5 10 134 https://slaverymonuments.org/files/original/ca02254eea2c06ef3b540659ac11d28b.jpg 981d596e6efc35057db716420d5e1d59 https://slaverymonuments.org/files/original/3db1d2bb4e5cf7722dd073dd5b8308c8.jpeg d26ca27f5f673e334bb0635cd6751e18 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 Universities and Slavery Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments in this collection examine the intertwined histories of American universities and slavery. In his book, Ebony and Ivy: Race, Slavery, and the Troubled History of America’s Universities (2013), Craig Steven Wilder examines how universities and colleges were established and expanded because of the massive wealth they accrued from the transatlantic slave trade and slavery. Slave traders became the principal financiers of endowed faculty chairs and were appointed as university trustees, and colleges and universities made special efforts to recruit the sons of the slaveholding elite. Presidents of universities also held Black people in bondage, for example, Princeton’s first nine university presidents owned enslaved people. Universities and colleges such as the University of Virginia have recognized how enslaved people labored on their campuses, waiting on faculty and students and tending to their grounds. Just as importantly, the classes at many universities upheld the logic of racism foundational to American slavery. As researchers at Rutgers found, “The faculty and curriculum at Rutgers and other early American colleges reinforced the theological and scientific racism that provided the ideological and spiritual justification for the free labor of Africans, the absolute power of slave owners, and the separation of the races.” Often responding to pressure from students and activists, universities and colleges across the United States have begun to think more critically about how to address the complex, untold, and painful history of slavery and its ongoing legacy on their campuses. The memorials in this collection, such as the University of Virginia’s <a href="https://www.slaverymonuments.org/items/show/1127" target="_blank" rel="noopener" title="https://www.slaverymonuments.org/items/show/1127">Memorial to Enslaved Laborers</a> are intended as spaces for learning, healing, and reconciliation. In addition to building monuments, universities are also attempting to redress and repair their relationship with communities most affected by slavery. William and Mary’s Lemon Project, for example, focuses on “contributing to and encouraging scholarship on the 300-year relationship between African Americans and William and Mary, and building bridges between the university and Williamsburg and Greater Tidewater area.” 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 Unsung Founders Memorial (Chapel Hill, North Carolina) Subject The topic of the resource Subject (Topic) Enslaved persons Public art Public sculpture North Carolina--Chapel Hill Slavery--North Carolina University of North Carolina at Chapel Hill Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial includes a stone tabletop supported by 300 bronze male and female African American figures, their arms raised over their heads as they collectively hold the weight of the tabletop. The differing dress of the figures-- some are shown in suits, while others are semi-nude and bare foot-- appear to represent a range of economic classes. The table is surrounded by five black stone seats. Creator An entity primarily responsible for making the resource Suh, Do-Ho, 1962- Date A point or period of time associated with an event in the lifecycle of the resource November 5, 2005 Contributor An entity responsible for making contributions to the resource University of North Carolina Graduating Class of 2002 Rights Information about rights held in and over the resource University of North Carolina at Chapel Hill, Chapel Hill, North Carolina, 27599, 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 McCorkle Place, University of North Carolina, Chapel Hill, North Carolina, 27514, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription around the edge of the table: THE CLASS OF 2002 HONORS THE UNIVERSITY’S UNSUNG FOUNDERS — THE PEOPLE OF COLOR BOND AND FREE — WHO HELPED BUILD THE CAROLINA THAT WE CHERISH TODAY Medium The material or physical carrier of the resource. Black granite; 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 Photographs by 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. Ater, Renée. “The Challenge of Memorializing Slavery in North Carolina: The Unsung Founders Memorial and the North Carolina Freedom Monument Project.” In Politics of Memory: Making Slavery Visible in the Public Space, edited by Ana Lucia Araujo, 141–156. Routledge, 2012. McMillan, Timothy J. "Remembering Forgetting: A Monument to Erasure at the University of North Carolina." In Silence, Screen and Spectacle: Rethinking Social Memory in the Age of Information, eds. Lindsey A. Freeman, Benjamin Nienass, and Rachel Daniell, 137-162. Berhahn Books, 2014. Wilder, Craig Steven. Ebony and Ivy: Race, Slavery, and the Troubled History of America's Universities. Bloomsbury Publishing, 2014. University of Virginia. "Universities Studying Slavery." President's Commission on Slavery and the University. https://slavery.virginia.edu/universities-studying-slavery/. black granite bronze figurative https://slaverymonuments.org/files/original/6b38971fc4636a7c6a09c9074784a7e2.JPG bd7d5b3dc69ca7a32d3117d998651e23 https://slaverymonuments.org/files/original/29bd10a4eeaadaf29ad6b96dcc0e14f7.JPG 459d28965a4569840287ff255a1da29b https://slaverymonuments.org/files/original/a2d8b5d14d00e9f76a640968840357e3.JPG b14dc7036a2e66c6c3769c2123d1aec2 https://slaverymonuments.org/files/original/65d3ba20c0410f9284597d70e13c9c71.jpg 1cb389f4b119154fda5e4c54104038a1 https://slaverymonuments.org/files/original/b57a83a0196feb2b3e52ad68b8ef8944.jpg 791d946ad158b4c53067247b692beddf https://slaverymonuments.org/files/original/25def8acb75a3acf95ad39a255f415cc.JPG aa1162f105c784774ca6050c965ef48e https://slaverymonuments.org/files/original/368d66dcd63e135c9b3fdc5cd8587503.JPG 31d42747e1d4cda02228e0a07bf4a392 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 Universities and Slavery Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments in this collection examine the intertwined histories of American universities and slavery. In his book, Ebony and Ivy: Race, Slavery, and the Troubled History of America’s Universities (2013), Craig Steven Wilder examines how universities and colleges were established and expanded because of the massive wealth they accrued from the transatlantic slave trade and slavery. Slave traders became the principal financiers of endowed faculty chairs and were appointed as university trustees, and colleges and universities made special efforts to recruit the sons of the slaveholding elite. Presidents of universities also held Black people in bondage, for example, Princeton’s first nine university presidents owned enslaved people. Universities and colleges such as the University of Virginia have recognized how enslaved people labored on their campuses, waiting on faculty and students and tending to their grounds. Just as importantly, the classes at many universities upheld the logic of racism foundational to American slavery. As researchers at Rutgers found, “The faculty and curriculum at Rutgers and other early American colleges reinforced the theological and scientific racism that provided the ideological and spiritual justification for the free labor of Africans, the absolute power of slave owners, and the separation of the races.” Often responding to pressure from students and activists, universities and colleges across the United States have begun to think more critically about how to address the complex, untold, and painful history of slavery and its ongoing legacy on their campuses. The memorials in this collection, such as the University of Virginia’s <a href="https://www.slaverymonuments.org/items/show/1127" target="_blank" rel="noopener" title="https://www.slaverymonuments.org/items/show/1127">Memorial to Enslaved Laborers</a> are intended as spaces for learning, healing, and reconciliation. In addition to building monuments, universities are also attempting to redress and repair their relationship with communities most affected by slavery. William and Mary’s Lemon Project, for example, focuses on “contributing to and encouraging scholarship on the 300-year relationship between African Americans and William and Mary, and building bridges between the university and Williamsburg and Greater Tidewater area.” 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 Sculpture: 96 x 96 x 55 in. (243.84 x 243.84 x 149 cm) Granite column: 43.375 x 39.5 x 30 in. (110.17 x 100.33 x 76.2 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 Slavery Memorial (Providence, Rhode Island) Subject The topic of the resource Subject (Topic) Brown University Enslaved persons Public art Public sculpture Slavery--Rhode Island Rhode Island--Providence Subject (Object Type) Commemorative sculpture Description An account of the resource Located near University Hall, the oldest building on campus and constructed with the labor of enslaved persons, the memorial has two distinct features: a sculpture and a stone plinth. The sculpture consists of a massive ductile cast iron chain, which emerges from a large cast iron dome. The links of the chain are broken and the iron dome, just visible as it emerges out of the earth, recalls the physical restraints of a ball and chain. A stone plinth with engraved text stands next to the sculpture. Creator An entity primarily responsible for making the resource Puryear, Martin, 1941- Date A point or period of time associated with an event in the lifecycle of the resource September 27, 2014 Contributor An entity responsible for making contributions to the resource The Slavery and Justice Committee; Brown University Public Art Committee; Brown Corporation Rights Information about rights held in and over the resource Brown University, 1 Prospect Street, Providence, Rhode Island, 02912, 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 Manning Hall, 21 Prospect St, Providence, Rhode Island, 02912, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on granite column: This memorial recognizes Brown University’s connection to the trans-Atlantic slave trade and the work of Africans and African-Americans, enslaved and free, who helped build our university, Rhode Island, and the nation. Extent The size or duration of the resource. Sculpture: 96 x 96 x 55 in. (243.84 x 243.84 x 149 cm) Granite column: 43.375 x 39.5 x 30 in. (110.17 x 100.33 x 76.2 cm) Medium The material or physical carrier of the resource. Ductile cast iron; Mirrored stainless steel; Black granite 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 Sally Promey Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Wilder, Craig Steven. Ebony and Ivy: Race, Slavery, and the Troubled History of America's Universities. Bloomsbury Publishing, 2014. Simmons, Ruth J. "Slavery and Justice at Brown: A Personal Reflection." In Slavery and the University: Histories and Legacies, eds. Leslie M. Harris, James T. Campbell, and Alfred L. Brophy. University of Georgia Press, 2019. Ater, Renée. "Tactility, Memory Work, and Martin Puryear's Slavery Memorial." In Slavery and Justice Report with Commentary on Context and Impact, eds. Anthony Bogues, Cass Cliatt, and Alison Levy, 23-32. 