Baldwin Hall in November 2015. They were reinterred at Oconee Hill Cemetery in March 2017, in accordance with guidance from the State Archaeologist’s Office. The university also held a memorial service at Oconee Hill Cemetery to commemorate their lives, and a granite marker was placed at the gravesite. Acknowledgment in the form of a plaque also was placed inside the new entrance of the Baldwin Hall addition.” –University of Georgia, https://news.uga.edu/memorial-dedicated-baldwin-hall/ Creator An entity primarily responsible for making the resource Baldwin Hall Memorial Advisory Task Force Source A related resource from which the described resource is derived Photograph: <a href="https://medium.com/@carsen.christy/the-bones-beneath-uga-baldwin-hall-a-controversy-still-ongoing-eight-years-later-ae6eeaea6936" target="_blank" rel="noopener">Carsen Christy, Medium</a> Date A point or period of time associated with an event in the lifecycle of the resource November 16, 2018 Contributor An entity responsible for making contributions to the resource Millie Long Estate Quarry (granite); Baldwin Hall Memorial Advisory Task Force: Alicia Battle, Director for Workforce Development at Goodwill of North Georgia and Chair of the Clarke County Mentor Program; Dawn Bennett-Alexander, Associate Professor of Employment Law and Legal Studies; Paige Carmichael, Professor of Veterinary Pathology; Michelle Cook, Vice Provost for Diversity and Inclusion and Strategic University Initiatives (Chair); Gwynne Darden (Ex Officio), Associate Vice President for Facilities Planning; Dexter Fisher, Director of Services in the Facilities Management Division; Ammishaddai Grand-Jean, President of the Student Government Association; Mike Hamby, Athens-Clarke County Commissioner for the 10th District; Lawrence Harris, Director of the Athens Community Career Academy with the Clarke County School District; Kathy Hoard, Former Clarke County Commissioner; Meredith Gurley Johnson, Executive Director of the UGA Alumni Association; The Honorable Steve Jones, U.S. District Court Judge for the Northern District of Georgia; The Rev. Benjamin Lett, Pastor of the Hill Chapel Baptist Church; Charlie Maddox, Athens Rotary Club President and Member of the Athens Housing Authority Board of Commissioners; Alison McCullick, UGA Director of Community Relations; Arthur Tripp, Assistant to the President of UGA; Victor Wilson, Vice President for Student Affairs; and Henry Young, Kroger Associate Professor of Clinical and Administrative Pharmacy and President of the Black Faculty and Staff Organization. Rights Information about rights held in and over the resource University of Georgia, Athens, Georgia, 30602, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Baldwin Hall, University of Georgia, 355 S Jackson Street, Athens, Georgia, 30602, United States Medium The material or physical carrier of the resource. Granite Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. “UGA Finalizes Baldwin Hall Memorial.” UGA Today, August 21, 2018. Accessed March 4, 2026. https://news.uga.edu/uga-finalizes-baldwin-hall-memorial/. “Memorial Dedicated at Baldwin Hall.” UGA Today, November 16, 2018. Accessed March 4, 2026. https://news.uga.edu/memorial-dedicated-baldwin-hall/. Grady Newsource. “UGA Student Government Approves Resolution to Honor Enslaved Peoples at Chapel Bell.” March 25, 2019. Accessed March 4, 2026. https://gradynewsource.uga.edu/uga-student-government-approves-resolution-to-honor-enslaved-peoples-at-chapel-bell/. “The Baldwin Hall Controversy.” UGA & Slavery. Accessed March 4, 2026. https://slavery.ehistory.org/baldwin-hall. Carsen, Christy. “The Bones Beneath UGA Baldwin Hall: A Controversy Still Ongoing Eight Years Later.” Medium, October 19, 2023. Accessed March 4, 2026. https://medium.com/@carsen.christy/the-bones-beneath-uga-baldwin-hall-a-controversy-still-ongoing-eight-years-later-ae6eeaea6936. University of Virginia. "Universities Studying Slavery." President's Commission on Slavery and the University. https://slavery.virginia.edu/universities-studying-slavery/. Wilder, Craig Steven. Ebony and Ivy: Race, Slavery, and the Troubled History of America's Universities. Bloomsbury Publishing, 2014. Has Part A related resource that is included either physically or logically in the described resource. Granite memorial block: In memory of the unknown individuals interred in this area during the 19th century, on land that was part of the Old Athens Cemetery. In 2015 remains were discovered during the construction of the Baldwin Hall addition. The vast Majority of the remains identified were those of men, women, and children of African descent, most likely