3 10 134 https://slaverymonuments.org/files/original/fb692a79f17d643de96f1323497a7f84.jpeg 456646b64d2183fb91d0c010a035ccdf https://slaverymonuments.org/files/original/f074b4e55b5c8c79c7a28bc6a82ee29a.jpeg 84fe61fda6bc488ed32631b33f2729a6 https://slaverymonuments.org/files/original/24c49eea95c88844ee25238420698d90.jpeg 1aa967e33444c3de3c90823d22cf295a https://slaverymonuments.org/files/original/d060a46e4405cf3f36e18dfa46d5f94a.jpeg 4caca941f2ee0190b0895e250c5ddbe7 https://slaverymonuments.org/files/original/0892e7b036b2eac3ccc360e13ef634b5.jpeg 879cdabd9334287de838fc1055f0ff29 https://slaverymonuments.org/files/original/ca828d8f156ce5c7fd692106fd5de077.jpeg f378eca583bdb443e1d6f7375f1803cd https://slaverymonuments.org/files/original/c30c4456879a54b6c6bd846b8925cc0c.jpeg eecca1d0e86170feac1b7feee3508284 https://slaverymonuments.org/files/original/9858fd099f3175337597418424411677.jpeg e11977324a66cee3cea2d8db1839c53c https://slaverymonuments.org/files/original/a5eb8d35bb0806dbe6088b409794d807.jpeg 7a42081377dd1f41df05fc5a1801a5d3 https://slaverymonuments.org/files/original/1a507bf13145789b2457494de495d5a0.jpeg f77580bcdb76e51bc2cdd79e71ad1bb9 https://slaverymonuments.org/files/original/e063b8d8090b26dbf01e07e47aa2c18f.jpeg 51ef9ac3197516980005aa198c136328 https://slaverymonuments.org/files/original/bfc6a8dc1f72e54e83e6746502153a10.jpeg 7a6518e3d95a98dfec6a013fe36edd27 https://slaverymonuments.org/files/original/051aee4e4b689850b0ccb50f63ce7046.jpeg a21790d318f5b3a1fa0b064a685bb721 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 Various sizes 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 Corinth Contraband Camp (Corinth, Mississippi) Subject The topic of the resource Subject (Topic) Enslaved persons--Emancipaiton Fugitive slaves--United States Mississippi--Corinth Refugee camps--Southern States--History--19th century United States--History--Civil War, 1861-1865 United States Colored Troops Subject (Object Type) Commemorative sculpture Description An account of the resource Eight life-size bronze statues (in six groupings) commemorate the formerly enslaved persons who escaped from the South and sought safety and freedom behind Union lines at the Corinth Contraband Camp in Corinth, Mississippi. Established by Union General Grenville M. Dodge in 1862 to shelter freedom-seekers, the Corinth Contraband Camp featured a church, a school, a hospital, and numerous homes as well as productive and profitable farms that were operated by freedmen and women. The bronze statues include: a woman with her hands on her hips, “the greeter”; a laundress ironing clothes; a farmer tending to his crops with a hoe; a female teacher with a young female student who read together from an open Bible; a man and boy gathering books; and a member of the United States Colored Troops who pulls Hardee's Rifle and Light Infantry Tactics from his haversack . Included at the site: two bronze plaques with inscriptions attached to a concrete wall near the greeter; two bronze low reliefs on a concrete wall opposite the greeter; and an informational panel explaining farming at the site in front of the farmer. The two bronze low reliefs are based on nineteenth-century photographs: Timothy H. O'Sullivan, Rappahannock River, Va. Fugitive African Americans fording the Rappahannock, August 1862 and G.W. Foster, Refugee camp; Street scene, Camp Nelson, Kentucky, 1864. Creator An entity primarily responsible for making the resource Lugar, Larry, 1953- Lugar, Andrea, 1952- Date A point or period of time associated with an event in the lifecycle of the resource May 23, 2009 Rights Information about rights held in and over the resource National Park Service, U.S. Department of the Interior, 1849 C Street NW, Washington, DC, 20240, 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 800 N Parkway St, Corinth, Mississippi, 38834, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on bronze plaque at entrance: Site of the Corinth Contraband Camp November 1862-December 1863 Here a newly freed people took their unswerving first steps on the long road to full citizenship. Inscription on bronze plaque at entrance: “This is a great opportunity afforded your race. Will you improve it?” — Lorenzo Thomas, Adjutant General, United States Army, in a speech to the Corinth Contraband Camp, May 15, 1863 Warmly received amid cheers of the assembled crowd, General Thomas’s words formed a challenge met daily by all who arrived to fulfill the mission of this camp. Assisted by the American Missionary Association, some 6,000 ex-slaves here practiced free enterprise and pursued an education for themselves and their children. Bravely affirming their unalienable right to equality. Men from this camp swelled the ranks of two infantry regiments raised for services in the U.S. Army. Although short-lived, the Corinth Contraband Camp served as a model endeavor for later United States efforts during the American Civil War. Information sign in front of farmer statue: Contraband Camp The Corinth Contraband Camp offered former slaves the first step toward self-sustainbility and freedom through profitable farming. These men, women, and children grew 300 acres of cotton and 100 acres of vegetables. All of the crops were sold, and the profits combined to about $5,000 per month, which would exceed $70,000 in today's money. Individuals also had smaller gardens that fed themselves and their families. These gardens consisted of tomatoes, cabbages, sweet potatoes, and other vegetables. This was the first time that many of the former slaves had grown crops for themselves rather than for someone else's benefit. Even though the Corinth Contraband Camp was only active for a little more than a year. It helped over 6,000 African Americans take a major step toward eventual citizenship. These newly freed African Americans would go on to use the skills they learned at the Corinth Contraband Camp to raise families, work paid jobs, and become self-sufficient members of society. This working garden was designed and created as part of an Eagle Scout project. (The rest of the text has weathered away.) 