2nd edition. Brown University, 2021. https://slaveryandjustice.brown.edu/sites/default/files/reports/BRW321-SlaveryandJustice-10-22-21.pdf. University of Virginia. "Universities Studying Slavery." President's Commission on Slavery and the University. https://slavery.virginia.edu/universities-studying-slavery/. abstract black granite iron stainless steel https://slaverymonuments.org/files/original/8c0b80737f678be100753bb22d8b6887.jpg b5cdc04a050a00a2863230582c2c467b https://slaverymonuments.org/files/original/2ce2820d4d19f0525a0a0c6c5f963347.jpeg 502360b9314d09af9cbc77caf3b34f2f https://slaverymonuments.org/files/original/dc9bb13e07d5b2794f888adabdbcd5da.jpg 49ca6e25121d81e49af91c8fb13ff367 https://slaverymonuments.org/files/original/35ed51951e2095b4ee35e63a4b0d7fcf.jpeg 0826eb48c0e15e24df232706f42b4c84 https://slaverymonuments.org/files/original/d9ec2e10f4d251f7aeeb81c31535fd96.jpeg 179fe14432fd2cfec7b88ed8abedf1da 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 Universities and Slavery Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments in this collection examine the intertwined histories of American universities and slavery. In his book, Ebony and Ivy: Race, Slavery, and the Troubled History of America’s Universities (2013), Craig Steven Wilder examines how universities and colleges were established and expanded because of the massive wealth they accrued from the transatlantic slave trade and slavery. Slave traders became the principal financiers of endowed faculty chairs and were appointed as university trustees, and colleges and universities made special efforts to recruit the sons of the slaveholding elite. Presidents of universities also held Black people in bondage, for example, Princeton’s first nine university presidents owned enslaved people. Universities and colleges such as the University of Virginia have recognized how enslaved people labored on their campuses, waiting on faculty and students and tending to their grounds. Just as importantly, the classes at many universities upheld the logic of racism foundational to American slavery. As researchers at Rutgers found, “The faculty and curriculum at Rutgers and other early American colleges reinforced the theological and scientific racism that provided the ideological and spiritual justification for the free labor of Africans, the absolute power of slave owners, and the separation of the races.” Often responding to pressure from students and activists, universities and colleges across the United States have begun to think more critically about how to address the complex, untold, and painful history of slavery and its ongoing legacy on their campuses. The memorials in this collection, such as the University of Virginia’s <a href="https://www.slaverymonuments.org/items/show/1127" target="_blank" rel="noopener" title="https://www.slaverymonuments.org/items/show/1127">Memorial to Enslaved Laborers</a> are intended as spaces for learning, healing, and reconciliation. In addition to building monuments, universities are also attempting to redress and repair their relationship with communities most affected by slavery. William and Mary’s Lemon Project, for example, focuses on “contributing to and encouraging scholarship on the 300-year relationship between African Americans and William and Mary, and building bridges between the university and Williamsburg and Greater Tidewater area.” 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 Memorial to Enslaved Laborers (Charlottesville, Virginia) Subject The topic of the resource Subject (Topic) Enslaved persons Public art Public sculpture Virginia--Charlottesville Slavery--Virginia University of Virginia Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial consists of two granite circles nestled into the grassy landscape. The exterior surface of the outer ring is ribbed and textured with shallow depressions designed to catch light and shadow. From a certain angle, the eyes of Isabella Gibbons—an enslaved woman at the University of Virginia—appear on the stone surface. The interior wall of this outer ring bears the engraved names of known enslaved laborers at the University, along with placeholders for those whose names remain unknown. At the center lies a circular grass lawn, encircled by a smaller stone ring. This inner ring features engravings of Isabella Gibbons’ writings and a timeline depicting the lives of enslaved people at the university from the early seventeenth century through Gibbons’ death in 1889. The structure invites visitors to view and reflect upon the various inscriptions etched onto the memorial. Creator An entity primarily responsible for making the resource Höweler + Yoon Architecture Höweler, Eric, 1972- Yoon, Meejin, 1972- Wilson, Mable O. (architect), 1963- Otiitigbe, Eto (artist), 1977- Gleam, Gregg (landscape architect), 1952- Dukes, Frank (community engagement facilitator), 1951- Date A point or period of time associated with an event in the lifecycle of the resource April 10, 2021 Contributor An entity responsible for making contributions to the resource Design Team: Höweler + Yoon Architecture including Namjoo Kim, Caroline Shannon, and Anna Kaertner; Silman, Structural Engineering; Nitsch Engineering; George Sexton Associates, Lighting Designer; DEW, International Water Feature Design Consultants; Team Henry Enterprises, General Contractor; Quarra Stone Company, Stone Fabrication and Installation; Common Name, Typography Design. Descendants of Enslaved Communities at UVA. University of Virginia: President's Commission on Slavery and the University, Memorial for Enslaved Laborers student organization, Inclusion Diversity Equity Access IDEA Fund, University and Community Action for Racial Equity (UCARE), Office of the Architect and Facilities Managment, Division of for Community Engagement and Equal Opportunity.  Memorial to Enslaved Laborers (MEL) Community Engagement Committee: Meghan Saunders (chair), Cecil Banks, Bobby Battle, Carolyn Dillard, Kellen Renner-Thomas, Joy Elmore, Tierney Fairchild, DeTeasa Gathers, Jessica Harris, Sarita Herman, Pam Higgins, Mary Hughes, Alexis Mason, Kristin Morgan, Louis Nelson, Shelley Murphy, Stacy Smith, and Cauline Yates. Community Input: 100 Black Men of Central Virginia, African American fraternities and sororities, Albemarle High School, Black Professional Network, Black Student Alliance (BSA), Buford Middle School, Central Virginia History Research Group (CVHR), Charlottesville High School, City of Promise, Collegiate 100, Daughters of Zion, Ebenezer Baptist Church, Faculty Senate, General Faculty Council, J.P. Burley High School Alumni, Jefferson Area Board for Aging (JABA), Mason’s Lodge, Monticello High School, NAACP, Office of African American Affairs, The Ridley Scholarship Fund, Trinity Episcopal Church, Union Run Baptist Church, UVA Black Alumni, Virginia Humanities, and Zion Union Baptist Church. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Division for Community Engagement and Equal Opportunity. "Memorial to Enslaved Laborers at the University of Virginia." University of Virginia. Accessed January 28, 2026. https://mel.virginia.edu/. Silva, Sergio Manuel. "Afterlives in Stone." Religion, Race & Democracy Lab, University of Virginia. Accessed April 30, 2025. https://religionlab.virginia.edu/projects/afterlives-in-stone/. Wilder, Craig Steven. Ebony and Ivy: Race, Slavery, and the Troubled History of America's Universities. Bloomsbury Publishing, 2014. University of Virginia. "Universities Studying Slavery." President's Commission on Slavery and the University. https://slavery.virginia.edu/universities-studying-slavery/. 