9 10 134 https://slaverymonuments.org/files/original/d7af90a63c21d37c73bf8c773db015d6.jpg c839d4a7bd90a2496d9eea1e67a9b9fb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 156 in. (396.24 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Estatua de Yanga/Gaspar Yanga (Veracruz, Mexico) Subject The topic of the resource Subject (Topic) Enslaved persons--Emancipation Maroons--Mexico Mexico--Verzcruz Public art Public sculpture Resistance Slavery--Mexico Transatlantic slave trade Subject (Name) Yanga, Gaspar Subject (Object Type) Commemorative sculpture Description An account of the resource The muscular, semi-nude figure looks resolutely forward as he raises a machete in his right hand and holds a long (sugar cane?) in his left. A shackle with a broken chain is still attached to his left wrist. The work was created to celebrate Gaspar Yanga, a seventeenth-century self-emancipated (former enslaved person) leader of a maroon colony of self-emancipated people near Veracruz, Mexico. He successfully resisted a Spanish attack on the maroon colony in 1609 and later negotiated with the Spanish colonial government to secure self-rule for the maroon settlement. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Negro Yanga, Barrio del Negro Tango, 94930 Yanga, Veracruz, Mexico Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. El Yanga Has Part A related resource that is included either physically or logically in the described resource. Plaque: "El Yanga" Negro Africano precursor de la libertad de los negros eslavos fundo este pueblo de San Lorenzo de Cerralvo (hoy Yanga) por acordado del virrey de nueva Espana, Don Rodrigo Osorio Marquez de Cerrvalo, el dia tres de Octobre del ano 1631 por mandato del virrey trazo el pueblo el Capitan Hernando de Castro Espinosa, H. Ayuntamento Constl. 1973-1976 El Yanga ver agosto 10 De 1976 Primer pueblo libre de America English translation: Black African liberator and precursor of the black slaves who founded this town of San Lorenzo de Cerralvo (today Yanga) by agreement of the viceroy of New Spain, Don Rodrigo Osorio Marquez de Cerrvalo, on the third day of October 1631 by order of the viceroy. This town was laid out by Captain Hernando of Castro Espinosa. H. Constl. City Council, 1973-1976. El Yanga on August 10, 1976. First free town in America Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Creator An entity primarily responsible for making the resource Lendechy, Erasmo Vásquez, 1918-2002 Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:EstatuaYanga.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Date A point or period of time associated with an event in the lifecycle of the resource August 10, 1976 Extent The size or duration of the resource. 156 in. (396.24 cm) Medium The material or physical carrier of the resource. Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Rosas, Salma Lara. "Erasmo Vazquez Lendechy: autor de la escultura en Yanga y ayudante principal de Frieda Kahlo." El Sol de Corodoba, August 11, 2024. Accessed on February 2, 2025, https://oem.com.mx/elsoldecordoba/cultura/quien-fue-erasmo-vazquez-lendechy-historia-del-artista-que-hizo-la-escultura-de-yanga-13224263. Carillo, Karen Juanita. "Mexico's First Liberated City Commemorates Its Founding." JSTOR Daily, October 20, 2021. Accessed February 16, 2025, https://daily.jstor.org/mexicos-yanga-commenorates-founding. Conduru, Roberto. "Transnational Counter-monuments: Anti-Slavery and Pro-Freedom Memorials." ReVista: Harvard Review of Latin America, July 30, 2021. Accessed January 28, 2026, https://revista.drclas.harvard.edu/transnational-counter-monuments/. Enslaved: Peoples of the HIstorical Slave Trade. "Yanga." Enslaved.org. Accessed February 4, 2026. https://enslaved.org/fullStory/16-23-126857/ Contributor An entity responsible for making contributions to the resource City of Yanga Rights Information about rights held in and over the resource City of Yanga, Edificio Municipal, Avenue 2, Centro, 94930 Yanga, Veracruz, Mexico bronze figurative machete (knife) https://slaverymonuments.org/files/original/5a14bf1c4fb322d5a79e1943bc6f3a63.jpeg aed3724c500b80e10331cb43aeae141e https://slaverymonuments.org/files/original/392579615eff3a0228de7ff255db2a91.jpg e58a726a373c86b6233bcf5fd0c5b783 https://slaverymonuments.org/files/original/ed675b1e473f5d948996efb71b893937.jpg 913cefc47957c47fd23963db69b7a3a3 https://slaverymonuments.org/files/original/d33588e827d6890c872bc05790d50fed.jpg 13e97615236a7505766fc7ff791d20e7 https://slaverymonuments.org/files/original/c4a6631ebce6e7e35cdc4e26f4c94db3.jpg f4d334fbe59334eedd14e670b33ea82e https://slaverymonuments.org/files/original/caa5cab2b3be3f7fba1fe05333b6e4e9.jpg e88755680c48104100daa189442a6380 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. 