8 10 134 https://slaverymonuments.org/files/original/cbfb7838072ef94e49ac8e0711275620.jpg db38e36309ba9b82e726ee748c3ea4f4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 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 I Am Queen Mary (Copenhagen, Denmark) Subject The topic of the resource Subject (Topic) Denmark--Copenhagen Public art Public sculpture Resistance Transatlantic slave trade Slave insurrections--St. Croix (USVI) Slavery--Denmark Slavery--St. Croix (USVI) Subject (Name) Thomas, Mary (Queen Mary), ca. 1848–1905 Subject (Object Type) Commemorative sculpture Description An account of the resource The statue is an allegorical portrait of Mary Thomas, known as Queen Mary, an enslaved woman who worked on a sugar cane planation in the Danish West Indies (now Saint Croix, U.S. Virgin Islands). She led the largest labor revolt in Danish colonial history, the "Fireburn" Uprising in 1878. Mary is shown seated in a wicker throne; she holds a cane knife in one hand and a torch in the other. Dressed in a simple cotton shift and wearing a head wrap, Mary sits atop a plinth made of coral stones cut out of the sea at Saint Croix by enslaved Africans. "In December 2020 a winter storm severely damaged the monument. The figure was removed and an Augmented Reality version of the sculpture was developed to hold space for the work and activate new dialogues. The artists are currently working towards raising the funds to ensure that this towering monument stays at the entrance to Copenhagen's port for generations to come. Acknowledging the imbalances between colonial powers and their former colonies, the fundraising campaign will leverage the visibility and resources generated by the existing monument in Copenhagen to secure the funds to make a companion one possible in St. Croix." (https://www.iamqueenmary.com) Creator An entity primarily responsible for making the resource Ehlers, Jeannette, 1973- Belle, La Vaughn, 1974- Date A point or period of time associated with an event in the lifecycle of the resource March 31, 2018 Contributor An entity responsible for making contributions to the resource The Municipality of Copenhagen; Wow Factory; 3D Printhuset; SMK; The National Gallery of Denmark; ActionAid, Denmark; Beckett-Fonden; the Danish Agency for Culture and Palaces 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 Vestindisk Pakhus, Toldbodgade 40, 1253 Copenhagen, Denmark Extent The size or duration of the resource. 276 in. (701.04 cm) Medium The material or physical carrier of the resource. Polystyrene; Sealants; Paint; Coral stones from St. Croix, Virgin Islands 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://barnard.edu/news/break-down-i-am-queen-mary-barnard" target="_blank" rel="noopener">Barnard College</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. Barnard University. "Break This Down: I Am Queen Mary at Barnard." October 15, 2019. Accessed February 16, 2025. https://barnard.edu/news/break-down-i-am-queen-mary-barnard. I Am Queen Mary. Accessed February 16, 2025. https://www.iamqueenmary.com/. Has Part A related resource that is included either physically or logically in the described resource. Stone plaque on front of plinth: I Am Queen Mary A Hybrid of Bodies, Nations & Narratives By La Vaughn Belle and Jeannette Ehlers 2018 Rights Information about rights held in and over the resource Jeannette Ehlers and La Vaughn Belle, https://www.iamqueenmary.com/press-images-for-download. allegory figurative machete (knife) Polystyrene portrait https://slaverymonuments.org/files/original/72f062626ca5c8065626573ba8186322.jpg 8d0138c991edbd2475e46f2aabd9bb47 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 Approx: 132 in. (335.28 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 African-American Monument (Savannah, Georgia) Subject The topic of the resource Subject (Topic) African Americans--History Georgia--Savannah Public art Public sculpture Slavery--Georgia Subject (Object Type) Commemorative sculpture Description An account of the resource Situated on the tourist promenade of River Street, the monument depicts a Black family in contemporary dress. The father, mother, daughter, and son stand on broken chains, holding one another in a tight embrace. Along the base are engravings of ocean waves and two sets of manacled hands. Words by the poet Maya Angelou are inscribed on the granite base. Creator An entity primarily responsible for making the resource Spradley, Dorothy, 1946- Date A point or period of time associated with an event in the lifecycle of the resource July 27, 2002 Contributor An entity responsible for making contributions to the resource Abigail Jordan and the African American Monument Association. 