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 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University and Elliewood Avenues, University of Virginia, Charlottesville, Virginia, 22903, 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. Virginia mist granite Rights Information about rights held in and over the resource Division for Community Engagement and Equal Opportunity, University of Virginia, Madison Hall, P.O. Box 400881, Charlottesville, Virginia, 22904, United States Has Part A related resource that is included either physically or logically in the described resource. Timeline https://mel.virginia.edu/history?open=true#timeline-of-enslaved-laborers-at-uva List of African American individuals (Community Cloud): http://juel.iath.virginia.edu/node/367 and https://mel.virginia.edu/community?open=true#community-cloud abstract granite memorial wall names https://slaverymonuments.org/files/original/de490d0601670c9e46b6e5400b574e4e.jpg b6934120b65320c0c591993140c2167d https://slaverymonuments.org/files/original/ca89b78694aaa40ad5076ed62a2f704e.jpg 534cc5396b6e93a55eac71cc058061f4 https://slaverymonuments.org/files/original/26cc105594d7a6106b57fdd99411fd10.jpg 35e566d370aaf18e2c8a6c8b2afa22fe https://slaverymonuments.org/files/original/61f00ec319c43d0a9a9305e8030ef2ed.jpg c8dd15c6967050bdba7ac4ff1fcebded https://slaverymonuments.org/files/original/260c4dde25f35847c172e98042f87a48.jpg 6bf68d75cb15ce0e7b4b4ad373e25d4d https://slaverymonuments.org/files/original/4f20e2a715f0a1e4cc31cf4e541d0098.jpg 6e53bccf7af6ddbddda0a623d48280a9 https://slaverymonuments.org/files/original/c21e316bcd1d8f646b811e0bf1dd3711.jpg 2533509742958c9168e897b924dce4d2 https://slaverymonuments.org/files/original/63fe476048151f1e4c5a7cdf546f21c1.jpg 9f010f7422945c21b1707f526e4c4468 https://slaverymonuments.org/files/original/0704bb54a6e7b3fc21e81301a1858a6b.jpg a0c01817a3e6969929386e15802671eb 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 Burial Grounds Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection is just a fraction of the burial grounds dedicated to enslaved persons, "contrabands," and freed persons. Many of these cemeteries and memorial parks have suffered greatly over the years--some have been desecrated and destroyed while others have been long ignored and fallen into disrepair. The monuments and memorials in this collection are part of local efforts to restore and recognize the importance of black life in death, including the <a href="https://www.slaverymonuments.org/items/show/1130" target="_blank" rel="noopener">Freedman's Cemetery Memorial</a> in Dallas, Texas; <a href="https://www.slaverymonuments.org/items/show/1136" target="_blank" rel="noopener">African Burial Ground National Memorial </a>in New York City; <a href="https://www.slaverymonuments.org/items/show/1128" target="_blank" rel="noopener">African Burying Ground Memorial</a> in Portsmouth, New Hampshire; and <a href="https://www.slaverymonuments.org/items/show/2" target="_blank" rel="noopener">Contrabands and Freedmen Cemetery Memorial</a> in Alexandria, Virginia. As of 2026, the Black Cemetery Network (blackcemeterynetwork.org) has documented 201 Black cemeteries in New England, the Middle Atlantic, the South, and the Midwest. Some of these cemeteries are dedicated to enslaved persons such as the Enslaved Cemetery in Mahwah, New Jersey; Betton Hills Plantation Cemetery in Tallahassee, Florida; and the Enslaved Burial Ground in Old Round Rock Cemetery in Round Rock, Texas. In 2022, the African American Burial Grounds Preservation Program authorized the National Park Service to administer an annual grant program to assist in the preservation of historic Black burial grounds. See Congress.gov. "Text - H.R.6805 - 117th Congress (2021-2022): African-American Burial Grounds Preservation Act." April 28, 2022. https://www.congress.gov/bill/117th-congress/house-bill/6805/text. 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 We Stand in Honor of Those Forgotten: African Burying Ground Memorial (Portsmouth, New Hampshire) Subject The topic of the resource Subject (Topic) African Americans--History African American cemeteries New Hampshire--Portsmouth Public art Public sculpture Slavery--New Hampshire Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial is composed of a number of distinct elements. A rectangular granite stele on State Street marks the memorial’s entrance. On one side, below the engraved text that reads “African Burying Ground Memorial,” a life-size bronze figure of a man stands with his back against the stone stele. His left-hand reaches out and back, towards the other side of the stele. On the opposite side, a life-size bronze figure of a woman mirrors the gesture of her male counterpart. The sculptor, Jerome Meadows, leaves a gap between the outstretched hands of the two figures. On the opposite end of the memorial, a group of eight life-size vertical bronze and concrete silhouettes, each inscribed with a line from a poem written by Meadows, stand in a semicircle around the burial vault. The figural group is surrounded by a metal railing, embellished with ceramic tiles. The design of the 110 ceramic tiles is inspired by Kinte cloth patterns and based on the original drawings created in a workshop Meadows facilitated with students from a local middle school. The burial vault contains the re-interred remains of the thirteen individuals found on the site in 2003. The vault is marked with a Sankofa, a West African Adinkra symbol that means “Return and Get It — Learn from the Past.” The sculptural groups are connected by the “Petition Line,” a ribbon of pinks stone, which contrasts with the gray stone walkway of the memorial. The Petition Line contains excerpts from a formal document submitted to the New Hampshire legislature in 1779 by twenty enslaved individuals petitioning for their freedom. To the right is an information marker that provides visitors with the historical context for the memorial, as well as the poem by Meadows - I Stand For Those Forgotten. Creator An entity primarily responsible for making the resource Meadows, Jerome, 1951- Date A point or period of time associated with an event in the lifecycle of the resource May 23, 2015 Contributor An entity responsible for making contributions to the resource Portsmouth City Council; African Burying Ground Committee; Roberta Woodburn, Woodburn & Company Landscape Architecture; community members; Portsmouth school children; and various non-profit partners including the Portsmouth Black Heritage Trail, Inc., the Seacoast African American Cultural Center, the Portsmouth Historical Society, and Art-Speak. 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 Portsmouth African Burying Ground, 97 Chestnut Street (between Court and State Streets), Portsmouth, New Hampshire, 03801, United States Has Part A related resource that is included either physically or logically in the described resource. First bronze plaque on Information Marker: I stand for the Ancestors Here and Beyond I stand for those who feel anger I stand for those who were treated unjustly I stand for those who were taken from their loved ones I stand for those who suffered the middle passage I stand for those who survived upon these shores I stand for those who pay homage to this ground I stand for those who find dignity in these bones --Jerome Meadows, artist and sculptor The Entry Figures--The male figure stands for the first enslaved Africans brought to Portsmouth and those who followed. The female figure represents Mother Africa, endlessly straining past the obstacles that keep her from her children of the Diaspora. Together, as each figure reaches around the edge of the granite slab towards the other, they physically embody the separation and uncertainty of those brought here as captives as well as their perserverance. The gap between their fingertips is a reminder of their forced separation and of the divisions of past injustices. The Petition Line--In 1779, twenty men who had been forcibly brought from West Africa when they were children and were purchased by prominent local families, petitioned the New Hampshire legislature for their freedom and for the end of slavery in the state. Quoting phrases from this “Petition for Freedom,” the petition line is a visual and historical thread linking the elements of the monument and putting eloquent voice to those so long forgotten and ignored. Extending from the entry figures through a space of contemplation, the line disappears into the burial vault beneath the plaza. The West African symbol adorning this line is “Nsoromma” that means “Child of the Heavens” and is an icon of guardian ship. Burial Vault Lid--The Adinkra figure “Sankofa” meaning “Return And Get It--Learn From The Past” forms a shield and cover for the burial vault containing the reinterred remains of those exhumed in 2003 and additional partial remains found at the site during preparations for the memorial. Community Figures--These life-sized bronze sihouettes represent the collective community of greater Portsmouth, gather with resolve to acknowledge, protect, and pay homage to the souls whose remains were uncovered in 2003. Each figure bears a line from the poem by the memorial designer and sculptor Jerome Meadows, inspired by this sacred place. Decorative Railing--The design is based on an African Kente cloth motif suggestive of boat paddles. The ceramic tiles embedded in the railing were created by students from Portsmouth Public Schools. By forming the tiles, these school children link hands with past children who worked here and future generations who will stop, remember, and stand for those forgotten. Second bronze plaque on Information Marker: We Stand In Honor Of Those Forgotten This Memorial was created by the people of Portsmouth. Those buried here are not part of black history or white history. This is our collective history. The symbol chosen to represent the solemn intent of the African Burying Ground Memorial and its close historical connection to West Africa is the distinctive Sankofa symbol from the Akan people of Ghana. For those Africans forcibly removed from their homeland to be enslaved in America, and for those of us reflecting on that history now, we take the Sankofa and its timeless meaning to heart: “Return And Get It--Learn From The Past.” The first known enslaved African, a man from Guinea, arrived in Portsmouth in 1645. He was among hundreds of African captives to live in slavery in New Hampshire. Throughout the Colonial Era, New Hampshire's affluent port had the largest number of slaves in the colony, up to 4 percent of the population recorded in the census of 1767. By 1810, few if any people of African ancestry were still enslaved in Portsmouth. Although early town records and other public documents made references to the “Negro Burying Yard,” the memory of the African Burying Ground and its occupants--which may number over 200--faded as the decades passed. The burying ground was built over and nearly forgotten--until October 7, 2003 when a work crew