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 Ark of Return": The Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade (New York, New York) Subject The topic of the resource Subject (Topic) Enslaved persons New York (State)--New York Public art Public sculpture Slave ships Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource The Ark of Return serves as a memorial to honor the victims of slavery and the transatlantic slave trade. Constructed from white marble, the memorial is a triangular structure with clean geometric lines and faceted surfaces, giving it a modern yet solemn appearance. A triangular portal in the structure allows visitors to walk through the interior. At the entryway, a reflecting pool engraved with the words "Lest we forget" invites visitors to offer prayers and libations. Inside, a map highlighting the African continent is inscribed on the wall, with the words, "Acknowledge the Tragedy." Nearby, a robed statue of a human figure—sculpted from black Zimbabwean granite—lies horizontally within a triangular space carved into the wall. This figure symbolizes the millions of enslaved individuals, their suffering, and the triangular slave route. Beneath the figure, another  inscription reads: "Consider the legacy." On the opposite wall, diagrams carved in low relief depict hundreds of enslaved people crammed inside a typical English slave ship, further emphasizing the brutal conditions endured during the Middle Passage. Creator An entity primarily responsible for making the resource Leon, Rodney, 1972- Date A point or period of time associated with an event in the lifecycle of the resource March 25, 2015 Contributor An entity responsible for making contributions to the resource UNESCO; Permanent Memorial Committee of the United Nations; Member States of the United Nations 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 United Nations Visitors Plaza, 1st Avenue and 46th Street, New York, New York, 10017, United States Medium The material or physical carrier of the resource. Marble; Black Zimbabwe 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. United Nations. "The Ark of Return": The Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade. Outreach Programme on the Transatlantic Slave Trade and Slavery. Accessed April 11, 2019. https://www.un.org/en/rememberslavery/memorial. Leon, Rodney. "The Ark of Return." Rodney Leon Architects. Accessed April 11, 2019. http://www.rodneyleon.com/the-ark-of-return. Leon, Rodney. "Reflections on the Tenth Anniversary of the Art of Return." UN Chronicle, March 24, 2025. Accessed January 26, 2026. https://www.un.org/en/un-chronicle/reflections-tenth-anniversary-ark-return. 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 Has Part A related resource that is included either physically or logically in the described resource. Inscription on interior wall below the map: "Acknowledge the tragedy" Inscription on interior wall below the human figure: "Consider the legacy" Inscription on the reflecting pool: "Lest we forget" Bronze plaque embedded on ground in front of memorial: Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade Ark of Return The United Nations General Assembly welcomed the initiative of Member States of the Caribbean Community and the African Union to erect this Permanent Memorial to honour the victims of Slavery and the Transatlantic Slave Trade and to educate and inform current and future generations about the causes, consequences, and lessons of slavery and the transatlantic slave trade. The Permanent Memorial Committee, comprising Brazil, Ghana, Jamaica (Chair), Kenya, Netherlands, Portugal, Qatar, Senegal, Suriname, and the United Kingdom of Great Britain and Ireland, with Member States from the Caribbean Communituy and the African Union playing a primary role in collaboration with the United Nations Educatinoal, Scientific and Cultural Organization, the United Nations Office for Partnerships, the United Nations Department for Public Information and the Sub-Committee