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 John Rousakis Riverfront Plaza, Savannah, Georgia, 31401, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on granite base: “We were stolen, sold and bought together from the African continent. We got on the slave ships together. We lay back to belly in the holds of the slave ships in each other’s excrement and urine together, sometimes died together, and our lifeless bodies thrown overboard together. Today, we are standing up together, with faith and even some joy.” Maya Angelou Bronze plaque with inscription on base: Please help the African American Monument Association Cover the debt for the African American Monument CONTRIBUTIONS MAY BE SENT TO: National Bank of Commerce 2225 E Victory Drive Savannah, GA 31404 or call 912-354-4634 FEDERAL ID NO. 58-1944952 Plaque courtesy of the Savannah College of Art and Design Bronze plaque with inscription added in 2019: The African American Monument Dedicated July 27, 2002 In Honor Of Dr. Abbie H. Jordan (1925-2019) Educator, Leader, Trailblazer, and Community Activist Dr. Jordan’s vision, tenacity, and financial contributions were the driving force that ensured the Savannah Waterfront was the home of the first statue in Savannah that honors African Americans. The Consortium of Doctors, Ltd., an organization that Dr. Jordan founded in 1991, made significant contributions to this effort. Sculptress: Dorothy Spradley This plaque unveiled July 26, 2019 Extent The size or duration of the resource. 132 in. (335.28 cm) Medium The material or physical carrier of the resource. Bronze; Granite Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived <a href="https://en.wikipedia.org/wiki/File:African-American_family_monument,_Savannah,_GA,_US.jpg" title="African-American Monument Savannah" target="_blank" rel="noopener"></a>Photograph: <a href="https://en.wikipedia.org/wiki/File:African-American_family_monument,_Savannah,_GA,_US.jpg" target="_blank" rel="noopener">Wikipedia</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. Ater, Renée. “Slavery and Its Memory in Public Monuments.” American Art 24, no. 1 (2010): 20-23. Alderman, Derek H. “Surrogation and the Politics of Remembering Slavery in Savannah, Georgia (USA).” Journal of Historical Geography 36 (2010): 90–101. Rights Information about rights held in and over the resource Greenscapes Division, Public Works & Water Resources, City of Savannah, 2 East Bay Street, Savannah, Georgia, 31401, United States bronze chains figurative granite inscription shackles https://slaverymonuments.org/files/original/5c14a352740f5f0171386213ac0e85d3.jpg 187f183b3c31c596341a12f45aa7b759 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Three Rebel Queens of the Virgin Islands (Charlotte Amalie, St. Thomas, USVI) Subject The topic of the resource Subject (Topic) Public art Public sculpture Resistance St. Thomas (USVI)--Charlotte Amalie Slave insurrections--St. Croix (USVI) Slavery--Denmark Slavery--St. Croix (USVI) Transatlantic slave trade Subject (Name) Thomas, Mary (Queen Mary), ca. 1838–1905 Salomon, Axeline E. (Queen Agnes), ca. 1858-? McBean, Matilda (Queen Matilda), ca. 1958-1935 Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial shows three women facing outward, the leaders of the "Fireburn" Uprising in 1878, the largest labor revolt in Danish colonial history. Dressed in floor-length dresses and aprons, each figure carries objects related to their resistance. One figure lifts a lantern in her right hand (Queen Agnes-Agnes Salomon) . The second figure holds a cane knife in her right hand and a torch in her left (Queen Mary-Mary Thomas), while the third figure holds a torch in her right hand (Queen Matilda-Matilda McBean). Creator An entity primarily responsible for making the resource Hallier, Richard, 1944-2010 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 Dronningens Gade, Charlotte Amalie, St. Thomas 00802, U.S. Virgin Islands Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. The Three Queens of the Virgin Islands Fountain Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque: THE THREE QUEENS OF THE VIRGIN ISLANDS In 1878 three former slave ladies on St. Croix led an insurrection against the Danish Government for improved working and living conditions. During this action, a major portion of Frederiksted was destroyed by fire. This revolt is known today as “FIREBURN” and the ladies are renowned as “Queen Mary, Queen Agnes and Queen Matilda” – The Three Queens of the Virgin Islands. Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:The_Three_Rebel_Queens_of_the_Virgin_Islands.jpg" target="_blank" rel="noopener">Wikipedia Commons</a> Date A point or period of time associated with an event in the lifecycle of the resource 2005 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Danish Colonies/The Danish West Indies/Fireburn." Nationalmuseet. Accessed January 27, 2026. https://en.natmus.dk/historical-knowledge/historical-themes/danish-colonies/the-danish-west-indies/fireburn/. Fireburn Files Project. Accessed January 27, 2026. https://fireburnfiles.dk/. Virgin Islands Studies Collective (VISC). "Ancestral Queendom: Reflections on the Prison Records of the Rebel Queens of the 1878 Fireburn in St. Croix, USVI (formerly the Danish West Indies." Nordisk Tidsskrift for Informationsvidenskab og Kulturformdling 8, no. 2 (2019): 19-36. Accessed January 27, 2026. https://tidsskrift.dk/ntik/article/view/118478/166419. bronze figurative lantern machete (knife) https://slaverymonuments.org/files/original/e99cf9263fb544faa484bdfef4a57fe0.jpg 07e4dc4e31bfa7cc7bbf65da9ef8bdca 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 277 x 134 x 134 in. (703 x 340 x 340 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 Tower of Freedom (Windsor, Ontario) Subject The topic of the resource Subject (Topic) Antislavery movements--Canada Freedom Fugitive slaves--Canada Ontario--Windsor Public art Public sculpture Underground Railroad Subject (Object Type) Commemorative sculpture Description An account of the resource The Canadian counterpart to Ed Dwight's