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. National Park Service. “Corinth Contraband Camp.” Shiloh National Military Park. Accessed February 13, 2019. https://www.nps.gov/shil/planyourvisit/contrabandcamp.htm. 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 by Renée Ater Contributor An entity responsible for making contributions to the resource Siege and Battle of Corinth Commission (Rosemary Williams), Shiloh National Military Park (Superintendent Haywood “Woody” Harrell), Mississippi Department of Archives and History, and Corinth African-American Historical Society, and Preston Knight (Knight Brothers, Inc.). Date Created Date of creation of the resource. First statue installed: October 13, 2008 Extent The size or duration of the resource. Various sizes Bible book bronze Civil War concrete figurative https://slaverymonuments.org/files/original/515e196c66f8a9369082c72c52976661.jpg 0d7fbc2d150deaa6805eb394de8f4e14 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Bronze statue: 84 in. (213.36 cm) Granite base: 44 ¾ x 59 in. (113.67 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 Denmark Vesey Monument (Charleston, South Carolina) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Public art Public sculpture Resistance Slave insurrections--South Carolina--Charleston Slavery--South Carolina South Carolina--Charleston Subject (Name) Vesey, Denmark, 1767-1822 Subject (Object Type) Commemorative sculpture Description An account of the resource The work is dedicated to Denmark Vesey, a carpenter and self-educated Black man who planned one of the most extensive slave revolts in US history in Charleston, South Carolina in 1822. Vesey, elegantly dressed in a collared jacket, trousers, and an exceedingly long and slim cravat, is shown holding his carpentry bag, his hat, and his Bible. The figure stands atop a massive granite pedestal that is inscribed on two sides with biographical and historical information about Vesey and his vital contributions to the fight for the emancipation of Black people. In May 2021, the base of the statue was vandalized. After months-long restoration, the statue and base was restored to its place in Hampton Park in March 2022. James C. Meadors, owner of Meadors, Inc., donated the new granite base and additional restoration work needed for the sculpture. See https://abcnews4.com/news/local/denmark-vesey-statue-back-in-hampton-park-after-vandalism-months-long-restoration-wciv. Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Date A point or period of time associated with an event in the lifecycle of the resource February 8, 2014 Contributor An entity responsible for making contributions to the resource Denmark Vesey and the Spirit of Freedom Monument Committee: Curtis J. Franks, Henry E. Darby, Dr. Wilmot A. Fraser, Ellen Dresser Moryl; Dr. Bernard Powers, Marion Welch, Donald West, Dorothy Wright; City of Charleston; Charleston County Council Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Hampton Park, 30 Mary Murray Drive, Charleston, South Carolina, 29403, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on front of black granite plinth: Denmark Vesey Slave Rebellion Organizer Born Circa 1767-July 2, 1822 Denmark Vesey, previously named Telemaque, was born either in Africa or on the Caribbean island of St. Thomas. At the age of 14, he was purchased by the slave trader Captain Joseph Vesey and transported to the French Colony of St. Domingue, where the young African was sold along with 389 other slaves. Claimed to be suffering from epilepsy by his new owner, Denmark was returned to Captain Vesey. The young man accompanied Captain Vesey on many trading voyages as part of the crew. In 1873, immediately after the American Revolution, Captain Vesey relocated to Charleston, South Carolina, where Denmark continued to serve him for approximately another 17 years. In 1799, however, Denmark won $1,500 in the East Bay Street Lottery in Charleston and purchased his freedom for $600. Denmark Vesey was a highly skilled carpenter and well known within free black and slave society. According to his contemporaries, he harbored frustration at his inability to legally free his wife and children. His antislavery sentiments may have received a wider audience when in 1818 enslaved and free black Charlestonians established a branch of the African Methodist Episcopal (AME) Church where he served as a church leader. Vesey envisioned a community where all would be free , but recently planned state legislation of 1820 made legal emancipation of slaves nearly impossible. Furthermore, municipal