slaves or former slaves. Upon guidance of the State of Georgia, they were reinterred at the Oconee Hill Cemetery. The University recognizes the contributions of these and other enslaved individuals and honors their legacy. May they continue to rest in peace. columns fountain granite inscription https://slaverymonuments.org/files/original/1da4af73f64d430d673c799eea793338.jpeg 2c89316a1c15f54cb0d5500fbcb39885 https://slaverymonuments.org/files/original/dadbed17e1b9aa8d6cfd43521ea52c89.jpeg ba2f6b65d2c1f778251268d4f470ebfb https://slaverymonuments.org/files/original/dae99574dbb8f525f6470c09fd926cc4.jpeg f0637698787987ee82b2a45bd8acf708 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Brigade Monument (Cincinnati, Ohio) Subject The topic of the resource Subject (Topic) African Americans--History Black Brigade of Cincinnati Ohio--Cincinnati United States--History--Civil War, 1861-1865 Subject (Name) Dickson, William Martin, 1827-1889 Jones, Marshall P. H., 1826-1891 Subject (Object) Commemorative sculpture Description An account of the resource This monument consists of three life-size bronze sculptural groupings, relief panels detailing the history of the Black Brigade of Cincinnati, and the 718 names of the soldiers of the Black Brigade etched in the pink granite beneath the bas-reliefs. The first sculptural group consists of a bronze wooden desk with an accompanying chair. Atop the desk is a copy of the Cincinnati Daily Gazette from September 2, 1862. The headline reads: “TO ARMS! Mayor George Hatch Calls for the Defense of Cincinnati!” Engraved on the wall behind this sculptural group are the words: “THE BLACK BRIGADE OF CINCINNATI.” The second bronze sculptural group, Mothers and Children Anxiously Awaited Return of Their Loved Ones by Carolyn Manto, depicts a mother sitting on the ground with her left arm resting on her propped leg. She holds a young Black boy in her right arm. The boy looks at his mother as he points his right finger forward. The third bronze sculptural group features two men—Black Brigade member Marshall P.H. Jones in uniform and Colonel William M. Dickson. As they face each other, the two men’s hands overlap as Jones presents a ceremonial sword to the Colonel. Creator An entity primarily responsible for making the resource Hebenstreit, John, 1972- Manto, Carolyn, 1979- Source A related resource from which the described resource is derived Photographs: <a href="https://www.hmdb.org/m.asp?m=244949" target="_blank" rel="noopener">Historical Marker Database</a> Date A point or period of time associated with an event in the lifecycle of the resource September 9, 2012 Contributor An entity responsible for making contributions to the resource Design and Art: Jan Brown Checco, Erik Brown, Tyrone Williams, and Sasaki Associates. Sponsors: Honorable Mr. William Mallory Sr. and Cincinnati Park Board. Funding: Carol Ann and Ralph V. Haile, Jr., US Bank Foundation, City of Cincinnati, Cincinnati Parks Foundation, and U.S. Department of Housing and Urban Development. Foundry: Casting Arts Technology Rights Information about rights held in and over the resource Cincinnati Parks Foundation, 421 Oak Street, Cincinnati, Ohio, 45219, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Smale Riverfront Park, 8 West Mehring Way, Cincinnati, Ohio, 45202, United States Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Cincinnati Parks Foundation. “Art in Your Parks: Black Brigade Monument- Cincinnati Parks Foundation.” April 6, 2021. Accessed October 10, 2024. https://cincinnatiparksfoundation.org/art-in-your-parks-black-brigade-monument/. National Underground Railroad Freedom Center. “The Black Brigade of Cincinnati. Accessed October 10, 2024. https://freedomcenter.org/black-brigade/. Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque for Carolyn Manto statue: Mothers and Children Anxiously Awaited the Return of Their Loved Ones Sculpture by Carolyn Manto Bronze plaque for John Hebenstreit statues: Colonel William Dickson Receives a Sword from the Black Brigade Sculpture by John Hebenstreit Inscription on dedication plaque: This monument to the Black Brigade of Cincinnati was conceived and realized by the following team: Sponsors Honorable William Mallory Sr. Cincinnati Park Board Design & Art Team Jan Brown Checco, Erik Brown, John Hebenstreit, Carolyn Manto, Tyrone Williams and Sasaki Associates Funding Carol Ann and Ralph V. Haile, Jr. and US Bank Foundation, City of Cincinnati, Cincinnati Parks Foundation, U.S. Department of Housing and Urban Development "Cincinnati educator Peter Clark was commissioned by the Black Brigade to document their story. This made it clear to me that the Brigade