Gateway to Freedom: International Memorial to the Underground Railroad consists of a twenty-two-foot high granite tower, adorned with a bronze flame symbolizing the “Eternal Flame of Freedom.” Life-size bronze figures stand on opposite sides of the tower’s base. The cluster of four bronze figures facing the river include an African American woman holding an infant and a white woman, often identified as a Quaker “operative.” Behind the women, a man stands with his arms raised in a gesture of praise. On the opposite side of the tower, a singular figure of a woman looks back towards the river and the United States. Despite her age, she clutches a rag doll. Date A point or period of time associated with an event in the lifecycle of the resource October 20, 2001 Contributor An entity responsible for making contributions to the resource Detroit 300; The Underground Railroad Monument Committee of Windsor 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 Windsor Civic Esplanade, 200 Pitt Street E., Windsor, Ontario, N9A 6T6, Canada Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque: THE UNDERGROUND RAILROAD IN CANADA LE CHEMIN DE FER CLANDESTIN AU CANADA From the early 19th century until the American Civil War, settlements along the Detroit and Niagara rivers were important terminals for the Underground Railroad. White and black abolitionists formed a heroic network dedicated to helping free and enslaved African Americans find freedom from oppression. By 1861, some 30,000 freedom-seekers resided in what is now Ontario, after secretly traveling north from slave states like Kentucky and Virginia. Some returned south after the outbreak of the Civil War, but many remained helping to forge the modern Canadian identity. Du début du XIXe siècle à la guerre de Sécession, des villages le long des rivières Detroit et Niagara servirent de terminus au chemin de fer clandestin. Ce réseau d’ abolitionnistes blancs et noirs aida les Afro-Américains à fuir l’oppression pour atteindre la liberté. Ainsi, en 1861, près de 30 000 réfugies d’ascendance africaine, venant d'États esclavagistes comme le Kentucky et la Virginie, vivaient dans ce qui est aujourd’hui l’Ontario. Des Certains la guerre de Sécession certains repartirent vers le sub, mais beaucoup s’installèrent ici en permanence et contribuèrent à forger l'identité du Canada moderne Historic Sites and Monuments Board of Canada Commission des lieux et monuments historiques du Canada Inscription on the river-facing side of the monument: “Keeping the Flame of Freedom Alive” Inscription on the reserve of the monument: “International Underground Railroad Memorial” Inscription on base: “UNDERGROUND RAILRAOD AREAS OF SETTLEMENT AMERSTBURG DRESEDEN BUXTON CHATHAM COLCHESTER LITTLE RIVER NEW CANAAN PUCE SANDWICH WINDSOR" Bronze plaque in front of the memorial: Tower of Freedom by Ed Dwight Dedicated October 20, 2001, with companion work Gateway to Freedom in Hart Plaza, Detroit. A project of Detroit 300 and the Underground Railroad Monument Committee of Windsor. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Faires, Nora. "Across the Border to Freedom: The International Underground Railroad Memorial and the Meanings of Migration." Journal of American Ethnic History 32, no. 2 (2013): 38-67. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Extent The size or duration of the resource. 277 x 134 x 134 in. (703 x 340 x 340 cm) Medium The material or physical carrier of the resource. Bronze; Granite Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:%22Tower_of_Freedom%22_by_Ed_Dwight_(2001),_Windsor,_Ontario,_2025-05-31_01.jpg" target="_blank" rel="noopener">Wikipedia Commons</a> Rights Information about rights held in and over the resource City of Windsor, 400 City Hall Square East, Windsor, Ontario, N9A 7K6, Canada bronze figurative granite obelisk https://slaverymonuments.org/files/original/8ff36956c13b8d36d0cb3581cdc30bfa.jpg ee3201f70f8e829506542f66868b3378 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 180 in. (457.2 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 1763 Monument (Georgetown, Guyana) Subject The topic of the resource Subject (Topic) Guyana--Georgetown Public art Public sculpture Resistance Slave insurrections--Canje River (Guyana) Slavery--Guyana Slavery--The Netherlands Transatlantic slave trade Subject (Name) Cuffy (Coffy, Kofi Badu), d. 1763 Subject (Object Type) Commemorative sculpture Description An account of the resource Unveiled three days before the tenth anniversary of Guyanese Independence, the work celebrates the Guyanese anti-colonial struggle, resistance to slavery, and eventual emancipation. It is dedicated to the memory of Cuffy (Kofi Badu), an Akan man sold into slavery who led a revolt in 1763 against the Dutch owners of the Magdalenburg plantation on the Canje River in Berbice (now part of Guyana). Although the uprising was ultimately unsuccessful, Cuffy’s rebellion anticipated the eventual end of slavery in Guyana. The sculpture stands atop a tall, tiered pedestal resembling a staircase. At the summit is a bold and commanding figure of Cuffy standing in a powerful, upright pose, with his feet planted firmly apart. He holds a pig in one hand and a dog in the other— symbols of greed and ignorance. His facial expression is defiant and determined, marked by a pouting mouth. The base of the monument prominently displays the number 1763, along with a bronze plaque bearing stylized bas-relief human figures in dynamic poses. Creator An entity primarily responsible for making the resource Moore, Philip Alphonso, 1921-2012 Date A point or period of time associated with an event in the lifecycle of the resource May 23, 1976 Contributor An entity responsible for making contributions to the resource National Trust of Guyana; Morris Singer Foundry; Dr. David Klautky (structural engineer); Albert Rodrigues (architect) 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 D'Urban Park, Square of the Revolution, Vlissengen Road, Georgetown, Guyana Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cuffy Monument Extent The size or duration of the resource. 