authorities repeated attacks on the AME Church convinced Vesey slavery was such a violation of God's law that rebellion was necessary to obtain liberty. He placed his own life at risk as he dared to plan to recruit others to achieve the goal of freedom. Inscription on back of black granite plinth: Denmark Vesey Vesey and his lieutenants "Gullah" Jack Pritchard, Peter Poyas, and Monday Gell developed a plan for a revolt, which may have involved thousands of followers. Their war of liberation was originally planned for July 14, 1822, and called for conspirators to seize weapons and set fires around the city. Once reinforced by rural slaves, as many as possible were to escape to Haiti where African people had already abolished slavery and formed an independent nation. According to Congregational minister and abolitionist Thomas Wentworth Higginson, the plan was "the most elaborate insurrectionary project ever formed by American slaves." When two slaves informed the authorities of the plot, the conspirators tried to move the date to June 16, but their plan failed. Arrests and trials followed and beginning on July 2, 1822, two days before Independence Day, Vesey and 34 of his compatriots were hanged. This figure represents the greatest number of slave conspiracy-related executions in American history. 37 were banished, most outside the United States, and four whites were briefly fined and incarcerated for for sympathizing with the conspirators. To strenghten security, officials demolished the AME Church, and the state legislature imposed rigorous new laws, including the Negro Seaman Act subjecting free black sailors from outside the state to arrest when their ships docked in Carolina ports. Free black men were required to have white guardians, and those who left the state were barred from returning. By the mid-1820s, the city fortified itself with an arsenal and barracks. In 1842, the Military College of South Carolina, now known as the "The Citadel," was established on that same site. Despite the daunting opposition, Vesey's Spirit and liberating vision did not die. He became an inspiring symbol of freedom for later abolitionists including David Walker, John Brown, Harriet Tubman, Frederick Douglass, and Harriet Beecher Stowe. His resolve demonstrates the timeless universality of men and women's desire for freedom and justice irrespective of race, creed, condition, or color. Round sign on side of black granite plinth: Charleston Stories Hear Denmark Vesey here Completing the Story: Bringing a Community Together www.charlestonstories.org History calls back Extent The size or duration of the resource. Statue: 84 in. (213.36 cm) Base: 44 ¾ x 59 in. (113.67 x 149.86 cm) Medium The material or physical carrier of the resource. Bronze; Granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Roberts, Blain and Ethan J. Kytle. "Looking the Thing in the Face: Slavery, Race, and the Commemorative Landscape in Charleston, South Carolina, 1865-2010." The Journal of Southern History 78, issue 3 (August 2012): 639-684. Parker, Adam. "Denmark Vesey Monument Unveiled before Hundreds." Post and Courier, February 14, 2014. Accessed April 12, 2019. https://www.postandcourier.com/features/arts_and_travel/denmark-vesey-monument-unveiled-before-hundreds/article_35622532-8a45-5060-a819-0e33a47c8a20.html. Wright, Deborah and Daron Calhoun. "Remember Denmark Vesey of Charleston!" Avery Messenger (Summer 2014): 6-8. Accessed May 27, 2020. https://avery.cofc.edu/wp-content/uploads/2011/10/messenger_springsummer2014.pdf. Dykens, Sarah Katherine. "Commemoration and Controversy: The Memorialization of Denmark Vesey in Charleston, South Carolina." M.S. thesis. Clemson University and College of Charleston, 2015. 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 by Izetta Autumn Mobley Rights Information about rights held in and over the resource City of Charleston, 80 Broad Street, Charleston, South Carolina, 29401, United States Bible black granite bronze figurative inscription portrait https://slaverymonuments.org/files/original/d41857e1a7f0604f95ccd2dd96405304.jpg 55406df3e19380b1498d93c6fda0c845 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Desenkadená/Unchained (Willemstad, Curaçao) Subject The topic of the resource Subject (Topic) Curaçao--Willemstad Public art Public sculpture Resistance Slave insurrections--Curaçao Slavery--Curaçao Slavery--The Netherlands Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource The over life-size bronze sculptural group depicts three figures, two men and one woman. As the title of the work, Desenkadená (Unchained) suggests, the figures are breaking free from the chains that bind their wrists. The central figure is flanked by a man and woman, both of whom gaze at him as he breaks their chains. The “chain breaker,” a muscular, semi-nude man, stands in front of an anvil. Simon captures the figure mid-swing as he raises a hammer over his head with his right hand. In his left hand he holds iron chains in place with a chisel. The work commemorates the 1795 slave rebellion led by an enslaved person called Tula. Creator An entity primarily responsible for making the resource Simon, Nel, 1938- Date A point or period of time associated with an event in the lifecycle of the resource October 17, 1998 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 