wished for future generations to know about their contribution to the Defense of Cincinnati. I am pleased that this monument was created by the Cincinnati Park Board and the Cincinnati Parks Foundation." --William L. Mallory Sr., Former Majority Floor Leader Ohio House of Representatives Inscriptions on eleven bronze plaques along the relief wall: White Volunteers Enlist to Defend Cincinnati Thousands of local men report to volunteer to help build and defend fortifications in Cincinnati and Northern Kentucky. They are joined by twelve thousand volunteer militia from all over the state of Ohio. Asking if they can serve, Cincinnati's African American residents are told they are not welcome to participate in home defense. The word on the street: "Stay away! This is a white man's war." Black Men are Taken from Their Homes The locally organized Provost Guard decides to forcibly press black men into service by whatever means necessary. Hundreds of Cincinnati's black residents are dragged from their homes and marched off like felons, but to where and for what, none can tell. Families are left to wait and worry. Hundreds of Black Men Await Their Fate on the Banks of the Ohio Herded into mule pens, the prisoners seat themselves on the shaded side of the yard on blocks of wood and piled up bricks. William Homer, captain of the conscription squads, orders all to rise, marches them to the Ohio River northern banks, and orders them to squat. He tells the guard, “Shoot the first one who rises.” Cincinnati Daily Gazette Wednesday Morning, September 3, 1862 The Press Reports the Abuse of Black Men Reading about the abuse of black men in the morning paper, Judge William M. Dickson goes to see General Wallace who made at the same moment, "…the order commanding him to take charge of the colored people in Cincinnati, Covington and Newport, directing all officers to obey him accordingly." The Gazette alone protests these warrantless arrests of free black men, denied the dignity of voluntary service in defense of freedom. Union General Lew Wallace Sends Dickson to Reverse the Action Colonel Dickson rides directly to Fort Mitchel to organize the black laborers, and brutality gives way to fair treatment. The men are immediately returned to their homes to allay the fears of their families and to prepare themselves for voluntary service. Those who are willing are asked to report at five o'clock the next morning to return to work on the fortifications. Black Men Muster into Service On Friday morning over seven hundred men report for duty, three hundred more than had been previously abducted by the Provost Guard. Glowing with enthusiasm, they march cheerfully to their duty. Receiving the treatment of men, they are ready for anything. Ready for Departure, the Volunteers Are Given a Flag I have the kind permission of your commandant, Colonel Dickson, to hand you this national flag - to encourage and cheer you on to duty. The duty of the hour is work - hard, severe labor on the fortifications of the city. Let it be cheerfully undertaken. Men of the Black Brigade, rally around your flag! Assert your manhood, be loyal to duty, be obedient, hopeful, patient. Slavery will soon die; There will then be a land of the free - one destiny. - Captain James Lupton The Works of the Black Brigade "Their work has been entirely voluntary. Wherever they appear they are cheered by our troops. One of the companies is officered by white captains, the others by black volunteers. The latter proved so decidedly superior that both regiments will hereafter be commanded by officers of their own race." - from a letter in the Cincinnati Herald The Best Defense: Be Prepared Confederate troops arrived at the line of defense on September 11 They discovered the fortifications, and 70,000-armed defenders. Deciding not to attack, they withdrew on September 13. Returning Home in Glory The men with happy hearts, with the good will of soldier and citizen, returned to the city and were dismissed to their homes. And thus closed, in joy and happiness, a service that had been commenced with violence, in anxiety and gloom. --Colonel William Dickson Presenting a Sword to Colonel Dickson Sir, the members of the Black Brigade deeply thank you for the great interest you have taken in our welfare, for your collecting all of the working parties into one brigade, for the kindness you have manifested to us in these trying times. As a small expression of the high esteem of the members of the Black Brigade, they all, each and every one, present you with this sword, the emblem of protection, knowing that, whenever it is drawn, it will be drawn in favor of freedom. --Marshall P.H. Jones