1 10 134 https://slaverymonuments.org/files/original/8e7ee1e2c65ce7c49ba8004800293d24.jpg f388f9163ef52cc41b0e6f4af0db2af4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource United States Colored Troops (USCT) Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource Included in this thematic collection are seventeen memorials that honor the vital contributions of the United States Colored Troops (USCT) to the Union victory during the American Civil War. The first all-Black units formed unofficially in Louisiana (Louisiana Native Guard, 1862); South Carolina (First South Carolina Volunteer Infantry, 1862-63); and Kansas (First Kansas Colored Infantry, 1862-63). The first official authorization to employ African Americans in federal service was the Second Confiscation and Militia Act of July 17, 1862. The Confiscation Act allowed Union officers to free enslaved men and put them to work as army laborers. However, Abraham Lincoln did not fully authorize the use of Black men in combat until the issuance of the Emancipation Proclamation on January 1, 1863. Beginning in late January 1863, Governor John A. Andrews of Massachusetts raised the first regiment of Black soldiers in the North, the Massachusetts 54th Volunteer Infantry. The abolitionist Frederick Douglass helped recruit men for the Massachusetts 54th, famously issuing a call to free African American men to join the Union Army. In a speech, “Men of Color, To Arms!”, delivered in Rochester, New York on March 2, 1863, Douglass urged his fellow free men of color to fight for the end of slavery and for their freedom: "By every consideration which binds you to your enslaved fellow-countrymen, and the peace and welfare of your country; by every aspiration which you cherish for the freedom and equality of yourselves and your children; by all the ties of blood and identity which make us one with the brave black men now fighting our battles in Louisiana and in South Carolina, I urge you to fly to arms, and smite with death the power that would bury the government and your liberty in the same hopeless grave." On May 22, 1863, the U.S. War Department issued General Order No. 143, authorizing the creation of the Bureau of Colored Troops. By the end of the Civil War, over 200,000 men, including white officers, served in 175 regiments of the USCT, which made up ten percent of the Union army. The compiled military records of the men who served in the USCT can be found in the National Archives and Records Administration. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The First Kansas Colored Volunteer Infantry Statue (Butler, Missouri) Subject The topic of the resource Subject (Topic) African Americans--History Missouri--Butler Public art Public sculpture United States Colored Troops Subject (Object Type) Commemorative sculpture Description An account of the resource The monument depicts a soldier from the First Kansas Colored Infantry during the Battle of Island Mound, which took place on October 28 and 29, 1862. The soldier is shown charging forward, his left foot stepping ahead. His facial expression is grave and tense, with deeply furrowed brows and tightly clenched lips. He grips the barrel of his rifled musket with his left hand and holds the butt with his right. The soldier wears the standard Union army uniform: a forage cap, a light buttoned coat, trousers, and boots. A leather shoulder strap crosses his chest, prominently featuring a circular brass eagle plate prominently at its center. The sculpture stands atop a white granite trapezoidal plinth and base. Creator An entity primarily responsible for making the resource Randell, Joel Date A point or period of time associated with an event in the lifecycle of the resource October 12, 2008 Contributor An entity responsible for making contributions to the resource The Amen Society 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 Bates County Courthouse, 1 North Delaware Street, Butler, Missouri, 64730, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on the base: First Kansas Colored Volunteer Infantry The 1st Kansas Colored Volunteer Infantry fought and won the Battle of Island Mound, also known as The Battle at Fort Toothman on October 28 & 29, 1862 in Charlotte Township approx. 7.5 miles southwest of Butler. It is said to have been the only battle fought on Bates County soil, in which regular U.S. troops were involved. The First Kansas Colored Volunteer Infantry was the first black unit to fight in the Civil War. Reportedly Southern rebels outnumbered the black troops five to one, attacked the fort in fierce hand-to-hand combat ensued. Of the Kansas Infantry's involvement it was written, 'They Fought Like Tigers.' First Kansas Colored Volunteer Infantry They Fought Like Tigers Founded & Organized by The Amen Society Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Medium The material or physical carrier of the resource. Bronze Source A related resource from which the described resource is derived Photograph: <a href="https://www.waymarking.com/waymarks/WMNJHT_First_Kansas_Colored_Volunteer_Infantry_Monument_Butler_Missouri" target="_blank" rel="noopener">Waymarking</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. Alan Skerrett, Jr, ed. "Monuments to the United States Colored Troops (USCT) [African American Civil War Soldiers: The List." Jubilo! The Emancipation Century Blog, May 30, 2011. Accessed February 11, 2026. https://jubiloemancipationcentury.wordpress.com/2011/05/30/monuments-to-the-united-states-colored-troops-usct-the-list/. Rights Information about rights held in and over the resource City of Butler Missouri, 22 West Ohio, Butler, Missouri, 64730, United States bronze Civil War figurative granite inscription https://slaverymonuments.org/files/original/919d65fce9e8f33328adc49703e2bec2.jpg cbab4a0d282379255e0a6418607ceb9a 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 22 x 24 in. (55.88 x 60.96 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Swing Low: Harriet Tubman Memorial (reduced version) (Claremont, California) Subject The topic of the resource <subject topic="" br=""></subject>Antislavery movements--United States California--Claremont Freedom Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Creator An entity primarily responsible for making the resource Saar, Alison, 1956- Description An account of the resource The sculptor Alison Saar created this smaller version of Harriet Tubman based on the full-scale Swing Low: Harriet Tubman Memorial in New York City. Tubman is shown in motion, striding forward with one hand clasping the strap of her shoulder bag. From the side, she is shown pulling away from the gnarled, root-like branches that appear to symbolize her breaking free from bondage. Her facial expression is calm and resolute. She wears a buttoned, long-sleeved shirt and a long skirt, the surface of which is adorned with small raised faces, manacles, and other symbolic elements. Source A related resource from which the described resource is derived Photograph: <a href="https://www.scrippscollege.edu/news/releases/scripps-college-to-dedicate-sculpture-of-harriet-tubman-for-new-sculpture-garden" target="_blank" rel="noopener">Scripps College</a> Date A point or period of time associated with an event in the lifecycle of the resource March 10, 2010 Contributor An entity responsible for making contributions to the resource Installation made possible with gifts from Jacqueline Avant, Carol Vernon, and Robert Turbin Extent The size or duration of the resource. 22 x 24 in. (55.88 x 60.96 cm) Rights Information about rights held in and over the resource Scripps College, 1030 Columbia Avenue, Claremont, California, 91711, 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 Bixby Court, Ruth Chandler Williamson Gallery, 251 E 11 Street, Claremont, California, 91711, United States Medium The material or physical carrier of the resource. Bronze; 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. News Releases. "Scripps College Dedicates Sculpture of Harriet Tubman for New Sculpture Garden." News. Scripps College. Accessed April 1, 2018. http://www.scrippscollege.edu/news/releases/scripps-college-to-dedicate-sculpture-of-harriet-tubman-for-new-sculpture-garden. Video. "Swing Low: Harriet Tubman Sculpture Dedication." Scripps College. Accessed April 1, 2018. <http://rcwg.scrippscollege.edu/blog/2010/03/10/swing-low-harriet-tubman-sculpture-dedication/. "Swing Low: Harriet Tubman Memorial: Installed in College's New Sculpture Garden." Scripps Magazine, Spring 2010. Accessed April 1, 2018. https://issuu.com/scrippscollege/docs/2010-spring1. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad Has Version A related resource that is a version, edition, or adaptation of the described resource. <a href="https://www.slaverymonuments.org/items/show/12" target="_blank" rel="noreferrer noopener"> Swing Low: Harriet Tubman Memorial, New York City, New York</a> bronze figurative manacles portrait trees https://slaverymonuments.org/files/original/2c2977390aefc2e66296e96b2719c5a2.jpeg e720bc4638ac33dbc4ea2660cc5e8d81 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 68.4 in. (173.736 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 Harriet Tubman (third cast) (Little Rock, Arkansas) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Arkansas--Little Rock Freedom Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource The monument depicts Harriet Tubman leading a young African American boy by her left hand and holding a long walking stick in her right. She wears a brimmed hat, a long-sleeve shirt with a shawl wrapped around her neck, and a flowing skirt. As they walk, Tubman peers kindly at the boy, who gazes back at her. The boy wears a vest, long-sleeved shirt, trousers, and laced shoes. Both figures are shown in mid-stride. Creator An entity primarily responsible for making the resource DeDecker, Jane, 1961- Source A related resource from which the described resource is derived Photograph: <a href="https://locate.publicartarchive.org/art/Harriet-Tubman?ib=ext" target="_blank" rel="noopener">Public Art Archive</a> Date A point or period of time associated with an event in the lifecycle of the resource 2004 Contributor An entity responsible for making contributions to the resource Dr. Dean Kumpuris, Little Rock Board of Directors, City of Little Rock, Little Rock, Arkansas; John Kinkade, National Sculptors’ Guild at Columbine Gallery, Little Rock, Arkansas; and Peggy and Haskell L. Dickinson (donors), Little Rock, Arkansas. Rights Information about rights held in and over the resource City of Little Rock, 500 W. Markham Street, Little Rock, Arkansas, 72201, 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 764 President Clinton Avenue, Little Rock, Arkansas, 72201, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on back: "Children if you are tired, keep going. If you're hungry, keep going. If you're scared, keep going. If you want a taste of freedom, keep going." Harriet Tubman Has Version A related resource that is a version, edition, or adaptation of the described resource. First cast: <a href="https://www.slaverymonuments.org/items/show/5" target="_blank" rel="noreferrer noopener">Harriet Tubman, Las Sendas, Mesa, Arizona</a> Extent The size or duration of the resource. 