Parke Lucha pa Libertat, John F. Kennedy Boulevard, Willemstad, Curaçao Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Tula Monument 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 Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:Nationaal_monument_Desenkandená,_Parke_di_Lucha_pa_Libertat.jpg" target="_blank" rel="noopener">Wikimedia Commons</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. Conduru, Roberto. "Transnational Counter-monuments: Anti-Slavery and Pro-Freedom Memorials." ReVista: Harvard Review of Latin America, July 30, 2021. Accessed January 28, 2026, https://revista.drclas.harvard.edu/transnational-counter-monuments/ CIPDH-UNESCO. "Desenkadená." Memorias Situadas: Sites of Memory Related to Serious Human Rights Violations. Accessed February 4, 2026. https://www.cipdh.gob.ar/memorias-situadas/en/lugar-de-memoria/desenkadena/ "The Making of the Tula Monument Curaçao by Nel Simon, 1996-1997." YouTube. Accessed February 26, 2026. https://youtu.be/R5TIUbo6aag. Contributor An entity responsible for making contributions to the resource Government of Curaçao Rights Information about rights held in and over the resource Cultural Affairs Department, Ministry of Education, Science, Culture, and Sport, 24-26 Schouwburgweg, Willemstad, Curaçao bronze chains figurative manacles https://slaverymonuments.org/files/original/ef3a6a485eb1c5d26c0e6c78475df69e.jpg ef2fa2fe9b0d94f479d127288bf1bb73 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 120 x 48 x 48 in. (304.8 x 121.92 x 121.92 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 Dred and Harriet Scott Statue (St. Louis, Missouri) Creator An entity primarily responsible for making the resource Weber, Harry, 1942- Subject The topic of the resource Subject (Topic) Antislavery movements--United States Enslaved persons--Emancipation--United States Missouri--St. Louis Public art Public sculpture Resistance Slavery--Missouri Subject (Name) Scott, Dred, 1799-1858 Scott, Harriet, 1815-1876 Subject (Object Type) Commemorative sculpture 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 Extent The size or duration of the resource. 120 x 48 x 48 in. (304.8 x 121.92 x 121.92 cm) 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 Date A point or period of time associated with an event in the lifecycle of the resource June 8, 2012 Contributor An entity responsible for making contributions to the resource Dred Scott Heritage Foundation: Lynne M. Jackson; National Park Service; Vladimir Zhitomirsky, VMD Sculpting; McCarthy Building Companies (Mark Smith, Mark Weiss and Dustin Roberts); KPFF Consulting Engineers; Rosch Companies; McFry Excavating; Geotechnology, Inc.; Rebar Specialist Inc.; Wilson Concrete, Vee-Jay Cement; Budrovich, Inc; Thomas Bradley and Frank Mares Rights Information about rights held in and over the resource Regional Arts Commission of St. Louis, 6128 Delmar Boulevard, St. Louis, Missouri, 63112, United States Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Old Courthouse, 11 N 4th Street, St. Louis, Missouri, 63102, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on base of work: Dred and Harriet Scott filed suit for their freedom at this courthouse in 1846. Their case reached the United States Supreme Court and was decided in 1857. The court ruled that the Scotts and all African Americans were not citizens of the United States. Opposition to the decision was one of the causes of the Civil War and led to the Thirteenth, Fourteenth, and Fifteenth Amendments to the Constitution. The Scotts' struggle for freedom stands as a defining moment in the history of the Civil Rights Movements. Dedicated June 8, 2012 Gift of the Dred Scott Heritage Foundation Harry Weber, Sculptor Description An account of the resource A figurative statue of Dred and Harriet Scott. Dred Scott wears a suit with tie. He reaches his left arm behind Harriet Scott, embracing her; they also hold hands. Harriet Scott wears a full-length dress and turns her head upward. Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:Dred_and_Harriet_Scott_Statue_2_(8257d8fd-c3a1-3d14-164d-d0961fc37038).jpg" target="_blank" rel="noopener">Wikimedia Commons</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. Weber, Harry. "About: Dred and Harriet Scott." Regional Arts Commission of St. Louis. Accessed April 30, 2021. https://racstl.org/public-art/dred-and-harriet-scott/. bronze figurative portrait https://slaverymonuments.org/files/original/990388eb5485a0a89742679dfd40fb43.jpg bc0d77466d6e9e70810b5e884ded5097 https://slaverymonuments.org/files/original/ea88baa982fcb598efa1609690387907.jpg 99b3021c37bef8fd7ae651e3caab1b1a https://slaverymonuments.org/files/original/1cd1d9fd3f817df457740a2b3c439d43.jpg 016363d3c30a7d4d57ed3fae19071563 https://slaverymonuments.org/files/original/ba1de0d10afc11fa79b95f2e0b66ff25.jpg b0a6c82a80c8b1fe10065ba5ab43f9ef https://slaverymonuments.org/files/original/96f653f0e5edd84308deddb90f203db4.jpg 040f1672e7a3992d8ede8d40be99daed https://slaverymonuments.org/files/original/e2940d7ec142b271adf411d20be51a56.jpeg 964a78a0ee72856e7b2dbd47a44246be Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 120 in. (304.8 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 Edmonson Sisters Memorial (Alexandria, Virginia) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Enslaved persons--Emancipation