1
10
117
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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 - Middle Passage Monuments
Contributor
An entity responsible for making contributions to the resource
Renée Ater
Description
An account of the resource
<div style="padding-right: 30%;">
<p class="p1"><span class="s1">This collection focuses on monuments and memorials dedicated to the <a href="https://www.slavevoyages.org/" target="_blank" rel="noopener"><span class="s2">Transatlantic Slave Trade </span></a>and the Middle Passage. Between the 16th and 19th centuries, between 10 million and 12 million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic sea 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.</span><span class="s1"></span></p>
<p class="p1"><span class="s1">The works in this collection address the violence and trauma of the Transatlantic Slave Trade in various ways. Some monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener"><span class="s2"><em>The Ark of Return </em></span></a>include the human figure, while others such as <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener"><span class="s2"><em>The Middle Passage Monument</em></span></a> use geometric forms (abstraction) to commemorate the victims of the Transatlantic Slave Trade.</span></p>
</div>
Creator
An entity primarily responsible for making the resource
Written by Grace Yasumura
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>"Ark of Return": The Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade</em> (New York City)
Subject
The topic of the resource
Subject (Topic)<br />Antislavery movements--United States<br />Transatlantic Slave Trade<br />Middle Passage<br />Northeastern United States<br />Public art<br />Public sculpture
Subject (Object Type) <br />Commemorative sculpture
Description
An account of the resource
<em>The Art of Return</em> asks visitors to reflect upon the legacy of the slave trade and the persistent problems of racism and bigotry. The ark includes three principal design elements. <br /><br />According to the artist: <br /><br />“The first element is a three-dimensional map inscribed on the interior of the memorial. This map highlights the African continent at its center and graphically depicts the global scale, complexity and impact of the triangular slave trade in "acknowledgment of the tragedy.<br /><br />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. The visitors are provided the opportunity to seriously "consider the legacy" of slavery's impact upon humanity. <br /><br />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.”
Creator
An entity primarily responsible for making the resource
Leon, Rodney
Date
A point or period of time associated with an event in the lifecycle of the resource
Public Unveiling: March 25, 2015
Contributor
An entity responsible for making contributions to the resource
UNESCO, the Permanent Memorial Committee of the United Nations; Member States of the United Nations
Relation
A related resource
To watch a video of the memorial unveiling, click <a href="https://www.un.org/en/events/slaveryremembranceday/memorial.shtml" target="_blank" rel="noopener">here.</a>
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, NY 10017, United States
Medium
The material or physical carrier of the resource.
Marble
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
Rodney Leon, "The Ark of Return,"<em> Rodney Leon Architects.</em> Accessed April 11, 2019, <a href="http://www.rodneyleon.com/the-ark-of-return" target="_blank" rel="noopener">http://www.rodneyleon.com/the-ark-of-return</a>
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 Renee Ater
anti-slavery
Middle Passage
New York City
Northeastern United States
Rodney Leon
Transatlantic Slave Trade
-
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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
USCT Monuments
Contributor
An entity responsible for making contributions to the resource
Renée Ater
Description
An account of the resource
<div style="padding-right: 30%;">
<p class="p1"><span class="s1">The monuments and memorials in this section honor the vital contributions of the United States Colored Troops (USCT) in the Union victory during the Civil War. On May 22, 1863, the U.S. War Department created the Bureaus of Colored Troops. By the end of the Civil War ended, nearly 180,000 men, including white officers, served in 175 regiments of USCT, which made up six percent of the Union army. The monuments in the sections are located across the nation from the <i><a href="https://www.slaverymonuments.org/items/show/1100" target="_blank" rel="noopener">Memorial to the 2nd Regiment Infantry</a></i> in Fort Myers, Florida, to the<i> <a href="https://www.slaverymonuments.org/items/show/1102" target="_blank" rel="noopener">Solider Memorial</a></i> at Lincoln University in Jefferson City, Missouri.</span></p>
</div>
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
108 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
<em>“Spirit of Freedom”: African American Civil War Memorial</em> (Washington, D.C.)