unexpectedly exposed deteriorating wooden coffins containing human remains. Forensic archaeology and DNA analysis confirmed the individuals exhumed as African. Portsmouth began a community discussion about this historic and sensitive site and determined that space should be restored to sacred ground. The process to create a memorial and to re-inter the disturbed remains began. In the spring of 2015, the remains were re-interred in the burial vault that is the focal point of this Memorial. The Portsmouth African Burying Ground Memorial stands for those who were fogotten. The burial site acknowledges their humanity, and ours. With design elements chosen in a series of community dialogues about the past, present, and future, this Memorial provides an opportunity to look back and reflect on the history shared with those buried here, in a space whose extent is not fully defined. Although their identities are not known, their presence beneath our feet urges us to recognize them--and others forgotten--as individuals with stories that come alive as we look back and remember. Medium The material or physical carrier of the resource. Bronze; Concrete; Stone Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. “Memorial Park Design.” Portsmouth African Burying Ground. Accessed May 6, 2019. http://www.africanburyinggroundnh.org/mpd.html. “Portsmouth African Burying Ground Memorial Park.” Department of Public Works, City of Portsmouth. Accessed May 6, 2019. https://www.cityofportsmouth.com/publicworks/portsmouth-african-burying-ground-memorial-park. 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 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Portsmouth African Burying Ground Extent The size or duration of the resource. 91.2 in. (231.65 cm) Rights Information about rights held in and over the resource City of Portsmouth, 1 Junkins Avenue, Portsmouth, New Hampshire, 03801, United States Adinkra symbols archaeology bronze figurative granite inscription https://slaverymonuments.org/files/original/23343f5c1fdb34bbf0841f511c43ae13.jpg 83365b2673505582e3d0578824f21a12 https://slaverymonuments.org/files/original/97b3a70e0ebc6f2804d73eaa1b78c9d0.jpg 34cdf22721dadf589cda4df1fa8c6d30 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 Burial Grounds Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection is just a fraction of the burial grounds dedicated to enslaved persons, "contrabands," and freed persons. Many of these cemeteries and memorial parks have suffered greatly over the years--some have been desecrated and destroyed while others have been long ignored and fallen into disrepair. The monuments and memorials in this collection are part of local efforts to restore and recognize the importance of black life in death, including the <a href="https://www.slaverymonuments.org/items/show/1130" target="_blank" rel="noopener">Freedman's Cemetery Memorial</a> in Dallas, Texas; <a href="https://www.slaverymonuments.org/items/show/1136" target="_blank" rel="noopener">African Burial Ground National Memorial </a>in New York City; <a href="https://www.slaverymonuments.org/items/show/1128" target="_blank" rel="noopener">African Burying Ground Memorial</a> in Portsmouth, New Hampshire; and <a href="https://www.slaverymonuments.org/items/show/2" target="_blank" rel="noopener">Contrabands and Freedmen Cemetery Memorial</a> in Alexandria, Virginia. As of 2026, the Black Cemetery Network (blackcemeterynetwork.org) has documented 201 Black cemeteries in New England, the Middle Atlantic, the South, and the Midwest. Some of these cemeteries are dedicated to enslaved persons such as the Enslaved Cemetery in Mahwah, New Jersey; Betton Hills Plantation Cemetery in Tallahassee, Florida; and the Enslaved Burial Ground in Old Round Rock Cemetery in Round Rock, Texas. In 2022, the African American Burial Grounds Preservation Program authorized the National Park Service to administer an annual grant program to assist in the preservation of historic Black burial grounds. See Congress.gov. "Text - H.R.6805 - 117th Congress (2021-2022): African-American Burial Grounds Preservation Act." April 28, 2022. https://www.congress.gov/bill/117th-congress/house-bill/6805/text. 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 Freedman’s Cemetery Memorial (Dallas, Texas) Subject The topic of the resource Subject (Topic) African Americans--History African American cemeteries Freed persons--Texas Public art Public sculpture Slavery--Texas Texas--Dallas Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial is located in the Freedman Cemetery in Dallas, Texas. Established in 1861, it is one of the largest Freedman's cemeteries in the country. A Texas Red granite archway marks the entrance to the memorial. Two niches, located on either side of the arch, are adorned with life-size bronze figures (one in each niche). The free-standing figure on the left of the entrance, the so-called “Sentinel” or “Warrior,” is dressed in clothes inspired by the Benin culture of West Africa. He holds a large ceremonial machete with its blade pointed to the ground. His female counterpart, the “Prophetess,” holds a small harp to her chest with her left hand. On the other side of the arch within the memorial garden, two bronze figures occupy the niches. Unlike the free-standing works at the front of the archway, these works are bronze bas-reliefs. The figures emerge from a background that suggests the waves of an ocean. The female figure, the “Violated Soul,” whose wrists and feet are bound by iron manacles, covers her face with her hands. Her male counterpart, the “Struggling Soul,” is similarly shown with his wrists and feet bound by iron manacles; he covers his own scream with his bent left arm. Above each of the life-size bronze figures, in the top register of the arch, are twelve smaller bronze sculptures, suggestive of West African wood sculpture. Through the archway at the center of the memorial park, “Dream of Freedom,” sits atop a Texas Red granite circular plinth. The sculpture shows a newly emancipated couple. The male figure, whose shirtless torso is scarred by whip marks on his back, wraps his left arm around a kneeling woman. Directly behind “Dream of Freedom,” is a polished granite slab with Nia Akimbo’s poem, “Here.” Two remaining headstones from the original cemetery are embedded in the back of this granite slab. At the base of each statue, bronze plaques list the artist, title of the sculpture, and description of the work. Embedded in the interior arched wall are bronze plaques with poetry by ten children from local schools, who won a local poetry contest. In the lawn, several Texas Red granite blocks have bronze plaques attached to them, identifying the original riverbed and unmarked graves. Creator An entity primarily responsible for making the resource Newton, David S., 1967- Date A point or period of time associated with an event in the lifecycle of the resource June 19, 1999 Contributor An entity responsible for making contributions to the resource Black Dallas Remembered, Inc.; City of Dallas Office of Cultural Affairs; Dallas African American Museum; Dallas County Historical Commission; Freedman’s Foundation; Texas Department of Transportation; Mary Loving Blanchard (poet Nia Akimbo); and private donors. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Freedman’s Memorial Cemetery, 2525 N. Central Expressway, Dallas, Texas, 75204, United States Has Part A related resource that is included either physically or logically in the described resource. Historic marker: Freedman’s Cemetery This area of Dallas County was settled by former African American slaves shortly after the conclusion of the American Civil War. Freedman’s Cemetery, a graveyard for African Americans, was established in 1869 on one acre of land purchased by trustee Sam Eakins. Another three acres was acquired for cemetery purposes in 1879 by trustees A. Wilhite, Frank Read, A. Boyd, T. Watson, George English, Silas Pitman, and the Rev. A. R. Griggs, a former slave who later became a prominent local church leader and champion of early public education for the African American community. The community of churches, commercial enterprises, and residences that had developed in this area by the turn of the 20th century was by 1912 a part of the City of Dallas. Construction of the Central Expressway through here in the 1930s virtually eliminated all physical above-ground reminders of the cemetery. Descendants of persons buried here and the City of Dallas agreed in 1965 to establish the Freedman's Memorial Park and Cemetery at this site. Beginning in 1989 representatives of the community worked with the City of Dallas and the Texas Department of Transportation to preserve the historic Freedman’s Cemetery site prior to highway expansion. (1993) Bronze plaque: The Sentinel David Newton 1999 Symbolic guardian protecting site from disrespect or harm. His attire is based on Benin culture of West Africa. Bronze plaque: The Prophetess David Newton 1999 Symbolic of an African oral historian keeping the knowledge and memory of her ancestors alive. Bronze plaque: Violated Soul David Newton 1999 Symbolic of the violation of African women and the degrading nature of slavery, covered faces represents the loss of personal identity experienced by enslaved persons. Bronze plaque: The Struggling Soul David Newton 1999 Symbolic of the enslaved African’s resistance to slavery, and their constant struggle for freedom, the watery background represents the Atlantic Middle Passage unique to the American slave trade. Bronze plaque: Dream of Freedom David Newton 1999 Symbolic of a newly emancipated couple contemplating the death and suffering of their ancestors. Bronze plaque: Riverbed Symbolic of “Crossing Over” from the “Here” Monument to the “Afterlife” Cemetery Area Bronze plaque: Unmarked Graves Approximately 5,000 Unmarked Graves in This Area (Based on Arcaheological Report) Polished granite slab: “Here” by Nia Akimbo https://youtu.be/rua76I5Ptis Poetry bronze plaque: “Remembrance” The moment, once here, as of now bereft So