for the Elimination of Racism of the NGO Committee on Human Rights, completed this Permanent Memorial on 25 March 2015. "Acknowlege the Tragedy, Consider the Legacy, Lest We Forget" These three distinct phrases form the inspiration for the design of this Permanent Memorial. "The Art of Return" memorial is a sacred space that is designed to psychologically and spiritually transport visitors to a place where acknowledgment, education, reflection and healing can take place. The Memorial's exterior form is constructed to reflect the image of a vessel or ship in acknowledgment of the millions of African people transported on slave ships to different parts of the world during the "Middle Passage." Images of map depicting the "Triangular Slave Trade" influenced the use of the triangle as a primary element in designing the Memorial's shape. The Memorial is also conceptually organized to allow visitors to pass through "The Ark of Return" to intimately experience three primary elements on the interior space. The first element is a three dimensional map inscribed on the interior of the Memorial. This map graphically depicts the global scale, complexity and impact of the triangular slave trade in "acknowledgment of the tragedy." The second element is a full scale human figure lying horizontally in front of a wall inscribed with images of the interior of a slave ship. This is meant to communicate and educate visitors on the physical conditions endured by the millions of African people transported under extreme conditions during the middle passage. Visitors are provided the opportunity to seriously "consider the legacy" of Slavery's impact upon humanity. The third element is a triangular reflecting pool which introduces water in a meditative, ritualistic and spiritual manner. Visitors are invited to pour libations or say a prayer in memory of the millions of souls that were lost "lest we forget" this monumental and historic tragedy. Bronze plaque embedded on ground in front of memorial: Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade Ark of Return On this day, 25 March 2015 at the United Nations in New York City, the President of the Sixty-ninth Session of the General Assembly and the Secretary-General of the United Nations unveiled this Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave, in the presence of the Prime Minister of Jamaica, the Director-General of UNESCO, the Permanent Representative of Jamaica and Chair of the Permanent Memorial Committee, the Permanent Observer of the African Union, the Permanent Representative of India, and the Architect and Designer of the Permanent Memorial. The Permanent Memorial Committee expresses it deep appreciation to all Member States, institutions, foundations, organizations and individuals who have contributed to this Memorial.(*) New York, 25 March 2015 (*)Non-exhaustive list of Member States and organizations that have contributed funds to the construction of the Permanent Memorial to Honour Victims of Slavery and the Transatlantic Slave Trade: Afghanistan; Algeria; Antigua and Barbuda; Argentina; Bahamas; Barbados; Belgium; Belize; Bhutan; Botswana; Brazil; Burkino Faso; Cameroon; Canada; Chile; China; Congo; Costa Rica; Cyprus; Denmark; Ecuador; Egypt; Equatorial Guinea; Estonia; Finland; Georgia; Germany; Ghana; Greece; Grenada; Guyana; Haiti; Honduras; Iceland; India; Indonesia; Ireland; Israel; Italy; Jamaica; Japan; Kazakhstan; Kenya; Kuwait; Libya; Liechtenstein; Lithuania; Luxembourg; Malaysia;  Malta; Mauritius; Mexico; Monaco; Montenegro; Mozambique (on behalf of Southern African Development Community Group of Ambassadors); Namibia; Netherlands; New Zealand; Nicaragua; Norway; Oman; Pakistan; Phillipines; Portugal; Qatar; Republic of Korea; Saint Kitts and Nevis; Saint Lucia; Saint Vincent and the Grenandines; Saudia Arabia; Senegal; Singapore; Slovenia; South Africa; Spain; Sri Lanka; Sudan; Suriname; Sweden; Syrian Arab Republic; the former Yugoslav Republic Macedonia; Togo; Trindad and Tobago; Turkey; Uganda; United Arab Emirates; United Kingdom of Great Britain and Northern Ireland; United Republic of Tanzania; United States of America; Uruguay; Martinique; The Alexander Cheritable Trust (San Marino); Boris and Inara Teterev Foundation (Latvia); Ford Foundation; Rush Communications; United Nations Federal Credit Union and individuals around the world. Rights Information about rights