68.4 in. (173.736 cm) Medium The material or physical carrier of the resource. Bronze; Concrete base Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Public Art Archive. “Harriet Tubman, Little Rock, Arkansas.” Accessed March 19, 2018. https://locate.publicartarchive.org/art/Harriet-Tubman?ib=ext. Peacock, Leslie Newell. “Forever, Sculpture: Artwork and a City Director, Carve Out a Special Place along Little Rock’s Riverfront.” Arkansas Times, June 15, 2017. Accessed March 19, 2018. https://www.arktimes.com/arkansas/forever-sculpture/Content?oid=7409126. Wander Woman Project. “Harriet Tubman Statues by Jane DeDecker Across the US.” Accessed May 25, 2020. https://wanderwomenproject.com/places/harriet-tubman-statues-by-jane-dedecker-across-the-us/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad bronze figurative inscription portrait https://slaverymonuments.org/files/original/5c9b800bd6480715ba91e2dea5049961.jpeg e8ca09c38aed8517483a725f3b9b970d 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 68.4 in. (173.736 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 Harriet Tubman (second cast) (Gainesville, Georgia) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Georgia--Gainsville Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource The monument depicts Harriet Tubman leading a young African American boy by her left hand and holding a long walking stick in her right. She wears a brimmed hat, a long-sleeve shirt with a shawl wrapped around her neck, and a flowing skirt. As they walk, Tubman peers kindly at the boy, who gazes back at her. The boy wears a vest, long-sleeved shirt, trousers, and laced shoes. Both figures are shown in mid-stride. Creator An entity primarily responsible for making the resource DeDecker, Jane, 1961- Source A related resource from which the described resource is derived Photograph: <a href="https://update.brenau.edu/wp-content/uploads/2016/04/IMG_0007.jpg" target="_blank" rel="noopener">Brenau University</a> Date A point or period of time associated with an event in the lifecycle of the resource 1997 Rights Information about rights held in and over the resource Brenau University, 500 Washington St SE, Gainesville, Georgia, 30501, 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 Thurmond McRae Lecture Hall, Brenau University, 625 Academy Street, Gainesville, Georgia, 30501, United States Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Harriet Tubman and Child Has Part A related resource that is included either physically or logically in the described resource. Inscription on back: "Children if you are tired, keep going. If you're hungry, keep going. If you're scared, keep going. If you want a taste of freedom, keep going." Harriet Tubman Has Version A related resource that is a version, edition, or adaptation of the described resource. First cast: <a href="https://www.slaverymonuments.org/items/show/5" target="_blank" rel="noreferrer noopener">Harriet Tubman, Las Sendas, Mesa, Arizona</a> Extent The size or duration of the resource. 68.4 in. (173.736 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. Wander Woman Project. "Harriet Tubman Statues by Jane DeDecker Across the US." Accessed May 25, 2020. https://wanderwomenproject.com/places/harriet-tubman-statues-by-jane-dedecker-across-the-us/. Vision 2020 Public Arts. "Harriet Tubman and Child." Accessed May 25, 2020. https://www.2030art.com/project-02 (site discontinued). Rights Holder A person or organization owning or managing rights over the resource. Renée Ater References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad bronze figurative inscription portrait https://slaverymonuments.org/files/original/e10c796c801262bb4184360a77e032c6.jpg d1ff6caa212e2148ae341c9737a76c87 https://slaverymonuments.org/files/original/707b09bba790b0f2f0e41ad180b18211.jpg d9729b049e5387f67b2fd40d79a2fe83 https://slaverymonuments.org/files/original/044c3b6cc65200d16f2956be7b2f6fba.jpg 06be1b452889f2a601b7803941685e69 https://slaverymonuments.org/files/original/4d38ed4e88c2f879841f19ca6b6758ca.jpg 663b650953797666e78cee7bcbea795f 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 68.4 in. (173.736 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 Harriet Tubman (first cast) (Mesa, Arizona) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Arizona--Mesa Freedom Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource The monument depicts Harriet Tubman leading a young African American boy by her left hand and holding a long walking stick in her right. She wears a brimmed hat, a long-sleeve shirt