many lives, all one by one taken, though Not to a sad place, for thorugh this unfair left They, in God’s glorious land, will awaken. Most now are gone, yet hardly forgotten- These treasured ancestors must live on In our spirits, we remain ever begotten And we shall never, from them, find ourselves gone. So much like a precious family heirloom Passed down through many generations Never to be lost or forgotten . . . too soon Yet to help us achieve our expectations We implore, please know, this is no morose fact Their dignity is returned to us at last. Olivia Linn 1995 Poetry bronze plaque: “Eulogy to an Unknown Freedman” We transient men of clay can well attest to The inherent frailty of the human frame. And do likewise confess that most of our names Are inevitably reduced to whispering ashes of fond recollections Scattering before the breath of the night wind That blows out the twilight our day; However, unlike this freedman, we can draw comfort from our nostalgic predilection To leave our moral names engraved in stone upon the sod, While he could only cling to the clarity of his perception That his name had been inscribed in the mind of God. Though anonymous here, the past deeds of this seemingly lost life of sorrows Still impacts our today and our tomorrows, For the complex fabric of our times is thickly interwoven With the sturdy cotton threads he spun his wheel of life. Yes, we’ve heard of this freedman-this “motherless” child of Africa Whose matchless paean(?), still echo here and do persuade us even now That we are, indeed, standing in an active valley of “them dry bones” With no need of rows upon rows of labeled stones, For it is certain that “on that great gettin up Mornin” This unidentified sleeping soul is going to stand up and us his name! Ramona Newton 1996 Poetry bronze plaque: “Undying Love” Black People, your minds is not fixed on grieving Yet to feel so much pain for so much time Many a soul wrecked; soon flees peace of mind- This hateful world still deceitful You toiled through sweat, suffering but believing Sometimes too hot, the sun above did shine Painful hearts pray for all to be fine Images of departure, enticing Spirits wandering though all those sad years Laid down a path for others, much like me Free, you strive to cleanse all the salty tears Working so that we would ever be free Your dearest love that that comforts all earthly fears Is reborn in this undying, watchful tree. Summer Allen 1995 Poetry bronze plaque: “A Life to Celebrate” Sweet sounding voices of our ancestors cry Oh, little black children, our own, please hear So you may know the weary-filled years Which set you here: Hope could not pass you by This life was hard so you, child, would apply To enjoy life, those things we hold so dear Not simply to toil, struggle and to fear: Offspring, learn now the road we had to buy Our spirits strong, living, rising like air Proud, Intelligent you are, and you are Celebrating life to show you care Never forget your past, those souls martyred For no one is promised sweet life is fair But unto all, the duty is to falter never. Remel Derrick 1995 Poetry bronze plaque: “Near This Place” Near here now sleep dead, though are they so cold? Let it be known, here warm breath resided In these lungs; under tragic struggle bold Steps these walked, yet their pain twas abided These simple lives unknown, until now Face here new meaning, and are not in vain. With death near, so much knowledge buried, how Many secrets are buried in these lives unchained? Yet lived these; lived boldly so and endured Yet knew pain, humanity they preserved As hate trod on, and true knowledge obscured While here Dignity, is kept, is honored This, never a cold vault of gloom, but here Is Peace, and a debt paid, this is now near. Jedidiah Anderson 1995 Poetry bronze plaque: “A Thread of Freedom” Opening the drawer to remove fresh cloth The stench of neglect infects pure air; The fabric worn from the work of a moth The texture haggard, from both time and wear, The history which lives with each thread, strong Every stitch brought together by brave souls Congregated to Fight against life’s Wrongs. They came from both sexes, the young and the old. I unfold the quilt to inhale beauty Different colors are combined with each other The passed down from those who value hard work and duty And would not live, property of another. Our inherited freedom, life’s treasure Simply belongs to all, without measure. Lysbet Musselwhite 1995 Poetry bronze plaque on brick wall: “The Post Oak” The Post Oak Tree stands remembering Black people remembering You! Jonathan Bailey 1995 Poetry bronze plaque on brick wall: “A Beginning” Birth Adventurous, fulfilling Beginning, crying, delivering New Experiences for yourself. Newness. Modesta Orono 1995 Poetry bronze plaque on brick wall: “Because I Was Free” I leaped in the air And shouted HALLELUJAH Because I Was Free. Tambre Kincade 1995 Poetry bronze plaque on brick wall: “A Celebration of Life” Living Pleasure, hurt now Ending, Moving, Pleasing To know my heritage. Venture. Alan Coleman 1995 Medium The material or physical carrier of the resource. Texas red granite; Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Historic Preservation, Sustainable Development and Construction, City of Dallas. “Freedman’s Cemetery.” Accessed May 11, 2020. https://dallascityhall.com/departments/sustainabledevelopment/historicpreservation/Pages/freedman_s_cemetery.aspx. 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://texastimetravel.com/directory/freedmens-cemetery-memorial-tour/" title="Freedmen's Cemetery Memorial" target="_blank" rel="noopener">Texas Time Travel, Texas Historical Commission</a> Rights Information about rights held in and over the resource City of Dallas Office of Arts and Culture, Administrative Office, 1925 Elm Street, Suite 400, Dallas, Texas, 75201, United States archaeology bronze figurative granite poetry scourged back 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/4d067b13954a799018a97269857061ad.jpg c70e1807c8422f73c9e9a83ac08dc9b0 https://slaverymonuments.org/files/original/4b5c91b408741aa89b5670428cbe0762.jpg f69336ea0a8289b7d5238a7c0f59d61f https://slaverymonuments.org/files/original/8f7b5278533b2eeeaf3cb7473361bf71.jpg 721797c2285f1b69ee5c53d0c45e50e1 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 Underground Railroad Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The memorial and monuments in this collection are dedicated to the Underground Railroad, an organized network of routes and safe houses that assisted freedom seekers [enslaved people] on their journeys northward. The Underground Railroad was part of the larger movement for the abolition of slavery in the United States. The movement to abolish slavery was a complicated political movement that, at its core, was driven by the resistance and activism of enslaved Black people and freedmen and women abolitionists. Historian Manisha Sinha explores the history of American abolition, including the Underground Railroad in The Slave's Cause: A History of Abolition (2016).  Although Harriet Tubman is the most famous conductor in the Underground Railroad, she is not the subject of the memorials featured in this collection (see the collection on this site, <a href="https://www.slaverymonuments.org/collections/show/1" target="_blank" rel="noopener">Black Abolitionists</a>, to view works specifically dedicated to her life and work). Rather the monuments and memorials featured here, such as Ed Dwight's <a href="https://www.slaverymonuments.org/items/show/1170" target="_blank" rel="noopener">Gateway to Freedom: International Memorial to the Underground Railroad</a>, highlight other prominent conductors, as well as celebrate the fortitude and bravery of the freedom seekers as they made the perilous journey north. 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 360 in. (914.4 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 Knockin’ On Freedom’s Door (Peoria, Illinois) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Fugitive slaves--United States Illinois--Peoria Public art Public sculpture Underground Railroad Subject (Name) Pettengill, Moses, 1802-1883 Pettengill, Lucy, 1802-1864 Lincoln, Abraham, 1809-1865 Subject (Object Type) Commemorative sculpture Description An account of the resource Preston Jackson‘s monumental bronze and stainless steel Knockin’ on Freedom’s Door is located on the site of the former Pettengill House in Peoria, an important station on the Underground Railroad. The work features multiple bronze sculptural groups within a stainless-steel frame. The sculptural grouping includes a male and female freedom seeker, climbing out of a small rowboat as two white members of the Underground Railroad look down upon the pair. The pair of Underground Railroad conductors are presumably Moses and Lucy Pettengill. Moses holds a bucket of water in one hand and a ladle in the other, while Lucy clutches at her chest. At the very top of the sculpture, looking down over the scene is a portrait of Abraham Lincoln in profile. Creator An entity primarily responsible for making the resource Jackson, Preston, 1944- Date A point or period of time associated with an event in the lifecycle of the resource October 24, 2008 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Peoria Civic Center, 201 SW Jefferson Ave, Peoria, Illinois, 61602, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque with dedication: “Knocking on Freedom's Door” Preston Jackson, Sculptor Dedicated October 24, 2008 From the 1840s to 1860s, the Moses and Lucy Pettengill House at the corner of Liberty and Jefferson was a safe house for hunted slaves escaping north along the Underground Railroad to freedom. In 2003, the Peoria Civic Center Authority voted to develop the Pettengill housing location as Peoria's newest historic site. In Dec. 2005, the National Park Service officially named Peoria as the 11th Illinois Underground Railway Network to Freedom Historic Site. Preston Jackson, internationally known African American sculptor and a resident