bas-relief bronze figurative inscription poetry https://slaverymonuments.org/files/original/07e8d06b42dcd635d7893f98e3be2c35.jpg da1b4a35945d5615d44c53f4cac75845 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 Black Soldiers Memorial (Danbury, Connecticut) Subject The topic of the resource Subject (Topic) African Americans--History Connecticut--Danbury Cemeteries--Connecticut United States Colored Troops Subject (Object Type) Commemorative sculpture Description An account of the resource Located in Wooster Cemetery, the black granite memorial, which resembles the adjacent grave markers, is dedicated to Black soldiers who served in the 29th and 30th Colored Regiments. Date A point or period of time associated with an event in the lifecycle of the resource May 21, 2007 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 Wooster Cemetery, 20 Ellsworth Ave, Danbury, Connecticut 06810, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on the front of the memorial: Dedicated to the memory of the black soldiers of Greater Danbury who served in the 29th and 30th Regiments Conn. Volunteer Infantry during the Civil War 1861-1865. Above the inscription is an image of the Grand Army of the Republic medal. Inscription on the back of the memorial: 29th Conn Infantry Pvt James Adams • + Cpl Charles Aray • Pvt William Armstrong • Pvt William Avery • Cpl Allen Banks • Pvt Willis Banks • Pvt Joseph Barker • Cpl James Brewster • + Pvt Elbert Brown • Pvt Jerome Brown • Pvt Thomas Burr • Pvt Henry Butler • Cpl Joseph Butler • Sgt George Carpenter • Pvt John Carpenter • + Cpl Lewis Claggett • + Pvt John Colley • Pvt Hiram Cornell • Pvt Richard Deming • + Pvt Francis Dennis • Pvt Lewis Drake • Pvt Joseph Edwards • + Sgt James Evans • Pvt Henry Franklin • Pvt Sylvester Freeman • Pvt George Gaull • Cpl Isaac Gaull • Pvt Jeremiah Godfrey • Pvt George Green • Pvt John Hall • + Pvt Albert Halstead • Cpl George Halstead • + Pvt William Hammer • + Pvt James Hawley • Pvt Richard Heacock • Pvt Charles Jackson • Pvt Daniel Jackson • Cpl Henry Jackson • Pvt William Jackson• Pvt Cato Johnson • Pvt William Johnson • Pvt John Jones • + Pvt John Knapp • + Sgt William Morrison • Pvt Andrew Nash • + Pvt Theodore Nelson • Pvt Ezra Nichols • + Pvt Charles Overton • Sgt James Parker • Pvt Henry Pease • Pvt Chauncey Phillips • + Pvt Chester Phillips • Pvt Granville Phillips • Pvt Albert Pine • Cpl William Pine • Pvt Albert Prince • Pvt Henry Randolph • 1Sg Charles Richards • Pvt Matthew Rigby • Pvt John Scott • Pvt Tallman Simons • + Pvt John Smalley • Pvt Charles Smith • Cpl Martin Tallman • Cpl Charles Thomas • Cpl Edward Voorhies • Pvt John Watson • Pvt Robert West • Pvt John Weston • + Pvt Lafayette Williams 30th Conn Infantry Pvt Charles Clark • Pvt Granville Coy • + Cpl Mcalister Craig • Pvt Asa Franklin • + Pvt William Jemmison • Pvt Samuel Johnson • + Pvt Thomas Sherman • Pvt John Steadwell • Pvt John Wood 8th Conn Infantry + Pvt Philip Jacklin 2nd U.S.C.T. Pvt William Brooks 26th U.S.C.T. Pvt William Brown • Pvt George Dunbar • Pvt Milton Dunbar • Pvt Lewis Hines U.S. Navy Moses Blake • William Phillips • James Walter • George Washington 62nd NY Infantry Pvt Charles Dobbs + Died in Service to His Country Medium The material or physical carrier of the resource. Black 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/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Creator An entity primarily responsible for making the resource Unknown Source A related resource from which the described resource is derived Photograph: <a href="https://www.hmdb.org/m.asp?m=248825" target="_blank" rel="noopener">Historical Marker Database</a> Contributor An entity responsible for making contributions to the resource City of Danbury; Wooster Cemetery Rights Information about rights held in and over the resource City of Danbury, 155 Deer Hill Avenue, Danbury, Connecticut, 06810, United States black granite Civil War inscription 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 https://slaverymonuments.org/files/original/50c4a5e84abd4d0588f158aa392c65ab.jpeg a73cce7fda9db262b9a6116437de20d4 https://slaverymonuments.org/files/original/a9da5d8c8b8632309df9fdc3ef16bebc.jpeg 3848700cddc0acc39f5294363247d194 https://slaverymonuments.org/files/original/4b1964b5f81014d65d590c57d7eb72b3.jpeg 40332b776f8924b80f7c153ab8ce6838 https://slaverymonuments.org/files/original/9ea401230953551814c3d5775ea8ffb9.jpeg 370a40447927f7b4cbbdf238f0c0f0ac https://slaverymonuments.org/files/original/7d9b4fe56c13f0395bfef85efe211285.jpeg b459ad813d6d47c78387ce166b2e24bc https://slaverymonuments.org/files/original/3f2e3255d1c0a2c6810e762358f59bdf.jpeg 222e9394587d42928b24e73793f75e0f