Subject
The topic of the resource
Subject (Topic)<br />Men--United States Colored Troops<br />Associations--Military<br />Northeastern United States<br />Public art<br />Public sculpture
Subject (Object Type)<br />Commemorative sculpture
Description
An account of the resource
The work depicts three infantrymen and a sailor. Above the group is a personification of the "Spirit of Freedom." The other side of the statue includes a scene of a soldier and his family.
Creator
An entity primarily responsible for making the resource
Hamilton, Ed, 1947-
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
Dedicated: July 18, 1998
Contributor
An entity responsible for making contributions to the resource
The African American Civil War Memorial Freedom Foundation
Rights
Information about rights held in and over the resource
National Park Service
Relation
A related resource
<a href="https://www.afroamcivilwar.org/about-us/memorial-museum-history.html" target="_blank" rel="noopener">African American Civil War Museum</a>
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
1925 Vermont Ave, NW, Washington, DC, 20001, United States
Has Part
A related resource that is included either physically or logically in the described resource.
Inscription on base: <br /><br />"Civil War to Civil Rights and Beyond. This Memorial is dedicated to those who served in African American units of the Union Army in the Civil War. The 209,145 names inscribed on these walls commemorate those fighters of freedom."
Extent
The size or duration of the resource.
108 in. (274.32 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.
"Memorial & Museum History." <em>The African American Civil War Museum</em>. Accessed Janaurary 21, 2019: <a href="https://www.afroamcivilwar.org/about-us/memorial-museum-history.html" target="_blank" rel="noopener">https://www.afroamcivilwar.org/about-us/memorial-museum-history.html</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Renée Ater
-
https://slaverymonuments.org/files/original/979a2fb759f91704cd1d41a1e86f0939.jpg
811ab5bdd403345552a8c57aef6fb8c9
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Slavery Monuments in Mexico, Central America, and South America
Creator
An entity primarily responsible for making the resource
Renée Ater
Contributor
An entity responsible for making contributions to the resource
Renée Ater
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
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
<em>1763 Monument</em> (Georgetown, Guyana)
Subject
The topic of the resource
Subject (Topic)<br />Slavery; Resistance<br />Middle Passage<br />Transatlantic Slave Trade<br />Slave Trade<br />Public art<br />Public sculpture<br />Georgetown, Guyana
Subject (Name) <br />Cuffy (Coffy, Kofi or Koffi), d.1763
Subject (Object Type) <br />Commemorative sculpture
Description
An account of the resource
Unveiled three days before the 10th anniversary of Guyanese Independence, the work celebrates the Guyanese anti-colonial struggle, resistance against, and eventual emancipation from slavery. The work is dedicated to the memory of Cuffy, <span>an Akan man sold into slavery </span>who led a revolt against the Dutch owners of the Magdalenburg plantation on the Canje River in Berbice (now Guyana). Although the uprising was ultimately unsuccessful, Cuffy’s rebellion anticipated the eventual end of slavery in Guyana.
Creator
An entity primarily responsible for making the resource
Moore, Philip, 1921-2012
Date
A point or period of time associated with an event in the lifecycle of the resource
Unveiled: May 23, 1976
Contributor
An entity responsible for making contributions to the resource
Morris Singer Foundry
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
Square of the Revolution Georgetown, Guyana
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
<em>Cuffy Monument</em>
Has Part
A related resource that is included either physically or logically in the described resource.
NEED A BETTER IMAGE CANT SEE THE INSCIOPTIONS (Might be found in Visualising Slavery: Art Across the African Diaspora
edited by Celeste-Marie Bernier, Hannah Durkin, but need to go to the library to check it out)
Extent
The size or duration of the resource.