held in and over the resource United Nations Gifts, Department of Global Communications, United Nations Headquarters, Room GA-1B-31, New York, New York, 10017, United States abstract bas-relief black granite figurative inscription map marble slave ship https://slaverymonuments.org/files/original/964f968fd9da508c144d98566bf34974.jpg f3a9f83bb04f5b031adbdbc10a75771c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 96 in. (243.84 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 Frederick Douglass (Baltimore, Maryland) Creator An entity primarily responsible for making the resource Lewis, James Edward, 1923-1997 Subject The topic of the resource Subject (Topic) Antislavery movements--United States Enslaved persons--Emancipaiton Freedom Maryland--Baltimore Public art Public sculpture Slavery--Maryland Subject (Name) Douglass, Frederick, 1818-1895 Subject (Object Type) Commemorative sculpture Description An account of the resource Caught mid-stride, the over life-size bronze statue of Frederick Douglass stands in front of Holmes Hall on the campus of Morgan State University, a historically Black university in Baltimore, Maryland. The bearded Douglass holds a cane in his right hand as he steps forward on his right foot. Source A related resource from which the described resource is derived Photograph: <a href="https://en.wikipedia.org/wiki/File:Frederick_Douglass_Statue,_Morgan_State_University,_1700_E._Coldspring_Lane,_Baltimore,_MD_21251_(33520859023).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 February 20, 1956 Contributor An entity responsible for making contributions to the resource Maryland Educational Association; Children in Colored Schools; and the Citizens of Maryland. Rights Information about rights held in and over the resource Morgan State University, 1700 East Cold Spring Lane, Baltimore, Maryland, 21251, 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 Holmes Hall, Morgan State University, 1700 East Cold Spring Lane, Baltimore, Maryland, 21251, United States Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Frederick Douglass at Morgan State University Has Part A related resource that is included either physically or logically in the described resource. Inscription on granite base: Frederick Douglass 1817-1895 Humanitarian Statesman Bronze plaque on back of monument: Erected By the Maryland Educational Association Through Contributions of Children in Colored Schools And Citizens of Maryland. In the Year 1956. "I am an American And As an American I speak to America." Frederick Douglass James E. Lewis Sculptor Extent The size or duration of the resource. 96 in. (243.84 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 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Kelly, Cindy, and Edwin Harlan Remsberg. Outdoor Sculpture in Baltimore: A Historical Guide to Public Art in the Monumental City. Johns Hopkins University Press, 2011. bronze figurative granite 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/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/e38d6d8f89221bc31ab977f86a3ba023.jpg 735278269f7006c9c22002d0c593bc56 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 141.72 x 94.44 in. (359.9688 cm x 239.8776 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 Le Marron Inconnu (Port-au-Prince, Haiti) Subject The topic of the resource Subject (Topic) Abolition of slavery Enslaved persons--Emancipation--Haiti Haiti--Port-au-Prince Maroons--Haiti Public art Public sculpture Slavery--Haiti Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource The bronze sculpture depicts a man, clad only in torn shorts, kneeling on his right leg. His left leg is outstretched behind him; a broken iron chain lays on the ground around his left foot. He arches his torso back as he holds a conch shell to his lips with his left hand, tilting his head upward. His right hand holds a machete at the ground. The statue was created to commemorate the abolition of slavery in Haiti. In 1989, the United Nations used the image on postage stamps to commemorate Article 4 of the Universal Declaration of Human Rights: "No one shall be held in slavery or servitude; slavery and the slave trade shall be prohibited in all their forms." Creator An entity primarily responsible for making the resource Mangonès, Albert, 1917–2002 Date A point or period of time associated with an event in the lifecycle of the resource September 22, 1967 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 du Marron Inconnu, Champ de Mars, HT6110 Port-au-Prince, Haiti Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Neg Marron; Nèg Mawon Extent The size or duration of the resource. 