https://slaverymonuments.org/files/original/9d37b48e4d5cd1b4acb8be5b826e12df.jpeg f8f137920ccce59004b404d176794dac 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 Entry portals: 126 in. (320.04 cm) Portal widths: 78 in. (198.12 cm) to 192 in. (502.92 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 Camp Barker Memorial (Washington, DC) Creator An entity primarily responsible for making the resource MacDonald, Katie, 1992- After Architecture Schumann, Kyle, 1992- After Architecture Bagwell, Vinnie, 1957- Subject The topic of the resource Subject (Topic) Enslaved persons--Emancipation Fugitive slaves Public art Public sculpture Refugee camps--History--19th century United States Colored Troops United States--History--Civil War, 1861-1865 Washington (D. C.) Subject (Object Type) Buildings and Structures Commemorative sculpture Contributor An entity responsible for making contributions to the resource Yun Associates, LLC (structural engineering); Garrison Elementary School (DC Public Schools) 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 May 2019 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 Buildings and Structures 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 Garrison Elementary School, 1200 S Street NW, Washington, DC, 20009, United States Extent The size or duration of the resource. Entry portals: 126 in. (320.04 cm) Portal widths: 78 in. (198.12 cm) to 192 in. (502.92 cm) Medium The material or physical carrier of the resource. Bronze; Charred wood; Brass Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Description An account of the resource Created by the architecture firm After Architecture (Katie MacDonald and Kyle Schumann), the memorial consists of three entry gatewaysthat serve as both functional entrances and commemorative spaces. Constructed from charred wood and lined with reflective brass, the portals feature bronze bas-relief panels by sculptor Vinnie Bagwell. These panels depict key figures and moments from African American history, including Sojourner Truth, Frederick Douglass, and the year 1862—the year of the District of Columbia Emancipation Act. Rights Information about rights held in and over the resource DC Public Schools, 1200 First Street, NE, Washington, DC, 20002, 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. "Camp Barker Memorial, Washington, DC, United States, 2019." Architectonic. Accessed May 3, 2021. https://www.architonic.com/en/project/after-architecture-camp-barker-memorial/20076736. McDonald, Katie and Kyle Schumann. “Camp Barker Memorial: From Object to Urban Mediator.” Expanding the View: 109th Association of Collegiate Schools of Architecture Annual Meeting Proceedings, March 24-26, 2001. Accessed August 27, 2024. https://www.acsa-arch.org/chapter/camp-barker-memorial-from-object-to-urban-mediator/. Taylor, Sharine. “The Camp Barker Memorial Is a Sobering Look at America’s Past (and Present).” Azure, August 19, 2019. Accessed April 21, 2025. https://www.azuremagazine.com/article/the-camp-barker-memorial-is-a-sobering-look-at-americas-past-and-present/. Adinkra symbols bas-relief bronze Civil War wood https://slaverymonuments.org/files/original/0aa704c3d4871292fe24003a6c3de47e.JPG 7b9d6a0d859ac1d837eb411e3ea81d44 https://slaverymonuments.org/files/original/4a05e37313c4a921d6b63b856b5cae74.jpg 8cfbf2a8a823ab3afd104b902b217217 https://slaverymonuments.org/files/original/e930604c02b40413abe4b83bc5c5e9ed.JPG 29c92d366e48efe88b4a85822444a1d3 https://slaverymonuments.org/files/original/e0932e517d6e3816b58345ec6a687c25.jpg c9febadb59758bb06c9344960848692e https://slaverymonuments.org/files/original/42b8db159e6d0dd36878602eed70c2f5.JPG 0caf289ad9d1162db57c98dcd2984c55 https://slaverymonuments.org/files/original/e91f08b2f3719d41011345cd405c05f8.JPG 581ccc98a61925a60094a32ce8864c71 https://slaverymonuments.org/files/original/507c5710cd945c8cf2853493ae046830.JPG d26987c6387f6d9bf796364dd2163d6a 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 Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and 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 Captured Africans-Transatlantic Slave Trade Monument (Lancaster, England) Subject The topic of the resource Subject (Topic) England--Lancaster Enslaved persons Public art Public sculpture Slavery--England Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Six rectangular Perspex blocks (acrylic), suspended between a rectangular, stainless-steel column and an oblong, stone column, rests on a circular base embellished with a mosaic and small metal sculptures. The work is meant to recall the decks of the transatlantic slave ships that carried enslaved Africans to the