Freedom Public art Public sculpture Resistance Slavery--Virginia Transatlantic slave trade Virginia--Alexandria Subject (Name) Edmonson, Mary, 1832–1853 Edmonson, Emily, 1835–1895 Subject (Object Type) Commemorative sculpture Description An account of the resource Two young women emerge from a large rocky outcrop, their hands clasped tightly as they stride forward. The over life-sized work depicts the abolitionists and former enslaved sisters, Mary and Emily Edmonson. The statue is located on the site of the former Joseph Bruin’s slave jail, where the sisters were held after a failed attempt to escape from Washington, DC in 1848 on the ship Pearl. On the back of the sculpture is an etching of the ship and the word "Pearl." Creator An entity primarily responsible for making the resource Blome, Erik, 1967- Date A point or period of time associated with an event in the lifecycle of the resource June 25, 2010 Contributor An entity responsible for making contributions to the resource Carr Development Corporation and The City of Alexandria 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 Edmonson Plaza, 1701 Duke Street, Alexandria, Virginia, 22314, United States Extent The size or duration of the resource. 120 in. (304.8 cm) 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 Has Part A related resource that is included either physically or logically in the described resource. Inscription on the work's base: The Edmonson Sisters Erik Blome Sculptor © 2010 Assisted by C. Blome On the obverse of the memorial, Blome included a low relief of the schooner, Pearl. Source A related resource from which the described resource is derived Photographs by Renée Ater Rights Information about rights held in and over the resource City of Alexandria, 301 King Street, Alexandria, Virginia 22314, 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. Heid, Markham. "Alexandria Dedicats Sculpture Honoring Edmonson Sisters." Washington Examiner, June 24, 2010. Accessed May 27, 2020. https://www.washingtonexaminer.com/alexandria-dedicates-sculpture-honoring-edmonson-sisters. Blome, Erick. "The Edmonson Sisters." Erick Blome-Sculptor. Accessed February 4, 2026. https://www.erikblome.com/edmonson-sisters. Ater, Renée. "The Memory of Slavery in the Urban Landscape of Alexandria Virginia." In Traces and Memories of Slavery in the Atlantic World, eds. Lawrence Ajé and Nicolas Gachon, 215-232. Routledge, 2020. bronze figurative portrait https://slaverymonuments.org/files/original/47810cfb0e2a79246063789ed6d08cb0.jpg c42a1cf65cbbfff3004d0a32118b307f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 84 in. (213.36 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation (Boston, Massachusetts) Creator An entity primarily responsible for making the resource Fuller, Meta Warrick, 1877-1968 Subject The topic of the resource Subject (Topic) Allegory (art) Emancipation Proclamation--United States Enslaved persons--Emancipation Freedom Massachusetts--Boston Public art Public sculpture Subject (Object Type) Commemorative sculpture Description An account of the resource Originally created in 1913 for the National Emancipation Exposition in New York City, the multi-figure sculpture is anchored around a truncated tree that reaches over the heads of the three human figures. The tree is roughly realized, and Fuller’s hand is evident in the surface treatment. At the center of the composition, a young woman and man stand upright and are seminude. The couple emerge from the “Tree of Knowledge.” Behind the male figure, the female figure of “Humanity,” clothed in a gown, bows her head and rests it on her raised left arm. She gently rests her right hand on the young man’s shoulder. The bronze cast was made in 1999. Two inscriptions were added to granite base of the monument in 2013. Source A related resource from which the described resource is derived Photograph by Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource June 20, 1999 Contributor An entity responsible for making contributions to the resource CBA Landscape Architects, Boston, Massachusetts; United South End Settlements, Boston, Massachusetts; New England Foundation for the Arts, Boston, Massachusetts; The George B. Henderson Foundation and The Edgar Ingersoll Browne Fund, Boston, Massachusetts; and Boston Parks and Recreation Rights Information about rights held in and over the resource National Center of Afro-American Artists, 300 Walnut Street, Roxbury, Massachusetts, United States and The Museum of Afro-American History, 46 Joy Street, Boston, Massachusetts, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Harriet Tubman Park, Columbus Avenue and Pembrook Street, Boston, Massachusetts, 02116, United States Date Created Date of creation of the resource. 1913 Has Part A related resource that is included either physically or logically in the described resource. Inscription on granite base (1999): Emancipation, 1913. In honor of African American freed persons who by their courage and valor gave meaning to emancipation. Meta Vaux Warrick Fuller, (1877-1968) sculptor. Courtesy of The Museum of the National Center for Afro-American Artists and the Museum of Afro-American History. Inscription on granite base (2013): “Humanity weeping over her suddenly freed children who beneath the gnarled fingers of Fate, step forth into the world, unafraid.” Meta Warrick Fuller Inscription on granite base (2013): “The Negro has been emancipated from slavery but not from the curse of race hatred and prejudice. . . It was not Lincoln alone who wrote the Emancipation but the humane side of the nation . . .” Meta Warrick Fuller Medium The material or physical carrier of the resource. Bronze; Pink granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Ater, Renée. Remaking Race and History: The Sculpture of Meta Warrick Fuller. Berkeley: University of California Press, 2011. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Extent The size or duration of the resource. 84 in. (213.36 cm) allegory bronze figurative granite trees https://slaverymonuments.org/files/original/70776862bc720d8d42521301c94c7c96.jpeg 0a09b312fba696b92589ac301deafcbc https://slaverymonuments.org/files/original/a3870ff33004bea2b4962fc6b1073ab4.jpeg b6e16baef7077e49d7fd4e2f6e1d432c 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 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 Day Memorial: Fah Who Dis? AstroBlack Joy (Brampton, Ontario) Creator An entity primarily responsible for making the resource Dabreo, Kanisha, 1996- Date A point or period of time associated with an event in the lifecycle of the resource August 1, 2024 Contributor An entity responsible for making contributions to the resource AstroSankofa Arts Collective: Jamera Dacosta, Jason O'Brian, Komi Olafimihan; City of Brampton; Mentees: A. Y. Johnson, Denée Rudder, Rihanna Graham, Malachai Watson-Narcisse Rights Information about rights held in and over the resource Corporation of the City of Brampton, 2 Wellington Street West, Brampton, Ontario, L6Y 4R2, Canada Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Emancipation Park, 7599 Dixie Road, Brampton, Ontario, L5S 1L4, Canada Subject The topic of the resource Subject (Topic) Afrofuturism Enslaved persons--Emancipation--Canada  Freedom Fugitive slaves--Canada Ontario--Brampton Public art Public sculpture Slavery--Canada Subject (Object Type) Commemorative sculpture Description An account of the resource "Aligned with the North Star, which guided freedom-seekers via the Underground Railroad, the southern structure represents the past (pre-1867) and the "Global South." The northern structure signifies the present and future, and Canada as the Northside, where emancipation is being actualized. Each panel vibrantly illustrates different aspects of history and the pursuit of emancipation, offering a rich narrative for exploration." "The posing question, "fah who dis?" in the title of the project, is a patois/creolized take on the Akan people's word "Fawohodie," meaning freedom. The design reflects the image for the term from their collection of icons called Adinkra symbols. The Fawohodie symbol resembles a traditional Akan chief's chair, and the associated proverb with the symbol is "Fawohodie ene obre na enam," translating to "freedom comes with its responsibilities." From the Cultural Services Division, City of Brampton, Ontario: https://www.brampton.ca/EN/Arts-Culture-Tourism/Cultural-Services/Public-Art/Pages/Public-Art-Profile.aspx?ItemId=037. Source A related resource from which the described resource is derived Photographs: <a href="https://www.brampton.ca/EN/Arts-Culture-Tourism/Cultural-Services/Public-Art/Pages/Public-Art-Profile.aspx?ItemId=037" target="_blank" rel="noopener">City of Brampton, Ontario</a> Type The nature or genre of the resource Visual Arts-Sculpture Medium The material or physical carrier of the resource. Steel; Aluminum; Bronze; Copper; Wood; Paint. 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. City of Brampton. "Emancipation Day Memorial--Fah Who Dis? AstroBlack Joy, 2024." Cultural Services Division. Accessed February 4, 2026. https://www.brampton.ca/EN/Arts-Culture-Tourism/Cultural-Services/Public-Art/Pages/Public-Art-Profile.aspx?ItemId=037. Has Part A related resource that is included either physically or logically in the described resource. Inscriptions on half circles (Akan fawohodie symbol): Emancipate Yourself from Mental Slavery None But Ourselves Can Free Our Mind Information plaque: Emancipation Day Memorial--Fah Who Dis? AstroBlack Joy, 2024 Need text here Adinkra symbols aluminum figurative inscription wood https://slaverymonuments.org/files/original/a1cc6e7b96ad566f941d0ab0d0f8a615.jpg 78a9a600a6f799146035bc4448c2ac1a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture 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 Statue (Bridgetown, Barbados) Subject The topic of the resource Subject (Topic) Barbados--Bridgetown Enslaved persons--Emancipation--Barbados Freedom Public art Public sculpture Resistance Slave insurrections--Barbados Slavery--Bardados Slavery--England Transatlantic slave trade Subject (Name) Bussa (dates unknown) Subject (Object Type) Commemorative sculpture Description An account of the resource The monumental bronze statue depicts a semi-nude figure, dressed only in shorts. He raises his arms in a triumphant gesture, which accentuates the broken chains around his wrists. The identity of the figure is thought to be the leader of the April 1816 slave revolt, General Bussa. Although ultimately unsuccessful, it was the largest revolt in Barbadian history, General Bussa commanded nearly 400 freedom fighters. Creator An entity primarily