of Peoria, was commissioned to create a public artwork that expressed the drama and raw emotions of slaves’ flight to the north along with the generosity of Pettengills, close friends of Abraham Lincoln. Generous support made this project possible, particularly from: Dr. Norman & Barbara Meyn Caterpillar Foundation National Park Service Turner Construction Company Oberlander Electric Advanced Technology Services AmerenCilco//Bill & Helen Barrick Ken & Jody Baum Brewer’s Distrubuting CEFCU Commerce Bancshares Foundation Dr. Peter & Barbara Court PSA Dewberry Harvey & Stuckel, Chartered HOK Sports Facilities Group Illinois Mutual Micro-Pavers, Inc. Selma E. Neumiller OSF Saint Francis Medical Center Tom & Debbie Ritschel Ransburg Foundation RLI Insurance Company Gene & Harriet Swager West Central IL Building & Construction Trades Council Ruby K. Warner Family Trust Bronze plaque with a relief of the home of Moses and Lucy Pettengill: "On this site stood the house of Moses and Lucy Pettengill Moses Pettengill [1802-1883] Lucy Pettengill [1802-1864] The house was noted as Peoria's station on the Underground Railway Network from the 1840s to the 1860s. Fleeing slaves were given food and refuge in this home. The Pettengills helped the escaping slaves with their dangerous journey along the Illinois River on their way to Farmington, Lawn Ridge and Princeton. The Pettengills assisted in founding: Illinois State Anti-Slavery Society [Oct 1837] Peoria Anti-Slavery Society [Feb 1844] Illinois State Female Anti-Slavery Society [May 1844] Abraham Lincoln was their intimate friend, and came to the home many times to discuss political affairs with the ardent Whigs. “In my own experience of about fifty years of opposition to intemperance, Secret Societies, and slavery, I have had the blessing of an approving conscience which is far more valuable than gold and silver.” - Moses Pettengill [1879] Extent The size or duration of the resource. 360 in. (914.4 cm) Medium The material or physical carrier of the resource. Stainless steel; 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 Photographs: <a href="https://ordinaryphilosophy.com/2017/10/24/photobook-knockin-on-freedoms-door-at-moses-and-lucy-pettingills-house-site-in-peoria-illinois/" target="_blank" rel="noopener">Amy Cools, Ordinary Philosophy</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. Thompson, Katie. "The Long Road to Freedom: Peoria and the Underground Railroad." Peoria Magazine, January/February 2008. Accessed February 10, 2026. https://ww2.peoriamagazines.com/as/2008/jan-feb/long-road-freedom. "Preston Jackson: Artist, Educator, Storyteller." Peoria Magazine, July 2021. Accessed February 10, 2026. https://ww2.peoriamagazines.com/pm/2021/jul/preston-jackson. Contributor An entity responsible for making contributions to the resource Dr. Norman & Barbara Meyn; Caterpillar Foundation; National Park Service; Turner Construction Company; Oberlander Electric; Advanced Technology Services; AmerenCilco//Bill and Helen Barrick; Ken and Jody Baum; Brewer’s Distributing CEFCU; Commerce Bancshares Foundation; Dr. Peter and Barbara Court; PSA Dewberry; Harvey & Stuckel Chartered; HOK Sports Facilities Group; Illinois Mutual; Micro-Pavers, Inc.; Selma E. Neumiller; OSF Saint Francis Medical Center; Tom and Debbie Ritschel; Ransburg Foundation; RLI Insurance Company; Gene and Harriet Swager; West Central IL Building & Construction Trades Council; Ruby K. Warner Family Trust Rights Information about rights held in and over the resource Peoria Civic Center Authority, 201 SW Jefferson Avenue, Peoria, Illinois, 61602, United States boat bronze figurative https://slaverymonuments.org/files/original/54d94709792e70123c25adea44a98550.jpg 23bc8de5deead109bfb5a4cc0fbb3f55 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource African American History Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials grouped under this theme acknowledge the important contributions of African Americans to American history. Slavery is anchored in the commemorative works as part of the larger story of Black existence in the United States. Some monuments, such as <a href="https://www.slaverymonuments.org/items/show/1133" target="_blank" rel="noopener">South Carolina African-American History Monument</a> and the <a href="https://www.slaverymonuments.org/items/show/1134" target="_blank" rel="noopener">Texas African American History Memorial</a>, include bas-reliefs of enslaved men and women, signaling these states' role in slavery. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1183" target="_blank" rel="noopener">Truths that Rise from the Roots Remembered</a>, honor the ability of ordinary Black people in Alexandria, Virginia (a slave trade center in the United States) to survive and thrive despite slavery, racism, and white supremacy.  Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Obelisk and pedestal: 276 in. (701.04 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource South Carolina African-American History Monument (Columbia, South Carolina) Subject The topic of the resource Subject (Topic) African Americans--History Enslaved persons--Emancipation Public art Public sculpture Slave ships Slavery--South Carolina South Carolina--Columbia Subject (Object Type) Commemorative sculpture Description An account of the resource Two semicircular gray granite walls, inlaid with twelve bronze panels illustrating 300 years of African American history, frame an obelisk and pedestal. The twelve scenes of African American history include images of the Middle Passage, an African American family on an auction block, enslaved laborers working in a field, men and women celebrating the Emancipation Proclamation, the Jim Crow era, the Great Migration, and images of contemporary African Americans’ important contributions to engineering, law education, sports, politics, and space exploration. At the base of the monument’s obelisk are four rubbing stones from regions of Africa where people were captured - Senegal, Sierra Leone, the Republic of Congo, and Ghana. In front of the memorial, Dwight included a bronze cast of the famous print of the British slave ship Brookes (1787). Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Date A point or period of time associated with an event in the lifecycle of the resource March 29, 2001 Contributor An entity responsible for making contributions to the resource African American History Monument Commission; South Carolina Arts Commission; State House Committee; Citizens' Advisory Committe; Design Committee; Fundraising Committee; private donors Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant South Carolina State House Grounds, 1100 Gervais Street, Columbia, South Carolina, 29201, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque on front of monument: African American History Monument Dedicated - 2001 Ed Dwight - Sculptor Bronze plaque on back of monument: South Carolina African-American History Monument Dedicated to the people of South Carolina Monument Commission Chairman Senator Glenn F. McConnell Vice-Chairman Representative Gilda Cobb-Hunter Senator John E. Courson Senator Robert Ford Senator Darrell Jackson Senator McKinley Washington, Jr. Representative Daniel T. Cooper Representative James S. Klauber Representative John L. Scott, Jr. Honorable Jesse Washington, Jr. State House Committee Senator J. Verne Smith, Chairman Citizen's Advisory Committe Dr. Mac Arthur Goodman, Chairman Design Committee Dr. Terry K. Hunter, Chairman Dr. Henry G. Michaux Mr. James Wakefield Fundraising Committee Governor Jim Hodges, Honorary Chairman Mr. John S. Rainey, Chairman Ms. Juanita W. Brown, Co-Chairman Mr. E. Perry Palmer, Co-Chairman Extent The size or duration of the resource. Obelisk and pedestal: 276 in. (701.04 cm) Medium The material or physical carrier of the resource. Granite; Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Botsch, Carol Sears. “The African-American Monument.” African Americans and South Carolina: History, Politics, and Culture. University of South Carolina-Aiken. Accessed April 15, 2019. https://polisci.usca.edu/aasc/African-AmericanMonument.htm (site discontinued). Davenport, Jim. “A Slave Memorial Now Stands Amid State's Tributes to Confederacy.” Los Angeles Times, March 25, 2001. Accessed April 15, 2019. https://www.latimes.com/archives/la-xpm-2001-mar-25-mn-42494-story.html. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: Flickr, <a href="https://www.flickr.com/photos/22711505@N05/7917139800" title="African-American History Monument -- State Capitol Grounds Columbia (SC) 2012" target="_blank" rel="noopener">"African-American History Monument -- State Capitol Grounds Columbia (SC) 2012" by Ron Cogswell, CC BY 2.0</a> Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. African American History Monument Rights Information about rights held in and over the resource South Carolina State House, 1100 Gervais Street, Columbia, South Carolina 29201, United States bas-relief bronze figurative granite obelisk slave ship https://slaverymonuments.org/files/original/2902ee1d6e78b859129e9bdf72705989.jpg d0bb08dcacdd43cecdafe17f70560a41 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource African American History Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials grouped under this theme acknowledge the important contributions of African Americans to American history. Slavery is anchored in the commemorative works as part of the larger story of Black existence in the United States. Some monuments, such as <a href="https://www.slaverymonuments.org/items/show/1133" target="_blank" rel="noopener">South Carolina African-American History Monument</a> and the <a href="https://www.slaverymonuments.org/items/show/1134" target="_blank" rel="noopener">Texas African American History Memorial</a>, include bas-reliefs of enslaved men and women, signaling these states' role in slavery. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1183" target="_blank" rel="noopener">Truths that Rise from the Roots Remembered</a>, honor the ability of ordinary Black people in Alexandria, Virginia (a slave trade center in the United States) to survive and thrive despite slavery, racism, and white supremacy.  Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 408 x 324 in. ( 1036.32 x 822.96 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Texas African American History Memorial (Austin, Texas) Subject The topic of the resource Subject (Topic) Abolition of slavery African Americans--History Enslaved persons--Emancipation Juneteenth Public art Public sculpture Slavery--Texas Texas--Austin Subject (Object Type) Commemorative sculpture Description An account of the resource The monumental work includes two bronze walls featuring figural scenes celebrating 400 years of African Americans’ contributions to Texas history. Decorated on both front and back, Dwight includes depictions of African Americans engaged in the cattle, cotton, and oil industries as well as tributes to Mickey Leland, Medgar Evers, Buffalo Soldiers, President Barack Obama, and African American Medal of Honor recipients. The two embellished walls meet at a central column. Scores of African American figures, seemingly comprising the base and shaft of the column, gaze outward at the viewer. The top of the column is adorned with two figures standing on a base that reads “Emancipation.” Both figures, one male, one female, have the cuffs of broken manacles and chains around their wrists. The former raises a lit torch over his head, while the latter holds a copy of the Emancipation Proclamation. The monument also serves as a memorial to Juneteenth (June 19, 1865), when hundreds of Union troops arrived in Texas and announced the abolition of slavery in the US. The memorial sits atop a granite base, which features bronze plaques with didactic text. Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Date A point or period of time associated with an event in the lifecycle of the resource November 19, 2019 Contributor An entity responsible for making contributions to the resource Texas African American History Memorial Committee; Texas Legislative Black Caucus; State of Texas. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Texas State Capitol Grounds, 100 West 11th Street, Austin, Texas, 78701, United States Has Part A related resource that is included either physically or logically in the described resource. Panel 1: First Contact and the Spanish Colonial Era 1528-1820 The first recorded people of African descent arrived in Texas with Spanish explorers and settlers. Estevanico, a Moorish slave from Azamor, Morocco, arrived in Texas in 1528 with a party of Spanish explorers who were shipwrecked on the Gulf Coast near Galveston Island. With three other survivors, Andres Dorantes de Castillo, Alvar Nunez Cabeza de Vaca and Alonso del Castillo Maldonado, he walked across southern Texas and northern Mexico, showing a talent for Indian languages and acting as an interpreter for the party. Estevanico was later pressed into service by the Viceroy of New Spain, Antonio de Mendoza, to guide an expedition into what is now Arizona. He was killed at Zuni Pueblo in 1539. His death may have been due to a sacred rattle given to him by Texas Indians, which the Zuni considered an offensive object. Estevanico was one of the thousands of Africans who helped settle Spanish Texas over the course of 300 years. By 1792, African people in Texas comprised 13 percent of the population. Most arrived enslaved. The African-American cultural heritage is a significant legacy that has shaped both our state and national heritage. Panel 2: Slavery During the Mexican National Era 1821-1836 During the Mexican national era, enslaved people of African descent were brought to Texas by the Anglo-American settlers introduced into Texas by Stephen F. Austin and other empresarios, land agents authorized by the Mexican government to help settle Texas. In 1830, Mexican lawmakers prohibited further immigration into Texas from the United States and explicitly banned the introduction of enslaved people into the territory. This ban contributed to increasing tensions between United States settlers and the Mexican government, and was one of the causes of the Texas Revolution from 1835 to 1836. By the time Texas declared independence, there were approximately 5,000 enslaved Blacks in the region. Panel 3: Slavery During the Republic and Early Statehood 1836-1860 Between 1836 and 1860, the slave population in Texas grew from 5,000 to 182,566. The greatest increase in the number of slaves brought to Texas occurred from 1850 to 1865. Among the expanding slave population were children who were purchased and brought to the State, or born in captivity to enslaved parents. Enslaved children typically wore slave cloth shirts made of homespun cotton or wool and were expected to do chores until they were old enough for field work. Enslaved women were expected to bear children and take care of their home life in the slave quarters, and to help farm cotton and other crops. Cotton produced by slave labor was the most important staple in the Texas economy, but slave labor was also integral to the economic growth of Texas in the lumber and construction industries. Several iconic Texas buildings including the 1853 limestone Texas Capitol, the 1856 Governor’s Mansion, and the 1853 Pease Mansion were built with Black slave labor. Most slaves showed skills in farming, animal husbandry, construction, masonry, cooking and blacksmithing. Panel 4: Civil War, Emancipation and Juneteenth, 1861-1865 On the eve of the Civil War, the number of enslaved people in Texas totaled 30 percent of the state’s population. This number continued to grow as slaveholders from other areas of the Confederacy came to Texas as refugees to escape the fighting and brought their enslaved property with them. Scholars estimate that more than 30,000 enslaved people were brought into Texas during the Civil War years alone. The conflict did not readily change the Black experience in Texas, as most African-Americans continued to be held in bondage and forced to labor. Federal troops occupied Texas in June 1865 after the Civil War. General Gordon Granger issued General Order Number 3 at Galveston on June 19, 1865 to enforce the Emancipation Proclamation previously signed by President Abraham Lincoln. That day soon became recognized as Juneteenth or Emancipation Day, although many slaves in Texas were not freed until much later. Juneteenth was officially declared a state holiday in Texas in 1980, and today it continues to be celebrated here and in other states as a milestone of the African-American struggle for freedom. After Emancipation , the former slaves entered the new stage of freedom with a mixture of joy, despair, elation, fear, hope, doubt, certainty and confusion. With little social infrastructure other than their families, they sought to make their way in a nation and state they helped to create, but in which they had very little ownership, input or power. Panel 5: Reconstruction and the Post Slavery Experience 1865-1900 After emancipation, Blacks in Texas, as in other southern states, became members of a society that was unwilling to accept them as equals. Despite efforts to be included in the fabric of Texas society, violence by hostile groups, the lack of access to courts and the ultimate withdrawal of federal troops resulted in the loss of equal protection under the law. In 1866-1867, Blacks could be arrested if they did not have employment, and once jailed, their labor could be forced. Prisoners, the majority of whom were African-Americans, were leased to contractors as convict laborers. These leased prisoners were used much like slaves, including during the construction of the current State Capitol. Although Blacks did serve on juries, vote and hold office for a few years from the late 1870s until the turn of the 20th century, their rights were constantly threatened at the local level and taken away statewide soon after 1900. During the era of Reconstruction, African-Americans sought to live and prosper in the aftermath of slavery. Fifty-two African-American men served Texas as either state legislative members or Constitutional Convention delegates during the last half of the 19th century. They built communities with churches and schools. Some former slaves served in Texas in four African-American regiments with white officers formed in 1866, the 9th and 10th Cavalry and the 24th and 25th Infantry. Native Americans gave these men the title of “Buffalo Soldiers.” Some African-Americans, including Bob Lemmons, Bill Pickett and Tige Avery became successful cowboys and horse wranglers on many Texas ranches, in part due to skills learned during their years of slavery. Panel 6: Post Reconstruction Challenges and Achievements 1877-1954 The end of Reconstruction proved an uncertain and violent time for African-Americans living in Texas. Riots and lynchings were common occurrences. By the early 20th century, Texas ranked third in the nation for lynching. Violence, however, did not deter Texans of African descent from seeking to improve their economic, political and social status. This period saw major African-American contributions to aviation, sports and the arts--particularly in music. Folk music from the African-Americans in Texas made an important contribution to the development of blues, folk and country music in America. Blacks were barred from attending public schools with Whites in Texas until 1954, when the United States Supreme Court ended public school segregation in the United States. Despite being forced to attend inferior public schools, African-Americans were able to attain higher education at traditionally black colleges including Huston-Tillotson University, Prairie View A&M University, Texas Southern University and Wiley College. During and after World War II, Black Texans played a significant role in advancing Civil Rights. The landmark case Smith v. Allwright (1944) improved the voting rights for African-Americans in the South and Sweatt v. Painter (1950) paved the way for