Americas. The Perspex blocks are inscribed with the names of the different commodity objects these ships transported to and from the Americas: wealth, cotton, rum, mahogany, sugar, and slaves. The stainless-steel column lists many of the slave ships that departed from Lancaster and the number of enslaved Africans these vessels forcibly seized in Africa. Underscoring the history of these horrific nautical journeys, the mosaic depicts a map detailing the routes of the Transatlantic Slave Trade, while the iron figures personify the trauma and violence of the Middle Passage. Creator An entity primarily responsible for making the resource Dalton-Johnson, Kevin, 1965- Date A point or period of time associated with an event in the lifecycle of the resource October 10, 2005 Contributor An entity responsible for making contributions to the resource Slave Trade Art Memorial Project (STAMP); Ann McArdle, (mosaics); High school students from Lancaster and Richmond (iron figures); Millennium Fund ; Arts Council England; Lancaster City Council; Lancashire County Council; Cumbrian Industrials Ltd. 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 19 Waterside, Lancaster, LA1 1AY, England Medium The material or physical carrier of the resource. Perspex; Stainless steel; Iron; Ceramic tile Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Collins, Paul. "Slave Memorial is Labour of Love." Lancaster Guardian. Accessed April 29, 2019. https://www.lancasterguardian.co.uk/news/slave-memorial-is-labour-of-love-1-1165642. Rice, Alan. "Discovering Traces of Slavery in a City Fraught with Amnesia: Creating Memorials and Building New Identities in Lancaster." In Creating Memorials, Building Identities: The Politics of Memory in the Black Atlantic, 32-54. Liverpool University Press, 2010. Facing the Past. "Enslaved Africans Memorial." Map, Facing the Past. Accessed February 8, 2026. https://www.facingthepast.org/map/records/slavery-memorial. 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 Photographs: <a href="https://waymarking.com/waymarks/wm3FZC_Captured_Africans_Lancaster_UK" target="_blank" rel="noopener">Waymarking.com</a> Rights Information about rights held in and over the resource Lancaster City Council, Town Hall, Dalton Square, Lancaster, Lancashire, LA1 1PJ United Kingdom Has Part A related resource that is included either physically or logically in the described resource. Stainless-steel information plaque: Captured Africans Created by Kevin R. I. Dalton-Johnson "Captured Africans" was developed as part of the Slave Trade Arts Memorial Project (STAMP), an extensive arts education outreach programme led by SuAndi O.B.E. and delivered by artists Sue Flowers, Max Alder, Anthony Watt, Evadney Clarke, Anita Franklin, Faith Bebbington, Steve Papaye Richards and Janet Griffiths. Creative support from Ann McArdle, Alan Ward, Boydell Pipework and Fabrications Ltd., Northern Cast Acrylics, Merseyside Castings & Engineering Co., Thermoplastics Ltd., Trade Engravers Ltd. Funded by The Millillenium Fund, Arts Council England, Lancaster City Council, Lancanshire County Council, Cumbrian Industrial Ltd. abstract figurative inscription iron map Perspex slave ship stainless steel https://slaverymonuments.org/files/original/d17eedd1cef2ebb69b85644859142dc4.jpg 62fdf503218aa25488aa6e68e0b1dcbb 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 Abolition of Slavery Creator An entity primarily responsible for making the resource Written by Renée Ater Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This grouping of commemorative works focus on the abolition of slavery in countries engaged with the slave trade including England, France, The Netherlands, and Spain. England enacted the Slave Trade Act of 1807, prohibiting the Atlantic slave trade in the British Empire. It did not abolish slavery in its colonies until the 1833 Slavery Abolition Act. France first abolished slavery on February 4, 1794, during the French Revolution. Napolean Bonaparte reinstituted slavery in France's colonies in 1802. Slavery was officially abolished in France with the Decree of the Abolition of Slavery of April 27, 1848. The Netherlands officially abolished slavery in its colonies (Suriname and the Dutch Caribbean) on July 1, 1863, but it was not until July 1, 1873, that enslaved persons were freed from state supervision on plantations. Spain abolished the slave trade in 1817 with a treaty with England, which was not enforced until 1820. However, slavery continued in its colonies. The Spanish National Assembly abolished slavery in Puerto Rico in 1863 and in Cuba in 1886. 