180 in. (457.2 cm) Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:1763_Monument.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Rights Information about rights held in and over the resource National Trust of Guyana, 94 Carmichael Street, North Cummingsburg, Georgetown, Guyana 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 Trust of Guyana. "1763 Monument." December 17, 2021. Accessed February 16, 2025. https://ntg.gov.gy/monument/1763-monument/. Conduru, Roberto. "Transnational Counter-monuments: Anti-Slavery and Pro-Freedom Memorials." ReVista: Harvard Review of Latin America, July 30, 2021. Accessed January 28, 2026. https://revista.drclas.harvard.edu/transnational-counter-monuments/. Has Part A related resource that is included either physically or logically in the described resource. Signage: 1763 Monument National Trust of Guyana Safeguarding and Promoting Our Heritage Located at the eastern end of Brickdam on Vlissengen Road, D’Urban Park, is the 1763 Monument, a National Monument. This structure was built at a cost of $38,000.00 to commemorate the 1763 rebellion also known as the “Great Rebellion” that occurred on plantation Magdelenenburg in Berbice, Region six. The plantation was located on the upper Canje River and was owned by Madam Vernesobre.  The uprising that started on February 23, 1763, was considered the first true attempt by slaves to fight for their freedom in an organized fashion, started. During the revolt, a household slave named Cuffy from plantation Lilienburg quickly assumed a leading role in the rebellion and organized a number of riots against plantations owners. The uprising lasted for more than a year before the Dutch were able to overcome the slaves.  For Guyana’s 10th Independence anniversary, a call was made to have a monument erected to commemorate the rebellion. Advertisements were placed in the local newspapers calling for designs and Mr. Phillip Alphonso Moore’s concept of the monument was selected. The structure was unveiled by President Linden Forbes Sampson Burnham on May 23, 1976.  The monument was casted in sections at the Morris Singer Foundry in Basingstoke, England, with the assistance of structural engineer Dr. David Klautky and was assembled through welding. On site, it stands 4.6 metres (15 feet) high and weighs 2267 kilograms (2 ½ tons) and rests on a plinth 5.5 metres (18 feet) high which was designed by architect Albert Rodrigues. Some features of the monument include shield like face on the chest that represents a spiritual guard against enemies and map of Guyana carved on the back representing the peoples of Guyana. bronze figurative https://slaverymonuments.org/files/original/85f2c22f3913882a1462a440e8eddee0.jpg a998be6eb7300f8f288e97e9a90bfc0f 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 354.331 x 125.984 in. (900 x 320 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 L'arbre de la liberté (Schoelcher, Martinique) Subject The topic of the resource Subject (Topic) Freedom Martinique--Schoelcher Public art Public sculpture Slavery--Martinique Resistance Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Facing the Caribbean Sea, the memorial consists of eight abstracted forms, some of which are rectilinear and geometric, and others more curvilinear with rounded organic forms. The bronze figures are embellished with symbols, which according to the sculptor, represent "the spirit of the liberated man." Creator An entity primarily responsible for making the resource Guédon, Henri, 1944-2006 Date A point or period of time associated with an event in the lifecycle of the resource 2001 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 Place des Arawaks, 97233 Schoelcher, Martinique Extent The size or duration of the resource. 354.331 x 125.984 in. (900 x 320 cm) Medium The material or physical carrier of the resource. Bronze; Concrete Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Les Arbre de la Liberté." Fédération Martiniquaise des Offices de Tourisme et Syndicats d'Initiative. Accessed May 28, 2019. http://www.accueil-martinique.fr/FR/visite-les-arbres-de-la-liberte_10037.