with a shawl wrapped around her neck, and a flowing skirt. As they walk, Tubman peers kindly at the boy, who gazes back at her. The boy wears a vest, long-sleeved shirt, trousers, and laced shoes. Both figures are shown in mid-stride. Creator An entity primarily responsible for making the resource DeDecker, Jane, 1961- Source A related resource from which the described resource is derived Photographs: <a href="https://www.waymarking.com/waymarks/WMNZ71_Harriet_Tubman_Mesa_Arizona" target="_blank" rel="noopener">Waymaking</a> Date A point or period of time associated with an event in the lifecycle of the resource 1995 Rights Information about rights held in and over the resource Las Sendas Community Association, 7900 East Eagle Crest Drive, Mesa, Arizona, 85207, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Harriet Tubman Children’s Parke, Las Sendas, E. Saddleback and Eagle Crest Drive, Mesa, Arizona, 85207, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on back: "Children if you are tired, keep going. If you're hungry, keep going. If you're scared, keep going. If you want a taste of freedom, keep going." Harriet Tubman Extent The size or duration of the resource. 68.4 in. (173.736 cm) Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Las Sendas Is Home. “Las Sendas Park Statues.” Accessed March 19, 2018. http://www.lassendasishome.com/statues/. Wander Woman Project. “Harriet Tubman Statues by Jane DeDecker Across the US.” Accessed May 25, 2020. https://wanderwomenproject.com/places/harriet-tubman-statues-by-jane-dedecker-across-the-us/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad<a href="https://www.slaverymonuments.org/exhibits/show/commemorating-harriet-tubman" target="_blank" rel="noreferrer noopener"></a> Medium The material or physical carrier of the resource. Bronze Relation A related resource Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad bronze figurative inscription portrait https://slaverymonuments.org/files/original/cc8fbadf957bec5b2d5a1f80e0d32483.jpg f2ffac0ed5c853c7b8d0cae0d556e09b https://slaverymonuments.org/files/original/edb4a2c0ac380aaa228d125a54471fc8.jpg a8ce6a9d77593cd5d2d32e9354aeb5d2 https://slaverymonuments.org/files/original/712dab0d16f9a295dd58dd9d963008e8.jpg 3263fa6197a322dbe218ed2f43d34f74 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 Unknown 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 William Seward and Harriet Tubman Statue (Schenectady, New York) Creator An entity primarily responsible for making the resource Benedict, Dexter, 1944- Subject The topic of the resource Subject (Topic) Antislavery movements--United States New York--Schenectady Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Seward, William Henry, 1801-1872 Subject (Object Type) Commemorative sculpture Date A point or period of time associated with an event in the lifecycle of the resource May 17, 2019 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Karen B. Johnson Schenectady County Public Library, 99 Clinton Street, Schenectady, New York, 12305, United States Description An account of the resource Placed outside the Schenectady County Public Library, a life-size statue of William Seward and Harriet Tubman stand on Mohawk Valley ordovician dolostone inside a garden bed. Seward stands with a cane in his right hand and his left arm around the back of Tubman. He wears nineteenth-century clothing including a jacket, vest, and pants. Tubman gestures with her right hand and carries a walking stick in her left hand. She wears a simple long dress. Draped across her chest is a sack with the end of a revolver visible. 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 Board of Trustees of the Schenectady County Public Library; and Community Members: Virginia and Frank Wicks; Carl George; Anita Paul and David Gerhan; Jim and Jean Underwood; Linda Patrik and David Kaczynski; Twitty and Constance Styles; Cara Molyneaux; Arnold Seiken; Roger Hull; Brian and Judith Merriam; Robert Ringlee; Miriam Butzel; Butzel Family Foundation; Norman Maender; David and Jean Cossey; Carmela St George; Barbara Armstrong and Robert Coppola; Rhonda Becker; Anastasia Pease; Eshragh Motahar; Paul and Christina Friedman; Katherine Lynes; Roger and Seneca Hoerl; Karen and Rodney Crosby; David and Ann Songayllo Hannay; Cherrice Traver; Jonathan and Rachel Marr; Marsha and Leonard Mortimore; James and Jean McLaughlin; Andrea Worthington and Robert Olberg; Kesheng Yu; Paul Wehrum; Barry Kramer; Rebecca Koopman; Assemblyman Angelo Santabarbara; Ted Vinick; Becky Cortez; Martha Huggins and Malcolm Willison; Faith and Dexter Benedict; Mary and Phillip Lyford; Clifford Brown; Caroline Bardwell; Margaret Craven Snowden, M.D.; Nancy Papish; Julie Pieper-Hemmings; Senator James Tedisco; Charles and Linda Becker; Charles and Marianne Szuberla; Patricia and Keith Barneyl; Wayne and Amy Brule; Jim and Cei Mack; Martin and Sharon Strosberg; Mary O’Keeffe; Margo and James Strosberg, M.D.; Peter and Judy Nocera; Mary and Thomas Werner; Michele and Randall Collins; Donald O. Reid; Darren and Lisa Tracy; West Branch Engineering and Consulting; Philip and Jo Ann Adams; Kenneth Baker; Marcia M. Steiner; Nicholas C. Barber; Carmel Patrick; Alden and Gay Doolittle; Betty Pieper; Robert McEvoy; Joe Spedafora; Linda