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 354.331 x 196.85 in. (900 x 500 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 Clave/Monument to Slavery (Rotterdam, The Netherlands) Subject The topic of the resource Subject (Topic) Abolition of slavery Public art Public sculpture Slave ships The Netherlands--Rotterdam Transatlantic slave trade Subject (Object Type) Commemorative sculpture Creator An entity primarily responsible for making the resource da Silva, Alex, 1974-2019 Date A point or period of time associated with an event in the lifecycle of the resource June 16, 2013 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 Lloydstraat, 45-59, 3024 Rotterdam, The Netherlands Extent The size or duration of the resource. 354.331 x 196.85 in. (900 x 500 cm) Medium The material or physical carrier of the resource. Corten steel; Hot-dip galvanized (HDG) steel Description An account of the resource Four nude figures dance across the abstracted bow of a ship. Each figure strikes a distinct, rhythmic pose even as they are shackled together at the ankle by iron chains. The outer most figure appears to have broken free from this rhythmic chain-gang. Iron chains dangle freely from his right ankle. Unveiled on the 150th anniversary of the abolition of slavery in Surinam and the Dutch Antilles, the memorial is located along the Maas River in Lloydkwartier, a newly designed neighborhood built in the old port area of Delfshaven. The work’s location and title evoke the Dutch slave trade. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Alex da Silva. clave. Monument to Slavery (2013)." BKOR-CBK Rotterdam. Accessed February 15, 2025. https://www.bkor.nl/en/beeld/clave-monument-voor-de-slavernij/. Thissen, Siebe. "In Memoriam Alex da Silva (1974-2019)." BKOR-CBK Rotterdam. Accessed February 15, 2025. https://www.bkor.nl/en/documentatie/in-memoriam-alex-da-silva-1974-2019/. Art@Site. "Alex da Silva." Accessed May 28, 2019. http://www.artatsite.com/Rotterdam/details/Silva-Alex-da-Slavernijmonument-Clave-sculpture-statue-Art-At-Site-Rotterdam.html. Has Part A related resource that is included either physically or logically in the described resource. Inscription in Dutch: Het lichaam is dat slaaf is vertrekt de ziel die vrij is blijft English translation: The body, which is a slave, departs, but the soul, which is free, remains. Source A related resource from which the described resource is derived Photograph by Emily Hirsch, 2024 Contributor An entity responsible for making contributions to the resource Surinam Working Group; STC Group; Municipality of Rotterdam; and CBK Rotterdam Rights Information about rights held in and over the resource Municipality of Rotterdam, City Hall, Coolsingel 40, 3011 AD Rotterdam, The Netherlands Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Slavernijmonument Rights Holder A person or organization owning or managing rights over the resource. Renée Ater abstract chains Corten steel figurative galvanized steel shackles slave ship https://slaverymonuments.org/files/original/66f9b1d701996888feaa58fe133bcef4.jpg e0045fe3e58d69c6475f722db769259d 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 Colored Soldiers Monument (Frankfort, Kentucky) Subject The topic of the resource Subject (Topic) African Americans--History Cemeteries--Kentucky Kentucky--Frankfort United States Colored Troops Subject (Object Type) Commemorative sculpture Description An account of the resource The ten-foot limestone pillar was dedicated to 142 United States Colored Troop soldiers from Franklin County, Kentucky, who fought in the Civil War. Date A point or period of time associated with an event in the lifecycle of the resource July 4, 1924 Contributor An entity responsible for making contributions to the resource Women’s Relief Corps No. 8 of the Grand Army of the Republic 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 Green Hill Cemetery, Frankfort, Kentucky, 40601, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on the front of the limestone pillar: Erected by Woman's Relief Corp No. 8 *G. A. R.* July 1924 In Memory of the Colored Soldiers Franklin Co., KY Who Fought in the Civil War 1861-1865 The other three sides of the monument list the names of 142 African American soldiers. Extent The size or duration of the resource. 120 in. (304.8 cm) Medium The material or physical carrier of the resource. Limestone Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Talbott, Tim. "Kentucky African American Civil War Memorial." Kentucky Historical Society. Accessed January 23, 2019. https://explorekyhistory.ky.gov/items/show/191. 