equal access to education by opening the doors of The University of Texas law school to African-American students. More groundbreaking changes followed. African-American voter registration peaked in the 1960s. Activists organized peaceful protests including lunch counter sit-ins, marches and business boycotts. Panel 7: Major Achievements African-American Texans have contributed to the state’s culture, and have gained prominence in a host of fields. Despite the tremendous challenges posed by the institution of slavery, Jim Crow segregation and discrimination, African-Americans overcame and continue to overcome great obstacles to make a place for themselves in the Lone Star State, and are an essential part of Texas history, life and culture. Scott Joplin, a world class composer and pianist, was known as the “King of Ragtime Writers.” Jack Johnson was the first Black heavyweight boxing champion of the world. Bessie Coleman broke historical barriers by becoming the first African-American woman aviator and one of the first licensed female pilots in the world. Navy Mess Attendant Second Class Doris “Dorie” Miller shot down four Japanese warplanes at Pearl Harbor and was awarded the Navy Cross. Barbara Jordan was the first African-American woman elected to the Texas Senate (1966) and later became the first African-American congresswoman from Texas (1972-1978). Congressman Mickey Leland held the office previously occupied by Barbara Jordan and was a champion for equal rights until his untimely death. From exploration of unchartered lands in Texas to exploration of outer space, people of African descent contributed significantly to Texas history. This memorial is dedicated to their struggle and their accomplishments so that both will not be forgotten. Back Panel 1: Battles for Texas Independence from Mexico 1836 Several notable individuals of African descent participated in the battles at the Alamo and San Jacinto in 1836. Joe, slave of William B. Travis, fought at the Alamo and survived. His account of the fighting is one of the most important Alamo narratives. Mack Smith, slave of Ben Fort Smith, and Dick the Drummer, a musician, both participated in the battle of San Jacinto. A story recorded in 1842 by William Bollaert, an Englishman touring Texas, claimed that the Mexican Army probably lost the battle of San Jacinto because of the influence of a mulatto girl named “Emily,” who belonged to Col. James Morgan and was “closeted” in Santa Anna’s tent, detaining him when the Texans charged the Mexican Army camp. No other account of the battle mentions this story, but in 1836 a free woman named Emily D. West, who came to Texas from New York in late 1835, was employed by Col. Morgan as a house worker in New Washington (now Morgan’s Point) on Galveston Bay. Morgan’s settlement was occupied and burned by Santa Anna’s army on April 20, the day before the battle. His servants, unable to escape, were captured by the Mexican Army. Emily, sometimes known as “the Yellow Rose of Texas,” may have been among the prisoners because in 1837, when seeking a passport to leave Texas, she said she had lost her free papers at San Jacinto in April 1836. Back Panel 2: Hendrick Arnold and Samuel McCulloch, Jr. Hendrick Arnold and Samuel McCulloch, Jr. played important roles in the Texas Revolution and the formation of the Republic of Texas. After Texas became independent, both were considered free Blacks, but they were placed under severe legal restrictions. Samuel McCulloch, Jr., who lived near the Lavaca River with his family, has been called “a genuine Texas hero.” McCulloch volunteered to serve in the Texas Army and was wounded at the Battle of Goliad, the only Texan to be injured. After the war in 1837, he petitioned the Republic of Texas for citizenship rights and land. His petition was rejected, but McCulloch performed other military duties for the Republic of Texas, including serving as a spy during the Mexican invasion of San Antonio in 1842. After twenty years of petitioning the Congress of the Republic of Texas and the Texas State Legislature, McCulloch finally received his land in 1858 and settled at Von Ormy in Bexar County, where he farmed and ranched until his death in 1893. Hendrick Arnold’s family resided in San Antonio. In 1835, Arnold and his father-in-law, Erastus Smith, went on a hunting trip. When they attempted to go home, Mexican soldiers, who had since occupied San Antonio, refused to let them return. Subsequently, both Arnold and his father-in-law joined the Texas Army under Stephen F. Austin and worked as soldiers, spies and guides. Arnold became known in military circles as an associate of Sam Houston, an efficient and brave spy, and was cited for his service in the Texas Revolution. With his commendation from the Republic of Texas, he acquired land outside of San Antonio where he is buried today. Back Panel 3: The 21st Century The State of Texas has thrived economically. Early history indicates that the development of the cotton industry, initially dependent on slave labor, as well as the cattle market and the discovery of abundant supplies of oil contributed to this economic wealth. These three profitable industries facilitated Texas’ economic progress. However, such achievements were often at the expense of African-Americans who rarely reaped the benefits of such growth. For 200 years, Texans of African descent struggled for economic, social and political success. They fought to gain access to basic judicial and human rights to secure their enfranchisement and their role in Texas society. In some cases, they achieved some success. In other areas, there is work yet to be done. This Memorial is dedicated to both the struggles and achievements of African-American Texans and the impact of both on the economic and cultural vitality of the State of Texas. Extent The size or duration of the resource. 408 x 324 in. (1036.32 x 822.96 cm) Medium The material or physical carrier of the resource. Granite; Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. “Texas African American History Memorial, Dedication Ceremony, South Lawn Texas Capital, Saturday, November 19, 2016, 10:00 am.” Program (PDF). Accessed April 15, 2019. https://lrl.texas.gov/scanned/blog/aam_program2.pdf. State Preservation Board, Texas Capitol. “Texas African American History Memorial.” Accessed April 15, 2019. https://tspb.texas.gov/prop/tcg/tcg-monuments/21-african-american-history/index.html. Legislative Reference Library of Texas. “New Texas African American Monument.” Accessed April 15, 2019. https://lrl.texas.gov/whatsnew/client/index.cfm/2017/2/14/New-Texas-African-American-Monument. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: Flickr, “<a href="https://www.flickr.com/photos/jpestana/31271259748" title="Texas African American History Memorial: Ed Dwight..." target="_blank" rel="noopener">Texas African American History Memorial: Ed Dwight...</a>” by <a href="https://www.flickr.com/photos/jpestana/" target="_blank" rel="noopener">José Pestana</a>, <a href="https://creativecommons.org/licenses/by-nc-sa/2.0/deed.en" rel="noopener" target="_blank">CC BY-NC-SA 2.0</a> Rights Information about rights held in and over the resource Capitol Historical Artifact Collection, State Preservation Board, 201 East 14th Street, Suite 950 (Sam Houston State Office Building), Austin, Texas, 78711, United States bas-relief bronze Civil War figurative granite https://slaverymonuments.org/files/original/efb04a8905f4aae7c6858ec2008ce5e0.jpg eebe7df111f470e0b7db92215c7df5dc 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 Physical Dimensions The actual physical size of the original image 144  x 204 in. (365.76 x 518.16 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 Middle Passage Monument (Kingshill, St. Croix, USVI) Subject The topic of the resource Subject (Topic) Enslaved persons Public art Public sculpture St. Croix (USVI)--Kingshill Slavery--St. Croix (USVI) Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource The twelve-foot-high memorial is composed of two large, thick aluminum arcs that bend towards each another but do not touch. The color has a silvery-gray tone and a matte surface etched with scratch-like patterns. It is installed on the grassy grounds of the St. Croix Educational Complex.  The monument commemorates the thousands of Africans who perished during the transatlantic slave trade. The version in St. Croix is a replica of the original memorial, which was ceremonially buried on the floor of the Atlantic Ocean—approximately 140 miles off the coast of New York Harbor — following an elaborate funeral procession and a blessing ceremony conducted by a multi-faith group of clergy in 1999. Creator An entity primarily responsible for making the resource Walsh, Michael, 1948- Date A point or period of time associated with an event in the lifecycle of the resource 2000 Contributor An entity responsible for making contributions to the resource Homeward Bound Foundation 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 Saint Croix Educational Complex High School, Centerline Road, Kingshill, St. Croix, U.S. Virgin Islands, 00850 Has Version A related resource that is a version, edition, or adaptation of the described resource. Original cast lowered to bottom of New York Harbor on July 3, 1999. Extent The size or duration of the resource. 144 x 204 in. (365.76 x 518.16 cm) Medium The material or physical carrier of the resource. Aluminum Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Kardux, Johanna C. "Monuments of the Black Atlantic: Slavery Memorials in the United States and The Netherlands." In Blackening Europe: The African American Presence, ed. Heike Raphael-Hernandez, 87-106. Routledge: 2004. Ater, Renée. "Slavery and Its Memory in Public Monuments." American Art 24, no. 1 (2010): 20-23. 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 Michael Walsh Rights Information about rights held in and over the resource St. Croix Educational Complex High School, P6F2+4G3, Centerline Rd, St Croix 00820, U.S. Virgin Islands abstract aluminum