Patrik and David Kaczynski; Matthew George; Brian Reh; Anita Paul; Susan and Gustave Davis, M.D.; Lek and James Meyer; Laura Lee; First Reformed Church of Schenectady; Wicks Family; Jim and Carol McCord; Capital District Civil War Round Table; Jonathan R. Miller (in memory of Aaron Rees ’95); Kathleen Pierone; Ann M. Cole; Professional Women; Schenectady County Historical Society; Hugh and Vaughn Nevin; John Polimeni; John and Lucy Halstead; Kim and Gary Mabee; Naomi Bristol; Lois and Richardson Atkinson; Brendan Degan Weingarten Savage; Henry M. Butzel Family Foundation; Lidia Pasamanick; The Honorable Richard and Bernice Russo; Touhey Family Foundation; John and Margaret Watraus; Susan Savage; Daniel and Shari Grygas; David Gerhan and Anita Paul; Deborah LaFond; Betty Carol Barlyn; Willie Terry; Mario Salerno; Philip Hilferty; Lewis and Irene Greenstein; Kim Scheverman; Arnold and Ione Seiken; David and Karen Bradley; David Kaczynski and Linda Patrik; The Brockbank Family; Estate of Marjorie Kenney (in Memory of Alice P Kenney); William Keat; Eric Bersch; Liz Paul and Paul John; Rene and William Curtin; Steve Rockwell; Jean Libby; The Reverend Ruby J. Smith; Dr Nancy D. Fitzroy; Janis Polishook; L. William Davis; Dr Walter and Anne Robb; Bradley and Catherine Lewis; Christopher Gardner; Kathleen LoGiudice and John Blanchard; Christopher Leonard; Philip M. Williamson; Jean Hayden Hutchins (in Memory of Dr Charles Steinmetz); Eric and Kent Johnson (in Memory of Mayor Karen Johnson); and The Wicks Family (in Memory of Dr Rollo and Hazel Wicks).<o:p></o:p> Rights Information about rights held in and over the resource Unknown Type The nature or genre of the resource Visual Arts-Sculpture Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque: William Seward 1801-1872 Harriet Tubman 1822-1913 Leaders Freedom Diversity Friendship "By the People for the People" Abraham Lincoln Mohawk Valley Ordovician Dolostone 2019 Sculptor/Caster Dexter Benedict References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad Medium The material or physical carrier of the resource. Bronze; Mohawk Valley ordovician dolostone Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Williams, Stephen. "Statue of Tubman and Seward Unveiled at Library." The Daily Gazette News, May 17, 2019. Accessed September 30, 2019. https://dailygazette.com/article/2019/05/17/statue-of-tubman-and-seward-unveiled-at-library. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater bronze figurative portrait https://slaverymonuments.org/files/original/ab0b45d719441db1ceefdcaad737dbd7.jpg 3afb8822f98079b1ddd7eb0c14c3083d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource United States Colored Troops (USCT) Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource Included in this thematic collection are seventeen memorials that honor the vital contributions of the United States Colored Troops (USCT) to the Union victory during the American Civil War. The first all-Black units formed unofficially in Louisiana (Louisiana Native Guard, 1862); South Carolina (First South Carolina Volunteer Infantry, 1862-63); and Kansas (First Kansas Colored Infantry, 1862-63). The first official authorization to employ African Americans in federal service was the Second Confiscation and Militia Act of July 17, 1862. The Confiscation Act allowed Union officers to free enslaved men and put them to work as army laborers. However, Abraham Lincoln did not fully authorize the use of Black men in combat until the issuance of the Emancipation Proclamation on January 1, 1863. Beginning in late January 1863, Governor John A. Andrews of Massachusetts raised the first regiment of Black soldiers in the North, the Massachusetts 54th Volunteer Infantry. The abolitionist Frederick Douglass helped recruit men for the Massachusetts 54th, famously issuing a call to free African American men to join the Union Army. In a speech, “Men of Color, To Arms!”, delivered in Rochester, New York on March 2, 1863, Douglass urged his fellow free men of color to fight for the end of slavery and for their freedom: "By every consideration which binds you to your enslaved fellow-countrymen, and the peace and welfare of your country; by every aspiration which you cherish for the freedom and equality of yourselves and your children; by all the ties of blood and identity which make us one with the brave black men now fighting our battles in Louisiana and in South Carolina, I urge you to fly to arms, and smite with death the power that would bury the government and your liberty in the same hopeless grave." On May 22, 1863, the U.S. War Department issued General Order No. 143, authorizing the creation of the Bureau of Colored Troops. By the end of the Civil War, over 200,000 men, including white officers, served in 175 regiments of the USCT, which made up ten percent of the Union army. The compiled military records of the men who served in the USCT can be found in the National Archives and Records Administration. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource West Point Monument (Norfolk, Virginia) Subject The topic of the resource Subject (Topic) African Americans--History Cemeteries--Virginia United States Colored Troops Virginia--Norfolk Subject (Name) Carney, William Harvey, 1840-1908 Subject (Object Type) Commemorative sculpture Description An account of the resource Atop a large square column of limestone, the figure of the Norfolk native Sergeant William H. Carney of the Massachusetts 54th Volunteer Infantry Regiment is depicted, dressed in his military uniform. Carney is the first African American to receive the Medal of Honor for his courageous actions at the Battle of Fort Wagner in South Carolina. The base of the monument, built as a tribute to African American veterans of the Civil War and Spanish American War, contains a number of bronze and marble plaques. The concrete and granite base were installed in 1906; the statue of Sgt. William H. Carney Jr. was installed and dedicated in 1920. Date A point or period of time associated with an event in the lifecycle of the resource 1920 Contributor An entity responsible for making contributions to the resource Norfolk Memorial Assocation; James E. Fuller 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 Elmwod Cemetery, 238 E. Princess Anne Road, Norfolk, Virginia, 23510, United States Has Part A related resource that is included either physically or logically in the described resource. The top bronze plaque on north face of the monument: A shield with a relief of a Maltese Cross placed over crossed rifles and an eagle with outstretched wings with the dates 1861 - 1865 and 1920. The bottom square bronze plaque on north face of the monument: Erected by the Norfolk Memorial Association to the Memory of our Heroes 1861-1865 Left marble plaques on the east face: Langston Camp No. 1 -- United Spanish War Vets Middle marble plaque on east face: The Whole of Section No. 20 Donated to the Union Veterans Hall Association by a resolution proposed by Comrade James E. Fuller; adopted by the Common Council March 3rd 1886, and by the Select Council April 13th 1886. This monument Alter[sic} Laid for dedication May 30th 1906 by the Norfolk Memorial Association to receive the shalt already pledged by the citizens in honor of all the colored soldiers and sailors buried in West Point Cemetery and Berkley from 1860 to the last veteran to be buried in these Cemeteries, as amended and approved by contributors March 2nd 1906. Founders of Norfolk Memorial Asso. Jas E. Fuller, 1st President Mrs. R. Langley, 1st Vice President Mrs. L. J. Lynch, 1st Secretary James P. Carter, President Abel C. Carter, Secretary Magnes Riggins Treasurer James E. Fuller, Custodian Right marble plaque on east face: National Camp No. 2 - United Spanish War Vets Marble plaque on north face: Shaw Post No. 5 - G.A.R.- Shaw Woman Relief Corps No. 3 Left marble plaque on west face: John C. Fow - Post No. 67 - G.A.R. Middle marble plaque on west face: Caillioux Post No. 2 - G. A. R. - Cailloux Woman Relief Corps No. 1 Right marble plaque on west face: Ladies Aux. No. 4 - U.S.W.V. Marble plaque on south face: Dahlgren Post No 4. - G.A.R. - Dahlgren Woman Relief Corps No. 12 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Leib, Jonathan. "A Tale of Two Civil War Statues: Teaching the Geographies of Memory and Heritage in Norfolk, Virginia." Southeastern Geographer 52, no. 4 (Winter 2012): 398-412. Alan Skerrett, Jr, ed. "Monuments to the United States Colored Troops (USCT) [African American Civil War Soldiers: The List." Jubilo! The Emancipation Century Blog, May 30, 2011. Accessed February 11, 2026. https://jubiloemancipationcentury.wordpress.com/2011/05/30/monuments-to-the-united-states-colored-troops-usct-the-list/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Limestone; Granite; Concrete Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Norfolk African-American Civil War Memorial Source A related resource from which the described resource is derived Photograph: <a href="https://smarthistory.org/the-lost-cause-and-confederate-memory/" target="_blank" rel="noopener">Smarthistory</a> Rights Information about rights held in and over the resource Virginia Department of Historic Resources, 2801 Kensington Avenue, Richmond, Virginia, 23221, United States bronze Civil War columns figurative inscription 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/c2fa4d797a4d66d2d45ef6d79c49e7a4.jpg ae044eab3c1afddb8c40829db5030492 https://slaverymonuments.org/files/original/a84445f64fd22c24ed60ce61fa19e3ce.jpg 12437b7e8d77d3cb916d424b7e93216b https://slaverymonuments.org/files/original/22d388a38dbdcd29f8a70b15d4fad077.jpg 74af0ab95d654f5425424737cfe7af29 https://slaverymonuments.org/files/original/1e43bea9ae179b176a7c10dde537e3fc.jpg 6860045b0619bfc9868553411485fc96 https://slaverymonuments.org/files/original/477c445aa88fd2b40266cf3d5ed5f735.jpg 92b0e75bb3f7e6743b10967129e9c368 https://slaverymonuments.org/files/original/07303a2fe3a478173cf9ff65ae552e93.jpg 35708db07ef3fa5d03c5dc41b3b01673 https://slaverymonuments.org/files/original/42b09cf14662a0fe54bfd183b08ed1b3.jpg 12ef5f6c2aefda60b5d94a6feb796836 https://slaverymonuments.org/files/original/c298a538474223e6d9c1e2cb17b95aff.jpg 0bf23d91be93ee40102c807cc347fa26 https://slaverymonuments.org/files/original/0cef8f74c23d7e84be7806f2b9463c04.jpg 88386d88c3f70cb8f1f158c6f65baa9b https://slaverymonuments.org/files/original/1a545be3636da3b23209a043d566d728.jpg 3f1b8dd7217510193cbc3781fecb1692 https://slaverymonuments.org/files/original/970f7088562b06b5adf0592290a254ab.jpg 