141.72 x 94.44 in. (359.97 x 239.88 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://en.wikipedia.org/wiki/Le_Marron_Inconnu#/media/File:Le_Marron_Inconnu_-_April_2018_side.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. Payton, Claire Antone. "The Political Lives of Haiti's Marron Inconnu." Radical History Review, issue 152, (May 2025): 70-90.  Bell, Beverly. "Chapter 4: Maroon Man: Social Movements Throughout History." In Fault Lines: Views Across Haiti's Divide, 32-40. Cornell University Press, 2013. Conduru, Roberto. "Transnational Counter-monuments: Anti-Slavery and Pro-Freedom Memorials." ReVista: Harvard Review of Latin America, July 30, 2021. Accessed January 28, 2025. https://revista.drclas.harvard.edu/transnational-counter-monuments/. Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque on front of statue: Text derives from a passage from Book of Maccabees (3:3–9). Ce fut lui qui accrut la grandeur de son peuple. Lui, qui s’arma du glaive et de la torche, tel un géant ; Lui, qui fit de ses armes un abri pour les siens. Semblable au lion, par ses grandes actions ; Il harcela partout ceux qui le tourmentaient ; brûla leurs champs, détruisit leurs demeures ; Ses exploits irritèrent des rois ; mais firent, cependant, la joie de tout un peuple ; Sa mémoire sera éternellement en bénédiction… Dr. François Duvalier Président a Vie de la République 22 September 1967 English translation: It was he who increased the greatness of his people. He who armed himself with sword and torch, like a giant; he who made his weapons a shelter for his people. Like a lion in his great deeds, he harassed those who tormented him everywhere, burned their fields, destroyed their homes. His exploits angered kings, but brought joy to an entire people. His memory will be blessed forever... (L'histoire controversée du Marron inconnu, https://ayibopost.com/lhistoire-controversee-du-marron-inconnu/) Contributor An entity responsible for making contributions to the resource François Duvalier (patron); Amerigo Marco Montagutelli and art students at the Académie des Beaux-Arts; Andrisson Fils-Aimé (model) Rights Information about rights held in and over the resource Ministry of Culture and Communication, Haitian Copyright Office (BHDA), 31, rue Cheriez, Canape-Vert, Port-au-Prince, Haiti (West Indies) bronze chains figurative seashell shackles 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/7864b6655d7a95cdb7519ffbfabfccbc.jpg 15fef5faf61d8fe83f20b85d678dd1e4 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 Varied: 144 to 180 in. (365.76 to 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 Truths that Rise from the Roots Remembered (Alexandria, Virginia) 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 June 17, 1995 Contributor An entity responsible for making contributions to the resource EDAW (now AECOM); Norfolk Southern Corporation; Carlyle Development; City of Alexandria Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant African American Heritage Park, 309 Holland Lane, Alexandria, Virginia, 22314, United States Medium The material or physical carrier of the resource. Bronze; Brick; Grey stone Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Description An account of the resource Truths that Rise from the Roots Remembered is located in the African American Heritage Park, a nine-acre memorial park. The park was the site of a historic Black Baptist Cemetery, established in 1885, and later desecrated when the City of Alexandria used the space as a landfill in the early 1960s. Through archaeological excavations, (1985–1992), six headstones were identified and remain in their original location. The park was designed to co-exist with the original landscape of the cemetery and to preserve the wetlands on the site. Truths that Rise from the Roots Remembered includes a group of three stylized bronze trees whose surfaces are etched with names, historical information, and photographs of the African American community in Alexandria; a commemorative grave mound sculpture with limestone supports; and a bronze bookstand. The trees and mound are contained within a circle surrounded by gray flag stone and a semi-circular brick wall. Embedded in the gray flagstone is a red limestone circle, marked with the compass points. Subject The topic of the resource Subject (Topic) African Americans--History Freedom Public art Public sculpture Resistance Virginia--Alexandria Subject (Object Type) Commemorative sculpture Extent The size or duration of the resource. 