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 Creator An entity primarily responsible for making the resource Unknown Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Kentucky African American Civil War Memorial Source A related resource from which the described resource is derived Photograph: <a href="https://en.wikipedia.org/wiki/Colored_Soldiers_Monument_in_Frankfort#/media/File:Colored_Soldiers_Monument_in_Frankfort_1.jpg" target="_blank" rel="noopener">Wikipedia</a> Rights Information about rights held in and over the resource State of Kentucky, Frankfort, Kentucky, 40601, United States Civil War columns inscription names https://slaverymonuments.org/files/original/694c3f9bb6adb28056360aa5529a9a6d.jpg f62c0b945df2ad6ace3df80a9d6bf072 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 Colored Union Soldiers Monument (Hertford, North Carolina) Subject The topic of the resource Subject (Topic) African Americans--History North Carolina--Hertford United States Colored Troops Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial consists of obelisk resting on a square plinth. It is engraved with text on two sides and is accompanied by a North Carolina Civil War Trails marker and informational placard. Date A point or period of time associated with an event in the lifecycle of the resource 1910 Contributor An entity responsible for making contributions to the resource First Baptist Church; United Daughters of Union Veterans 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 Academy Green, King and Hyde Park Streets, Hertford, North Carolina, 27944, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on the front: In Memory Of the Colored Union Soldiers Who Faught in the War of 1861-1865 Inscription on the rear: Erected by the United Daughters of Veterans Informational placard, North Carolina Civil War Trails: News of the bombardment of Fort Sumter inspired many African American men to enlist in the U.S. armed forces, but federal law prohibited their service. Frederick Douglass and other black leaders urged changes to allow black enlistments. By mid-1862, as the numbers of white volunteers diminished, the needs of the U.S. Army grew, and the announcement of the Emancipation Proclamation became imminent, more voices called for black recruitment. The Proclamation, issued on January 1, 1863, formally authorized African American military service. By the end of the war, about 180,000 blacks – including some from Perquimans County – had borne arms in the U.S. Army (almost 10 percent of total enlistments) and about 19,000 had served in the U.S. Navy. To remember the county’s African American Union soldiers, women of the black community, many of them the wives and widows of those men, erected one of the few such monuments in the nation on Academy Green in 1910. Coordinated by First Baptist Church and the United Daughters of Union Veterans, the monument is inscribed “In Memory of the Colored Union Soldiers Who Fought in the War of 1861-1865.” Academy Green was the location of the county’s first black school, library, and church (present-day First Baptist Church), which freed-men formed in a bush shelter in 1866. The congregation later built a church across the street. They Answered the Call Three of the men whom this monument commemorates are buried in Perquimans County. Sgt. John Gordon served in Co. A 1st U.S.C.T., organized in Washington, D.C., in May-June 1863. The regiment fought in Virginia (Wilson’s Wharf, The Crater, New Market Heights) and North Carolina (Fort Fisher). It also participated in Gen. Edward A. Wild’s eastern N.C. expedition in Dec. 1863 and burned a Confederate camp near Hertford. It mustered out on Sept. 29, 1865. Pvt. John Sharp enlisted in Co. B. 37th U.S.C.T. at age 19 on Jan. 21, 1864, in Plymouth, N.C. His regiment fought at New Market Heights and Fort Fisher and mustered out on Feb. 11, 1867. Pvt. Arthur Mixon served in Co. G, 40th U.S.C.T., organized in Aug. 1864 in Tennessee, where it guarded railroads and bridges. It mustered out in Oct. 1865. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Colored Union Soldiers Monument, Hertford." Commemorative Landscapes of North Carolina. Accessed January 22, 2019. https://docsouth.unc.edu/commland/monument/117/. 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 Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Granite Source A related resource from which the described resource is derived Photograph: <a href="http://ncblackheritagetour.com/historic_site/colored-union-soldiers-monument/" target="_blank" rel="noopener">African American Experience</a> Rights Information about rights held in and over the resource Town of Hertford North Carolina, 114 West Grubb Street, Hertford, North Carolina, 27944, United States Civil War granite inscription obelisk