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: <a href="https://terresducentremartinique.fr/sites-musees/larbre-de-la-liberte/" target="_blank" rel="noopener">Terres du Centre Martinique</a> Rights Information about rights held in and over the resource Mairie de Schoelcher, 3 rue Fessenheim, 97233 Schoelcher, Martinique abstract bronze concrete trees https://slaverymonuments.org/files/original/296a8f99f98c7ddfbeba50976948f923.jpg 65d41f36cb58f10dd3adb2c0d0b2fb86 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 86.61 in. (220 cm) 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 Estatua Zumbi dos Palmares (Salvador da Bahia, Brazil) Subject The topic of the resource Subject (Topic) Brazil--Salvador da Bahia Public art Public sculpture Maroons--Brazil Resistance Slavery--Brazil Slavery--Portugal Transatlantic slave trade Subject (Name) Zumbi (Zumbi dos Palmares), 1655-1695 Subject (Object Type)  Commemorative sculpture Creator An entity primarily responsible for making the resource Magno, Márcia Date A point or period of time associated with an event in the lifecycle of the resource May 30, 2008 Contributor An entity responsible for making contributions to the resource Fundação Cultural Palmares (Brasilia); Monument Committee: Mônica Kalile, Raimundo Bujão, Lázaro Duarte, Jorge Conceição, and  Valmir Dois Mundo; João Henrique de Barradas Carneiro, Mayor; Gilberto Passos Gil Moreira, Minister of Culture 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 Praça da Sé, 15-23 - Pelourinho, Salvador - BA, 40020-210, Brazil Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque: "Zumbi dos Palmares “É chegada a hora de tirar nossa nação das trevas da injustica racial.” Nasceu livre, em 1655, na Serra da Barriga, união dos Palmares, Alagoas. Neto de Aqualtune, não permitiu a submissão de seu povo ao jugo da corda portuguesa, pois queria a liberdade para todos, dentro ou fora do Quilombo. Persistiu na luta e tornou-se líder do Quilombo, sento ferido em 1694, quando a capital Palmares foi destruída. Em 20 de Novembro de 1695, foi morto e decapitado. Após 300 anos, a data da morte desse líder da resistência negra foi instituída, pelo moviment negro, como o dia nacional da consciência negra." Bronze plaque: “Zumbi” (a Felicidade Guerreira) Letra de Waly Salomâo & música de Gilberto Gil (par o filme Quilombo) 1983  Zumbi, comandante guerreiro Ogunhê, ferreiro-mor capitão Da capitania da minha cabeça Mandai a alforria pro meu coração Minha espada espalha o sol da guerra Rompe mato, varre céus e terra A felicidade do negro é uma felicidade guerreira Do maracatu, do maculelê e do moleque bamba Minha espada espalha o sol da guerra Meu Quilombo incandescendo a serra Tal e qual o leque, o sapateado do mestre – escola de samba Tombo – de – ladeira, rabo – de – arraia, fogo – de – liamba... A felicidade do negro é uma felicidade guerreira" Bronze plaque: Esta escultura em bronze do Zumbi dos Palmares, herói da resistência negra contra a escravidâo, foi criada, projetada e executada pela escultora márcia, magno, resultado, de extensa pesquisa inconográfica, técnica e plástica, possui 2,20m de altura e expressa Altivez, força, dignidade e Beleza plástica. Simboliza “as multiplas faces dos espíritos de África”. Em posição de alerta, apresenta uma perna apoiada a outra, semelhante a um pássaro silvestre, ágil, dia e noite em permanente vigília. O guerreiro Zumbi dos Palmares está portando uma lança de caça e um gládio, cópia fiel do “Mukwale”, peça preciosa, utilizada por grandes guerreiros cuja decoração, do cabo representa o chefe tradicional em pé e atento a qualquer circunstãncia. 30 de Maio de 2008" Bronze plaque: "Homenagem a Zumbi dos Palmares  Projecto Autoria: Lázaro Souza Duarte  Zumbi dos Palmares líder da primeira experiência democrática do país. O Monumento de Zumbi dos Palmares é o símbolo da resistência do povo negro brasileiro e a materializaçâo da memória de lutas e conquistas pelo exercício da liberdade no fortalecimento pela consciência negra. Salvador, 30 de Maio de 2008  Comissâo Gestora  Mönica Kalile, Raimundo Bujâo, Lázaro Duarte, Jorge Conceiçâo e Valmir Dois Mundo  Joâo Henrique de Barradas Carneiro, Prefeito  Gilberto Passos Gil Moreira  Ministro da Cultura" English translations of the plaques can be found at the Historic Markers Database: https://www.hmdb.org/marker.asp?marker=26125. Medium The material or physical carrier of the resource. Bronze, Black granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Araujo, Ana Lucia. "Public Memory of Slavery in Brazil." In Slavery, Memory and Identity: National Representations and Global Legacies, eds. Douglas J. Hamilton, Kate Hodgson, and Joel Quirk, 115-130. London: Pickering & Chatto, 2012. Damasceno, Felipe. "Zumbi dos Palmares." Salvador Escravista. Accessed January 27, 2026. https://www.salvadorescravista.com/homenagens-reparadoras/zumbi-dos-palmares. "Fundação Cultural Palmares lança edital para escolher estátua de Zumbi." Instituto do Patrimônio Histórico e Artístico Nacional (Iphan, January 16, 2008. Accessed February 26, 2026. http://portal.iphan.gov.br/noticias/detalhes/1984/fundacao-cultural-palmares-lanca-edital-para-escolher-estatua-de-zumbi. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Description An account of the resource The work is dedicated to Zumbi dos Palmares, a quilombo leader and one of the principal forces behind the resistance to slavery in Brazil. The muscular, seminude figure of Zumbi dos Palmares, stands with his weight shifted to his right foot. He brings the sole of his left foot to his right shin and holds a spear in his left hand as he turns his head slightly to the left. Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:ZumbiStatue.jpg" target="_blank" rel="noopener">Wikipedia Commons</a> Rights Information about rights held in and over the resource Centro Administrativo da Bahia, Av. Luiz Viana Filho, 435, Salvador, Bahia, 41730-101, Brazil Extent The size or duration of the resource. 