144 to 180 in. (365.76 to 457.2 cm) 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. Cressey, Pamela. “Sculpture Provides Inspriation.” Alexandria Gazette Packet, July 20, 1995. Accessed August 14, 2019. https://www.alexandriava.gov/historic/info/default.aspx?id=42988. Anderson, Adrian D. The African American Heritage Park, Alexandria, Virginia. Minneapolis, MN: Tellus Consultants, 1992. Accessed August 14, 2019. https://www.alexandriava.gov/uploadedFiles/historic/info/archaeology/SiteReportAnderson1992AfricanAmericanHeritagePark.pdf. Has Part A related resource that is included either physically or logically in the described resource. Plaque at the entrance to the African American Heritage Park (left): From the establishment of Alexandria in 1749 to the present time, African Americans have been a vibrant part of this city’s history. The City of Alexandria would not exist in its present form were it not for the economic, social, and cultural contributions of African Americans both slave and free. As Alexandria developed in the 19th century, African Americans began to establish enclaves with distinctive names and characteristics. Many of these areas such as: The Berg, The Bottoms, Cross Canal, Hayti, The Hump, Sunnyside, and Uptown survive today and retain historical significance for African Americans currently living in Alexandria. From these original African American neighborhoods, a sense of community developed, which led to the creation of churches, schools, civic and social organizations. these memorial sculptures in this park highlight people and institutions important to Alexandria’s African American heritage. The land for this memorial is of special significance. In 1885 this parcel of land was purchased by the Black Baptist Cemetery Association and a number of gravesites remain here. Hooff’s Run, which runs through this site provided access to the Potomac River and the town of Alexandria for a variety of traders and retailers. By the middle of the 19th century, railroads provided a new transportation system. Established about 1851, the first railroad in this vicinity was the Orange and Alexandria which passed through this land on its way from the town center to more western parts of Virginia. The Norfolk Southern Corporation has set aside this land as a memorial to recognize and celebrate and commemorate African American contributions to the Alexandria community. The Alexandria African American Heritage Park, a gift to the City from the Norfolk Southern Corporation, will contribute to the rich cultural heritage of Alexandria. The history and accomplishments of African American leaders will stimulate young people to develop esteem, hope, determination, and pride in themselves. The memorial park coexists with the original landscape of the cemetery and preserves the interesting and varied plant life on this site. The design creates an atmosphere suitable for nature walks or meditation. Plaque at the entrance to African American Heritage Park (right): Truths That Rise From The Roots — Remembered We bury more than our bodies at rest Deep within the forgiving soil We bury as well our  Our dreams, our legends, our revelry, our toil Here is where we enshrine our wisdom To be joined with that of our yesteryears And here is where our tomorrows are planted As lessons learned against future fears The artistic works incorporated into this Memorial/Park offer a symbolic testament to the efforts and accomplishments of a great many local individuals, institutions and organizations both past and present. The names and images etched upon these forms, as an acknowledgment of but some of those who have ’passed this way before’, represent the foundation, the builders, the source and substance of this historic and vibrant community. As a context in which history and art are joined this public-art setting serves as a cultural marker — a communal space in which the sons and daughters of the here and now celebrate and honor the heroes of their past. Jerome B. Meadows — Artist Zoe