9915e3cce9d72a58811a21563df8fe6d https://slaverymonuments.org/files/original/27fe705027328b7120ec1f6fb2724abf.jpg 3c2d115424fdda446f1358a4276c5f63 https://slaverymonuments.org/files/original/26a5702147d065fc60463e712abfe788.jpg 85de5aba34be048038d0ad7443ca8903 https://slaverymonuments.org/files/original/902fbaa67ff332362f77bff804323605.jpg 5e6d6ac9276fffedc9724f4e5b6b680c https://slaverymonuments.org/files/original/a7e7230d4a8d0519469361bdcbd8b1a6.jpg 897d8f8bc789a0c43b3c3eedde751d4c 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 100 in. (274.32 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 Unwavering Courage in the Pursuit of Freedom (Wilmington, Delaware) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Delaware--Wilmington Freedom Fugitive slaves Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Garrett, Thomas, 1789-1871 Subject (Object Type) Commemorative sculpture Description An account of the resource A multi-figure sculpture of Harriet Tubman and Thomas Garrett leads two fugitive enslaved persons, a semi-nude man and a fully clothed woman, along the Underground Railroad in Wilmington, Delaware. Tubman carries a baby in her arms and wears a head wrap, shawl, haversack, and carries a pistol at her waist. Garrett wears a suit, cape and top hat, and holds a lantern. The sculpture includes three pairs of boots, a crate, and a barrel. Signed by the artist: M. Chiodo, 2012. Creator An entity primarily responsible for making the resource Chiodo, Mario, 1961- Source A related resource from which the described resource is derived Photographs by Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource October 3, 2012 Contributor An entity responsible for making contributions to the resource Oasis Design Group (Kimley-Horn); The City of Wilmington’s Percent for Art Fund; Riverfront Development Corporation of Delaware; and Riverfront Wilmington Sculpture Selection Committee Rights Information about rights held in and over the resource The City of Wilmington Department of Parks and Recreation, 500 Wilmington Avenue, Wilmington, Delaware, 19801, 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 Tubman-Garrett Riverfront Park, 815 Justison Street, Wilmington, Delaware, 19801, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque: Unwavering Courage in the Pursuit of Freedom, Dedicated October 3, 2012, Honorable James M. Baker, Mayor, Artist: Mario Chiodo. Inscripton on Tubman biographical bronze plaque: Harriet Tubman (born Araminta Harriet Ross; 1820 – March 10, 1913). ‘I had reasoned this out in my mind, there was one of two things I had a right to, liberty or death; if I could not have one, I would have the other.’ Born on Maryland’s eastern shore, Harriet Tubman’s family of eleven suffered the indignities of violence and division common to the institution of slavery. Harriet escaped from slavery following the death of her owner in 1849. Over the course of 10 years, with the help of Thomas Garrett and other abolitionists, she led hundreds of slaves along the Underground Railroad through Wilmington to freedom in New York, New England, and Canada, earning the title of the ‘Moses of her people’. During the Civil War, she was a cook and a nurse and became a spy and armed scout for the federal forces, helping to liberate more than 700 slaves in South Carolina. Tubman died in 1913 at her home in Auburn, NY. Inscripton on Garrett biographical bronze plaque: Thomas Garrett (b. August 21, 1789 – d. January 24, 1871). ‘No labor during a long life has give me so much real happiness as what I have done for the slave.’ Thomas Garrett has been called Delaware’s greatest humanitarian and is credited with helping more than 2,700 slaves escape to freedom in a forty-year long career as a station master of the Underground Railroad. His abolitionist activities, along with the Quaker congregation from the Friends Meeting House in Wilmington, helped to make Wilmington an important gateway on the freedom trail. Garrett helped Harriet Tubman on her many journeys, giving her food, clothing, shelter, and money. He was convicted of violating the federal Fugitive Slave Law in 1848 and heavily fined and forced into bankruptcy. Garrett devoted his life to the abolitionist cause, openly defying slave hunters, as well as the slave system. Extent The size or duration of the resource. 100 in. (274.32 cm) Medium The material or physical carrier of the resource. Bronze; Granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Chiodo, Mario. “Unwavering Courage in the Pursuit of Freedom.” Freedom March of Art. Accessed March 18, 2018. www.freedommarchofart.com/tubman.html. Ater, Renée. "Monument and Heritage Tourism: Memorializing Harriet Tubman and Thomas Garrett on the Underground Railroad in Delaware." In Ending Slavery: The Antislavery Struggle in Perspective, eds. Lawrence Ajé and Claudine Raynaud, 265-286. Presses universitaires de la Méditerranée, 2022. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Relation A related resource <a href="https://www.youtube.com/watch?v=Q9jP20hvR-M" target="_blank" rel="noreferrer noopener"></a> References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad bronze figurative lantern pistol portrait https://slaverymonuments.org/files/original/ca02254eea2c06ef3b540659ac11d28b.jpg 981d596e6efc35057db716420d5e1d59 https://slaverymonuments.org/files/original/3db1d2bb4e5cf7722dd073dd5b8308c8.jpeg d26ca27f5f673e334bb0635cd6751e18 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Universities and Slavery Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments in this collection examine the intertwined histories of American universities and slavery. In his book, Ebony and Ivy: Race, Slavery, and the Troubled History of America’s Universities (2013), Craig Steven Wilder examines how universities and colleges were established and expanded because of the massive wealth they accrued from the transatlantic slave trade and slavery. Slave traders became the principal financiers of endowed faculty chairs and were appointed as university trustees, and colleges and universities made special efforts to recruit the sons of the slaveholding elite. Presidents of universities also held Black people in bondage, for example, Princeton’s first nine university presidents owned enslaved people. Universities and colleges such as the University of Virginia have recognized how enslaved people labored on their campuses, waiting on faculty and students and tending to their grounds. Just as importantly, the classes at many universities upheld the logic of racism foundational to American slavery. As researchers at Rutgers found, “The faculty and curriculum at Rutgers and other early American colleges reinforced the theological and scientific racism that provided the ideological and spiritual justification for the free labor of Africans, the absolute power of slave owners, and the separation of the races.” Often responding to pressure from students and activists, universities and colleges across the United States have begun to think more critically about how to address the complex, untold, and painful history of slavery and its ongoing legacy on their campuses. The memorials in this collection, such as the University of Virginia’s <a href="https://www.slaverymonuments.org/items/show/1127" target="_blank" rel="noopener" title="https://www.slaverymonuments.org/items/show/1127">Memorial to Enslaved Laborers</a> are intended as spaces for learning, healing, and reconciliation. In addition to building monuments, universities are also attempting to redress and repair their relationship with communities most affected by slavery. William and Mary’s Lemon Project, for example, focuses on “contributing to and encouraging scholarship on the 300-year relationship between African Americans and William and Mary, and building bridges between the university and Williamsburg and Greater Tidewater area.” Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Unsung Founders Memorial (Chapel Hill, North Carolina) Subject The topic of the resource Subject (Topic) Enslaved persons Public art Public sculpture North Carolina--Chapel Hill Slavery--North Carolina University of North Carolina at Chapel Hill Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial includes a stone tabletop supported by 300 bronze male and female African American figures, their arms raised over their heads as they collectively hold the weight of the tabletop. The differing dress of the figures-- some are shown in suits, while others are semi-nude and bare foot-- appear to represent a range of economic classes. The table is surrounded by five black stone seats. Creator An entity primarily responsible for making the resource Suh, Do-Ho, 1962- Date A point or period of time associated with an event in the lifecycle of the resource November 5, 2005 Contributor An entity responsible for making contributions to the resource University of North Carolina Graduating Class of 2002 Rights Information about rights held in and over the resource University of North Carolina at Chapel Hill, Chapel Hill, North Carolina, 27599, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant McCorkle Place, University of North Carolina, Chapel Hill, North Carolina, 27514, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription around the edge of the table: THE CLASS OF 2002 HONORS THE UNIVERSITY’S UNSUNG FOUNDERS — THE PEOPLE OF COLOR BOND AND FREE — WHO HELPED BUILD THE CAROLINA THAT WE CHERISH TODAY Medium The material or physical carrier of the resource. Black granite; Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photographs by Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Ater, Renée. “The Challenge of Memorializing Slavery in North Carolina: The Unsung Founders Memorial and the North Carolina Freedom Monument Project.” In Politics of Memory: Making Slavery Visible in the Public Space, edited by Ana Lucia Araujo, 141–156. Routledge, 2012. McMillan, Timothy J. "Remembering Forgetting: A Monument to Erasure at the University of North Carolina." In Silence, Screen and Spectacle: Rethinking Social Memory in the Age of Information, eds. Lindsey A. Freeman, Benjamin Nienass, and Rachel Daniell, 137-162. Berhahn Books, 2014. Wilder, Craig Steven. Ebony and Ivy: Race, Slavery, and the Troubled History of America's Universities. Bloomsbury Publishing, 2014. University of Virginia. "Universities Studying Slavery." President's Commission on Slavery and the University. https://slavery.virginia.edu/universities-studying-slavery/. black granite bronze figurative