responsible for making the resource Broodhagen, Karl, 1909–2002 Date A point or period of time associated with an event in the lifecycle of the resource March 28, 1985 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 J. T. C. Ramsey Roundabout, ABC Highway and Highway 5, Bridgetown, Barbados Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Bussa Has Part A related resource that is included either physically or logically in the described resource. Inscription on front of monument,an excerpt from the Abolition Act of 1833: ...Be therefore enacted…that from and after the first day of August one thousand eight hundred and thirty-four all persons who in conformity with the laws now in forces in the said colonies respectively shall on or before (August 1, 1834) have been duly registered as slaves in and such colony and who on (August 1, 1834) shall be actually within any such colony and who shall by such registries appear to be (August 1, 1834) of the full age of six years and upwards shall by force and virtue of this act...become and be apprenticed laborers...' The Abolition Slavery Act (1883) This statue was erected by the government and people of Barbados to commemorate the 150th anniversary of the abolition of slavery and the emancipation of Barbadians from the institution of slavery This statue was unveiled by the Prime Minster The Hon. H. B. St. John O. C. M. P. on 28 March 1984 Inscription on side of monument: "De Ting Come from England To Set We Free Now Lick And Lock-Up Done Wid Hurrah Fuh Jin-Jin. . ." Barbados Folk Song 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 Source A related resource from which the described resource is derived Photograph: Daniel Berek, <a href="https://www.flickr.com/photos/dlberek/12711319014/in/photolist-knjstT-21ogW3e-2jEVqzG-knfQhE-2oiPipb-2h5Be8V-oVhsgN" target="_blank" rel="noopener">Flickr</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. Conduru, Roberto. "Transnational Counter-monuments: Anti-Slavery and Pro-Freedom Memorials." ReVista: Harvard Review of Latin America, July 30, 2021. Accessed January 28, 2026, https://revista.drclas.harvard.edu/transnational-counter-monuments/ Rights Information about rights held in and over the resource Division of Culture, Prime Minister's Office, Turners Hall, Saint Andrew, Barbados Contributor An entity responsible for making contributions to the resource Government of Barbados https://slaverymonuments.org/files/original/8b463cae26ccd291755704ec57d628ef.jpeg 39d0e305ef30d4b963ed0cc18606864b https://slaverymonuments.org/files/original/792bd3c743c984bfbd9905572548617d.jpeg 64df8e582c7f9e5602d8ab396c89c2c8 https://slaverymonuments.org/files/original/39af40059f086620799201b1a2844d01.jpeg 4c15c42657f529de5373a311f3dbe538 https://slaverymonuments.org/files/original/cf182d806c1e730a399cdf97d36c9214.jpeg d190ed92f55d46966d618496c3c46016 https://slaverymonuments.org/files/original/2ad7e42791353863d4350b793d1ff509.jpeg 2e8144439e73ed04fe3e7e0c673caebe 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 Sculpture Physical Dimensions The actual physical size of the original image Varied 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 Enslaved Africans' Rain Garden (Yonkers, New York) Creator An entity primarily responsible for making the resource Bagwell, Vinnie, 1957- Subject The topic of the resource Subject (Topic) Enslaved persons Philipse Manor Hall State Historic Site (Yonkers, N.Y.) Public art Public sculpture New York (State)--Hudson River New York (State)--Yonkers Slavery--New York (State) Subject (Object Type) Commemorative sculpture Description An account of the resource The public art project including a rain garden is located along the Hudson River in Yonkers. It is comprised of four life-size bronze statues: I'Satta; Themba; Bibi; and Sola and Olumide. The figures commemorate enslaved Africans who resided at the Philipse Manor Hall. I'Satta is a bronze sculpture of a young African woman dressed in eighteenth-century dress. In her left hand, she carries a string of four fish, while she uses her right hand to balance the wood-slat bucket on her head. On the back of her dress is a schematic of a slave ship, a map of Africa, Adinkra symbols, and text that reads "Angola-Madagascar." The bottom of her skirt includes an image of man's face drowning as a ship sails off. On the side of her skirt, the artist included a Braille inscription: "My soul looks back, lest I forget." Bibi represents the elders of enslaved Africans. As she appears to stride forward, Bibi wears a large brim hat and carries a large stick. Braille on her apron reads: “I believe in freedom.” In the folds of her skirt, there is a relief sculpture of a little girl. The sign on the hem of the skirt reads: “FOR SALE A likely… NEGRO WENCH Seven to eight years of age. Has had smallpox. For information, enquire at…” Themba holds a tri-corner hat in his hands as he gazes off into the distance. Braille on his garment reads: “faith, hope, trust.” He stands upon a map of the western world, indicating the routes that slave ships took around the world. Sola and Olumide are sculptures of two young children who embrace each other. On Olumide's back are bas-relief images of African masks, art that is indigenous to their homeland and was seen commercially in America until well after the third quarter of the 20th