86.61 in. (220 cm) black granite bronze figurative machete (knife) https://slaverymonuments.org/files/original/405fbbd7e71c57c5cde5f476d3ca458b.jpeg 2cd08776795ac9da4fd6fdbcdc1e135a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sites of Slavery Creator An entity primarily responsible for making the resource Written by Renée Ater Description An account of the resource For this thematic grouping, sites of slavery are designated as historic places (including plantations, wharves, archaeological sites) where "slavery happened" and that commemorate enslaved Africans, their lives, and their labor. We include sites that act as memorials and often have sculpture, public art, or monuments located on their grounds.  Founded in 2014 as a museum, the <a href="https://www.slaverymonuments.org/items/show/1218" target="_blank" rel="noopener">Whitney Plantation</a> educates the public about the history of slavery in Louisiana and the brutal production of sugar along the Mississippi River, between New Orleans and Baton Rouge. The historic plantation complex comprises twelve historic structures including slave cabins, a kitchen, a jail, and the main house. This site of slavery includes four memorials: The Wall of Honor, Allées Gwendolyn Midlo Hall, The Field of Angels, and the 1811 German Coast Uprising Memorials. Other sites of slavery include the <a href="https://www.slaverymonuments.org/items/show/1144" target="_blank" rel="noopener">ACTe Mémorial </a>in Pointe-à-Pitre, Guadaloupe, a memorial building and museum on the site of a former sugar plantation; the <a href="https://www.slaverymonuments.org/items/show/1164" target="_blank" rel="noopener">Valongo Wharf</a>, an archaeology site in Rio de Janeiro, Brazil, that was the debarkation point of an estimated 900,000 enslaved Africans; and the <a href="https://www.slaverymonuments.org/items/show/1152" target="_blank" rel="noopener">Mémorial de l'abolition de l'esclavage</a> in Nantes, France, on the Quai de la Fosse along the Loire River, the symbolic departure point of slave ships that sailed from France to Africa. Additional sites to be added include the Freedom Monument Sculpture Park along the Alabama River in Montgomery, Alabama, and the African Ancestors Memorial Garden at the International African American Museum located on Gadsden’s Wharf in Charleston, South Carolina. Note: All sites of slavery in West Africa can be found under the theme of the <a href="https://www.slaverymonuments.org/collections/show/14" target="_blank" rel="noopener">Transatlantic Slave Trade/Middle Passage.</a> Updated January 26, 2026 Contributor An entity responsible for making contributions to the resource Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Archaeological site Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cais do Valongo (Rio de Janeiro, Brazil) Subject The topic of the resource Subject (Topic) Brazil--Rio de Janeiro Enslaved persons Slavery--Brazil Slavery--Portugal Transatlantic slave trade Subject (Object Type) Archaeological site Description An account of the resource As the last nation in the Americas to officially abolish slavery in 1888, historians estimate that of the approximately 10.7 million enslaved persons brought to the Americas, as many as 50 percent arrived in Brazil. Valongo was the debarkation point for an estimated 900,000 enslaved Africans. In July 2007 the United Nations Educational, Scientific, and Cultural Organization added the wharf to its World Heritage List. The site consists of a number of archaeological layers, the lowest of which are the remains of the Valongo Wharf’s floor pavings. The bodies of the enslaved who died upon arrival in Brazil were burned, and chopped-up bones were buried in mass graves on a site near the wharf. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Jornal do Comércio Square, Av. Barão de Tefé - Saúde, Rio de Janeiro - RJ, 20220-460, Brazil Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. UNESCO. "Valongo Wharf Archaeological Site." Accessed May 28, 2019. https://whc.unesco.org/en/list/1548. Querin, Camilla. "An Antidote for Social Amnesia: The Memory Space of the Cais do Valongo." Smarthistory. Accessed February 15, 2025. https://smarthistory.org/memory-space-cais-valongo/. Angeleti, Gabriella. "Valongo Wharf--Historic Hub of Brazil's Slave Trade--Opens Following Overdue $400,000 Renovation." Art Newspaper, January 4, 2024. Accessed February 15, 2025. https://www.theartnewspaper.com/2024/01/02/valongo-wharfhistoric-hub-of-brazils-slave-tradeopens-to-the-public-following-overdue-400000-renovation. Chuva, Màrcia, Leila Bianchi Aguiar, and Brenda Coelho Fonseca. "Sensitive Memories at a World Heritage Site: Silencing and Resistance at the Valongo Wharf." In Decolonizing Global Heritage, eds. Britta Timm Knudsen, John Oldfield, Elizabeth Buettner, and Elvan Zabunyan, 175-192. Routledge, 2022. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: Flickr, <a href="https://www.flickr.com/photos/wagnertamanaha/11381354915/in/photolist-W8RDRL-ikJr3Y-ikJqia-iwRo36-iwR3za-iwRwSk-YbicD9-iwKagt-iwQY5Z-iwRChD-iwRhg7" target="_blank" rel="noopener">"Cais do Valongo -- Rio de Janeiro (Brazil) 2013" by Wagner Tamanaha, CC BY-SA 2.0</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1811-1831 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Archaeological Site Rights Information about rights held in and over the resource Rio de Janeiro City Hall, Rua Afonso Cavalcanti, 455 - Cidade Nova, 20211-110, Brazil Medium The material or physical carrier of the resource. Paving stone Has Part A related resource that is included either physically or logically in the described resource. Plaque: Patriomonio Cultural Carioca Circuito da Herança Africana Foi construido em 1811 para o desembarque e comércio de africanos escravizados. Remodelado em 1843 como Cais da Imperatriz, foi alerrado em 1911 para dar lugar a Praça do Comércio. Em 2011 foi redescoberto nas obras do Porto Maravilha. English translation: Built in 1811 for the disembarkation and trade of enslaved Africans. Remodeled in 1843 as the 'Cais da Imperatriz,' it was demolished in 1911 to make way for the 'Praça do Comércio.' In 2011, it was rediscovered during the Porto Maravilha works. archaeology https://slaverymonuments.org/files/original/37d22a59412fe26ba8bb488e0ef28b16.jpg 63c069dfa373297b6ce926c2191f8498 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Abolition of Slavery Creator An entity primarily responsible for making the resource Written by Renée Ater Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This grouping of commemorative works focus on the abolition of slavery in countries engaged with the slave trade including England, France, The Netherlands, and Spain. England enacted the Slave Trade Act of 1807, prohibiting the Atlantic slave trade in the British Empire. It did not abolish slavery in its colonies until the 1833 Slavery Abolition Act. France first abolished slavery on February 4, 1794, during the French Revolution. Napolean Bonaparte reinstituted slavery in France's colonies in 1802. Slavery was officially abolished in France with the Decree of the Abolition of Slavery of April 27, 1848. The Netherlands officially abolished slavery in its colonies (Suriname and the Dutch Caribbean) on July 1, 1863, but it was not until July 1, 1873, that enslaved persons were freed from state supervision on plantations. Spain abolished the slave trade in 1817 with a treaty with England, which was not enforced until 1820. However, slavery continued in its colonies. The Spanish National Assembly abolished slavery in Puerto Rico in 1863 and in Cuba in 1886. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture 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 Gilt of Cain (London, England) Subject The topic of the resource Subject (Topic) Abolition of slavery England--London Public art Public sculpture Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Located near St. Mary Woolnoth Church, where the abolitionist William Wilberforce heard the anti-slavery sermons of the Rev. John Newton, the monument consists of seventeen carved granite columns clustered around a granite podium. The curvilinear forms of the columns recall the growing stems of sugarcane. According to the artists, the position of the columns and podium are meant to suggest a group of people “gathered to listen to a speaker – perhaps the Rev. Newton preaching against slavery, perhaps a trader auctioning his slaves, perhaps William Wilberforce campaigning in front of an audience.” Excerpts from Lemn Sissay's poem, The Gilt of Cain, are etched on the columns. The words are inscribed in the same typography used in early abolitionist literature printed near the site. Creator An entity primarily responsible for making the resource Visocchi, Michael (sculptor), 1977- Sissay, Lemn (poet), 1967- Contributor An entity responsible for making contributions to the resource Black British Heritage; Parish of St Mary Woolnoth; City of London Corporation; British Land Company 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 120 Fenchurch Street, London, EC3M 5BA, England Has Part A related resource that is included either physically or logically in the described resource. Plaque: Gilt of Cain by Michael Visocchi & Lemn Sissay This powerful sculpture was unveiled by the Archbishop Emeritus Desmond Mpilo Tutu on 4th September 2008. The sculpture commemorates the abolition of the transatlantic slave trade in 1807, which began the process of the emancipation of slaves throughout the British Empire. Fen Court is the site of a churchyard formerly of St Gabriel’s Fenchurch St and now in the Parish of St Edmund the King and St Mary Woolnoth, Lombard St. The latter has a strong historical connection with the abolitionist movement of the 18th and 19th centuries. The Rev John Newton, a slave-trader turned preacher and abolitionist, was rector of St Mary Woolnoth from 1780 – 1807. Newton worked closely alongside the famous abolitionist William Wilberforce. The granite sculpture is composed of a group of columns surrounding a podium. The podium calls to mind an ecclesiastical pulpit or slave auctioneer’s stance, whilst the columns evoke stems of sugar cane and are positioned to suggest an anonymous crowd or congregation gathered to listen to a speaker. The artwork is the result of a collaboration between sculptor Michael Visocchi and poet Lemn Sissay. Extracts from Lemn Sissay’s poem, ‘Gilt of Cain’, are engraved into the granite. The poem skilfully weaves the coded language of the City’s stock exchange trading floor with biblical Old Testament references. Poem inscribed on work: "The Gilt of Cain By Lemn Sissay, 2007 Here is the ask price on the closed position, History is no inherent acquisition For here the Technical