Briscoe — Research, Technical Assistant Park Design — EDAW Etching on the commemorative grave mound sculpture: Black Baptist Cemetery Association 1885 From the past they speak, in varied voice and familiar faces Mary Rome Matilda Gaines Sarah Hunter Abraham Hunter Julia Ann Washington Etching on the tree nearest to commemorative grave mound, left side: Education Alexandria Academy Washington Free School Mt. Hope Academy 1837-1843 Alfred Perry Sylvia Morris Lancasterian School Society of Friends American Baptist Free Mission Society Mary Chase 1861 Saint Robe Institute 1881 Jane A. Crouch Miss Sarah Gray First Select Colored School 1862 Rev. and Mrs. Robinson Rev. G.W. Parker Amanda Borden The First Free Colored Mission Day School 1863 Union Town School 1863 Nancy Williams The Primary School 1863 William K. Harris Richard H. Lyles Newtown School 1863 Anna Bell Davis Leannah Powell The Sickles Barracks School 1863 The Jacobs Free School 1864 Louisa Jacobs Harriet Jacobs Miss S.Y. Lawton Miss E.M. Lawton First National Freedmen’s School 1864 Harriet Byron Douglass 1864 Second National Freedmen’s School Rev. M.F. Sluby Laura Phenix Miss M.F. Simms Mary M. Nickens The Washington St. School Miss L.V. Lewis Etching on the tree nearest to commemorative grave mound, right side: Education Pennsylvania Freedmen’s Relief Association 1865 Bureau of Refugees, Freedmen and Abandoned Lands Gustavus Lumpkins 1867 First Free School Society of Alexandria George Seaton George W. Bryant Anthony L. Perpener Hannibal King James Piper George P. Douglas John H. Davis Samuel W. Madden J. Mck. Ware Charles Watson George W. Parker Rev. Clem Robinson George W. Sims Snowden School for Boys William F. Powell Carrie Claggett John Parker Patrick H. Lumpkins Hallowell School for Girls Matilda A. Madden Parker-Gray School 1920 Henry T. White Laura Dorsey Susie P. Madden Margaret T. Young Sarah D. Gray Harriet Thornton James B. Howard Rozier D. Lyles Mamie  E. Anderson Rev. A.W. Adkins Wesley Elam William Pitts Ferris Holland Louis Johnson Edward L. Patterson John T. Butler Lyles-Crouch Elementary School Julia Pritchett Seminary School Geraldine Stevenson St. Joseph’s Catholic School The Oblate Sisters of Providence Sister Mary John Bearchmann Sister Mary Eusebius Charles Houston Elementary School Helen L. Davis Martha Millier-Kindergarten Saretta N. Cope-Kindergarten Etching on the second tree from the commemorative grave mound, left side: Religion Alfred Street Baptist Church 1801 Jesse Henderson Evans Williams Daniel Taylor Rev. Samuel Madden Rev. Alexander A. Truatt Rev. Andrew W. Adkins “Old Zion” Methodist Church 1832 Roberts Memorial United Methodist Church 1832 James Harper Francis Hoy James Evans Philip Hamilton Simon Turley Rev. James Thomas Rev. Robert H. Robinson Rev. James Howard Beulah Baptist Church 1863 Rev. Clem Robinson Zion Baptist Church 1864 Rev. Robert Woodson, Pastor Shiloh Baptist Church 1865 Rev. Charles H. Rodgers Rev. Leland Warring Second Baptist Church Third Baptist Church 1865 Rev. Samuel Stewart Rev. Samuel Ross Meade Memorial Espiscopal Church 1869 Rev. J.W.M. Powell Canon John G. Davis Ebenezer Baptist 1880 Rev. Field Cooke Rev. L. Henry Bailey Rev. W. Howard Stanton Rev. N.B. Hargraves Rev. Austin A. Booker Good Shepard Episcopal Chapel 1880 St. Cyprian’s Episcopal Mission Etching on the second tree from the commemorative grave mound, right side: Religion Mt. Jezreel 1890 Rev. Coleman Rev. O.L. Miles Oakland Baptist Church 1891 Rev. E.R. Jackson Clara Adams William Carpenter Brook Johnson William Jerrell John W. Casey Maggie Hall Smith Wahler Daniel Simms, Jr. Nancy Shepherd Harriet Short Matilda Woods Mollie Nelson St. Joseph’s Catholic Church 1915 Thomas Blair Katie Bowman Carrie Crouch John Johnson John Parker Tabernacle of God and Saints of Christ 1921 St. John’s Baptist Church 1926 Rev. and Mrs. J.G. West Deacon David Askew Deacon Raymond Deacon Holmes Bethel Presbyterian Church Community Presbyterian Church 1928 Rev. Richard B. Strong United House of Prayer Russell Temple C.M.E. 1941 Alleyne AME Zion Church 1949 Rev. Frederick Douglass Williams Rev. Grayson Kelch Etching on the third tree from the commemorative grave mound, left side: Civic Thomas Fuller - 1789 Bejamin Banneker - 1791 William Goddard Dominick Bearcroft Alexander Bryan - 1833 Mary Savoy - 1839 David Jarbour H. Dulany - 1850 Mary Cole John Williams Moses Hepburn John