century. See video about the Enslaved Africans' Rain Garden: https://youtu.be/F4loZRMtCrs. Source A related resource from which the described resource is derived Photographs by Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource June 19, 2022 Contributor An entity responsible for making contributions to the resource The City of Yonkers; New York Council of the Arts; National Endowment for the Arts; ArtsWestchester; ConEdison; Entergy; New York State Department of Parks, Recreation and Historic Preservation; Yonkers Board of Education Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 20 Water Grant Street, Yonkers, New York, 10701, United States Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Rights Information about rights held in and over the resource City of Yonkers, 40 Sout Broadway, Yonkers, New York, 10701, 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 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. Aiello, Tony. "Enslaved Africans Rain Garden Unveiled in Yonkers." CBS New York. Accessed February 17, 2025. https://www.cbsnews.com/newyork/news/enslaved-africans-rain-garden-unveiled-in-yonkers/. Enslaved African's Rain Garden: A Public Art Iniative. Website, 2022. Accessed February 17, 2025. http://enslavedafricansraingarden.org. Extent The size or duration of the resource. Varied Adinkra symbols bas-relief bronze figurative https://slaverymonuments.org/files/original/d7af90a63c21d37c73bf8c773db015d6.jpg c839d4a7bd90a2496d9eea1e67a9b9fb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 156 in. (396.24 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Estatua de Yanga/Gaspar Yanga (Veracruz, Mexico) Subject The topic of the resource Subject (Topic) Enslaved persons--Emancipation Maroons--Mexico Mexico--Verzcruz Public art Public sculpture Resistance Slavery--Mexico Transatlantic slave trade Subject (Name) Yanga, Gaspar Subject (Object Type) Commemorative sculpture Description An account of the resource The muscular, semi-nude figure looks resolutely forward as he raises a machete in his right hand and holds a long (sugar cane?) in his left. A shackle with a broken chain is still attached to his left wrist. The work was created to celebrate Gaspar Yanga, a seventeenth-century self-emancipated (former enslaved person) leader of a maroon colony of self-emancipated people near Veracruz, Mexico. He successfully resisted a Spanish attack on the maroon colony in 1609 and later negotiated with the Spanish colonial government to secure self-rule for the maroon settlement. 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 Negro Yanga, Barrio del Negro Tango, 94930 Yanga, Veracruz, Mexico Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. El Yanga Has Part A related resource that is included either physically or logically in the described resource. Plaque: "El Yanga" Negro Africano precursor de la libertad de los negros eslavos fundo este pueblo de San Lorenzo de Cerralvo (hoy Yanga) por acordado del virrey de nueva Espana, Don Rodrigo Osorio Marquez de Cerrvalo, el dia tres de Octobre del ano 1631 por mandato del virrey trazo el pueblo el Capitan Hernando de Castro Espinosa, H. Ayuntamento Constl. 1973-1976 El Yanga ver agosto 10 De 1976 Primer pueblo libre de America English translation: Black African liberator and precursor of the black slaves who founded this town of San Lorenzo de Cerralvo (today Yanga) by agreement of the viceroy of New Spain, Don Rodrigo Osorio Marquez de Cerrvalo, on the third day of October 1631 by order of the viceroy. This town was laid out by Captain Hernando of Castro Espinosa. H. Constl. City Council, 1973-1976. El Yanga on August 10, 1976. First free town in America Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Creator An entity primarily responsible for making the resource Lendechy, Erasmo Vásquez, 1918-2002 Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:EstatuaYanga.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Date A point or period of time associated with an event in the lifecycle of the resource August 10, 1976 Extent The size or duration of the resource. 156 in. (396.24 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. Rosas, Salma Lara. "Erasmo Vazquez Lendechy: autor de la escultura en Yanga y ayudante principal de Frieda Kahlo." El Sol de Corodoba, August 11, 2024. Accessed on February 2, 2025, https://oem.com.mx/elsoldecordoba/cultura/quien-fue-erasmo-vazquez-lendechy-historia-del-artista-que-hizo-la-escultura-de-yanga-13224263. Carillo, Karen Juanita. "Mexico's First Liberated City Commemorates Its Founding." JSTOR Daily, October 20, 2021. Accessed February 16, 2025, https://daily.jstor.org/mexicos-yanga-commenorates-founding. Conduru, Roberto. "Transnational Counter-monuments: Anti-Slavery and Pro-Freedom Memorials." ReVista: Harvard Review of Latin America, July 30, 2021. Accessed January 28, 2026, https://revista.drclas.harvard.edu/transnational-counter-monuments/. Enslaved: Peoples of the HIstorical Slave Trade. "Yanga." Enslaved.org. Accessed February 4, 2026. https://enslaved.org/fullStory/16-23-126857/ Contributor An entity responsible for making contributions to the resource City of Yanga Rights Information about rights held in and over the resource City of Yanga, Edificio Municipal, Avenue 2, Centro, 94930 Yanga, Veracruz, Mexico bronze figurative machete (knife)