Correction upon the act, A merger of truth and in actual fact On the spot, on the money – the spread. The dealer lied when the dealer said The bull was charging the bear was dead, The market must calculate per capita, not head. And great traders acting in concert, arms rise As the actuals frought on the sea of franchise Thrown overboard into the exchange to drown In distressed brokers disconsolate frown. In accounting liquidity is a mounting morbidity But raising the arms with such rigid rapidity, Oh the reaping the raping rapacious fluidity, The violence the vicious and vexed volatility. The roaring trade floor rises above crashing waves: The traders buy ships, beneath the slaves. Sway machete back, sway machete again Cut back the sugar rush, Cain. The whipsaw it’s all and the whip saw it all The rising market and the cargo fall Who’ll enter “Jerusalem” make the margin call for Abel? Who will kick over the stall and turn the table? Cain gathers cane as gilt-gift to his land But whose sword of truth shall not sleep in hand? Who shall unlock the stocks and share? Break the bond the bind unbound - lay bare The truth. Cash flow runs deep but spirit deeper You ask Am I my brothers keeper? I answer by nature by spirit by rightful laws My name, my brother, Wilberforce. This project was initiated by Black British Heritage and the Parish of St Mary Woolnoth and was commissioned by the City of London Corporation in partnership with the British Land Company. Medium The material or physical carrier of the resource. Granite Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:Fen_Court_and_%22Gilt_of_Cain%22_Sculpture_(geograph_3302507).jpg" title="Gilt of Cain" target="_blank" rel="noopener">Wikimedia Commons</a><a href="https://futurecity.co.uk/portfolio/gilt-of-cain/" target="_blank" rel="noopener"></a> Date A point or period of time associated with an event in the lifecycle of the resource September 4, 2008 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. <a href="https://www.londonremembers.com/memorials/gilt-of-cain-slave-trade" target="_blank" rel="noopener"></a>London Remembers. "Gilt of Cain-Slave Trade." Accessed February 15, 2025. https://www.londonremembers.com/memorials/gilt-of-cain-slave-trade. Rice, Alan. "Chapter One, Tracing Slavery's Routes and Looking Inside the Invisible: The Monumental Landscape and the African Atlantic." In Creating Memorials, Building Identities: The Politics of Memory in the Black Atlantic, 1-31. Liverpool University Press, 2010. Rights Information about rights held in and over the resource Art UK, c/o Staffordshire University Incubator Unit, 2nd Floor, Mellor Building, College Road, Stoke-on-Trent, ST4 2DE, England abstract columns granite inscription poetry https://slaverymonuments.org/files/original/69b984947b3732c2834c69dcdd9e11bd.jpg 5e307ca5a1f1c59eb06987d3514eef9f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Atorkor Slave Trade Memorial (Atorkor, Ghana) Subject The topic of the resource Subject (Topic) Enslaved persons Ghana--Atorkor Slave market Slavery--Ghana Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial is located in the coastal Ghanaian district of Anlo, once known for its substantial involvement in the slave trade. A high-walled circular enclosure with a small wooden door, which serves as a narrow entrance, leads the viewer to the central feature of the memorial: a life-size sculptural group of a tall European slave-trader brandishing a whip over two kneeling African figures. The African figures, dressed in traditional garb, are chained at the neck. The interior walls of the monument are embellished with a narrative frieze illustrating a well-known local legend about a white trader who lived in Atorkor and the young men and women from the village who were deceived by the cunning trader and sold into slavery. Date A point or period of time associated with an event in the lifecycle of the resource 1999 Contributor An entity responsible for making contributions to the resource Keta District Tourism Development Committee; Keta Municipal Assembly; Anlo Traditional Council; Atorkor Development Foundation (ADF); National Tourism Development Committee Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Okudzeto, Senam. "Emotive Histories: The Politics of Remembering Slavery in Contemporary Ghana." Atlantic Studies 9, no. 3 (2012): 337-61. Akyeampong, Emmanuel. "History, Memory, Slave-Trade and Slavery in Anlo (Ghana)." Slavery and Abolition 22, no. 2 (2010): 1-24. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://www.flickr.com/photos/atorkor/5569821868/in/photolist-9ubMZw-d2ykwh-9uaUwM-9uaYde-9udZaN-9udYEE-9udZjS-9uaU18-9uaRSF-9udWk1-9udN8A-9uaQKT-9ubNwC-9udXKY-9u8RvV-9u9bMP-9uc74G-9uaSYB-9uaRgc-9uaUH8-9uaUkR-9udUdf-9uaKe2-9uaJHc-9ubQVL-9ucdFL-9u8QYt-9u99ZT-9ubT6Q-9uaYog-9uc7BG-9FHCYT-9FHDet-9FHDi6-9FLzp9-9FHCUM-9FHCSP-9FHDbZ-9FHD8T-9FLzvs-9FHDma-9FLz8u-9FHD22-9FLze5-9FHD5t-9uc9SA-9u82Dt-9dqvhU-94gqXu-9dnjNn" target="_blank" rel="noopener">Flickr, Atorkor Village</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Atorkor Vocational Technical Institute, Alonga District, Atorkor, Ghana Medium The material or physical carrier of the resource. Concrete (?); Pigment Creator An entity primarily responsible for making the resource Unknown Rights Information about rights held in and over the resource Keta Municipal Assembly, WX2Q+5QJ, Keta, Ghana figurative manacles