Hepburn Henry Anderson Charles Watson George Seaton John Seaton Nellie Whiting Magnus L. Robinson Norman B. Pinn Freeman N.M. Murray The Home News, 1900 Edmund Hill W. Walter Jackson Murray Brothers Printers, 1903 Raymond H. Murray F. Morris Murray Norman D. Murray Miss. Susie B. Buckner Florence Murray Lewis Smith Samuel A. Tucker L.H. Williams Alexandria Home Bakery John W. Jackson Margaret Evans Washington Jackson Thomas Arrington Laura Watson Harriet Ware Etching on the third tree from the commemorative grave mound, right side: Civic Professor T.E. Dulany C. William Gray W.C. Arnold Lloyd Lewis Richard N. Poole Henry Brooks Mrs. Mattie Brooks Mrs. Katie Skinner Mrs. Lorraine Funn Atkins Mrs. Annie B. Rose Mrs. Connie Chissell George Gaddis Arthur Bracey Library Sit-In - 1939 B. Wilbert Tucker Morris Murray Edward Gaddis Clarence "Buck" Strange Sgt. George Watson Doctors Albert Johnson - 1892 J. Milton Hopkins - c. 1894 Frederick P. barrier - c. 1917 Oswald Durant Henry Ladrey C. Aubrey Lindo Abe Penn Paul Piper Charles West Herbert G. Chissell James Carpenter Newman C. Taylor Frederick Perry W. Lee Harris Elijah E. Lacey T. Bernard Blue William Skinner Lawyers James Webster Thomas Watson William Macmurray J. Byron Hopkins Alfred Collins Judge Joseph Waddy James Raby Rights Information about rights held in and over the resource City of Alexandria, City Hall, 301 King Street, Alexandria, Viriginia, 22314, United States abstract bronze inscription names trees 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/c96482ed830a994203b6ac631cccce76.jpg 9a9c6e652220fbcbaf689d00a730d78f 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 Building and Structure 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 La Maison des Esclaves (Gorée Island, Senegal) Subject The topic of the resource Subject (Topic) Enslaved persons Senegal--Goree Isand Slave ships Slavery-Senegal Transatlantic slave trade Subject (Type) Building and Structures Description An account of the resource The island of Gorée was the site of one of the earliest European settlements in Western Africa and from the fifteenth to the nineteenth century, served as the largest slave-trading site on the African coast. Built in 1776, La Maison des Esclaves, was a detention center for captured Africans who were destined to be sold as slaves. In 1962 the home was established as a museum dedicated to telling the “personal stories of a private home and the role of its owners in both local business and the slave trade.” Between 2015-2022, La Maison des Esclaves underwent major renovations, funded through the Government of Senegal and the Ford 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 Historic Sites Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rue St-Germain, Gorée Island, Senegal Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. International Coalition of Sites of Conscience. "Revitalizing Maison des Esclaves." Accessed April 29, 2019. https://www.sitesofconscience.org/wp-content/uploads/2016/10/Maison-Des-Esclaves-Overview-2019.pdf Araujo, Ana Lucia. "Sites of Deportation." in Shadows of the Slave Past: Memory, Heritage, and Slavery, 45-75. Routledge, 2010. Tillet, Salamishah. "In the Shadow of the Castle: (Trans)Nationalism, African American Tourism, and Gorée Island." Research in African Literatures 40, no. 4 (Winter, 2009): 122-141. Maison des escalaves de l'île de Gorée. Accessed February 27, 2026. https://www.maisondesesclaves.org. 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:La_maison_des_esclaves.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Date A point or period of time associated with an event in the lifecycle of the resource 1776 Creator An entity primarily responsible for making the resource Ndiaye, Boubacar Joseph, 1922-2009 (museum founder/curator) Contributor An entity responsible for making contributions to the resource Léopold Sédar Senghor, Premier Président du Sénégal (1960-1980); La République du Sénégal; Ford Foundation; International Coalition of Sites of Conscience Rights Information about rights held in and over the resource Ministère de la Culture, de l’Artisanat et du Tourisme, Bâtiment C, 1er étage, Sphère Ministérielle Ousmane Tanor Dieng (SMOTD) à Diamniadio, BP: 4049 - Dakar, Sénégal Medium The material or physical carrier of the resource. Timber; Straw; Pulvarized seashells; Local volcano stone historic architecture