180''
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
Wikipedia Commons
-
https://slaverymonuments.org/files/original/299dc1d52b7d8aab2d10851e66674df5.jpg
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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
USCT Monuments
Contributor
An entity responsible for making contributions to the resource
Renée Ater
Description
An account of the resource
<div style="padding-right: 30%;">
<p class="p1"><span class="s1">The monuments and memorials in this section honor the vital contributions of the United States Colored Troops (USCT) in the Union victory during the Civil War. On May 22, 1863, the U.S. War Department created the Bureaus of Colored Troops. By the end of the Civil War ended, nearly 180,000 men, including white officers, served in 175 regiments of USCT, which made up six percent of the Union army. The monuments in the sections are located across the nation from the <i><a href="https://www.slaverymonuments.org/items/show/1100" target="_blank" rel="noopener">Memorial to the 2nd Regiment Infantry</a></i> in Fort Myers, Florida, to the<i> <a href="https://www.slaverymonuments.org/items/show/1102" target="_blank" rel="noopener">Solider Memorial</a></i> at Lincoln University in Jefferson City, Missouri.</span></p>
</div>
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
108 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
<em>African American Monument</em> (Vicksburg, MS)
Subject
The topic of the resource
Subject (Topic)<br />Men--United States Colored Troops<br />Associations--Military<br />American South<br />Public art<br />Public sculpture
Subject (Object Type)
Commemorative sculpture
Description
An account of the resource
<p class="p1"><span class="s1">The monument depicts three bronze figures, two African American Union soldiers and a civilian field hand. The field hand and a soldier support a second soldier, who has been wounded in a Civil War battle.</span></p>
Creator
An entity primarily responsible for making the resource
Sessums, J. Kim
Source
A related resource from which the described resource is derived
National Park Service
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: February 14, 2004
Contributor
An entity responsible for making contributions to the resource
State of Mississippi; City of Vicksburg, MS
Rights
Information about rights held in and over the resource
National Parks Service
Relation
A related resource
<a href="https://www.nps.gov/vick/learn/historyculture/african-american-history.htm" target="_blank" rel="noopener">National Park Service, <span data-sheets-value="{"1":2,"2":"African American Monument"}" data-sheets-userformat="{"2":48001,"3":{"1":0},"10":0,"11":4,"12":0,"14":[null,2,0],"15":"Arial","16":10,"18":1}">African American Monument</span> </a><br /><br /><a href="http://www.jkimsessums.com/cw_excerpt1.html" target="_blank" rel="noopener">J.Kim Sessum's artist webpage </a>
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
Vicksburg National Military Park,3201 Clay St, Vicksburg, MS 39183, United States<br /><br />The monument is located on the south side of Grant Avenue between milepost 4.3 and 4.4
Has Part
A related resource that is included either physically or logically in the described resource.
Inscription on base: <br /><br />"Commemorating the service of the 1st and 3rd Mississippi Infantry Regiments, African descent and all Mississippians of African descent who participated in the Vicksburg Campaign"
Extent
The size or duration of the resource.
108 in. (274.32 cm.)
Medium
The material or physical carrier of the resource.
Bronze; Black African 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.
"African-American Monument." <em>National Parks Service</em>. Accessed January 21, 2019: <a href="https://www.nps.gov/vick/learn/historyculture/african-american-history.htm" target="_blank" rel="noopener">https://www.nps.gov/vick/learn/historyculture/african-american-history.htm</a>
Rights Holder
A person or organization owning or managing rights over the resource.
Renée Ater
Civil War
USCT
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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
Cemeteries and Memorial Parks
Contributor
An entity responsible for making contributions to the resource
Renée Ater
Description
An account of the resource
<div style="padding-right: 30%;">
<p>This collection is just a fraction of the burial sites dedicated to enslaved persons, "<a href="https://www.ncpedia.org/contrabands" target="_blank" rel="noopener">contrabands</a>," 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, and the <a href="https://www.slaverymonuments.org/items/show/1128" target="_blank" rel="noopener">African Burying Ground Memorial</a> in Portsmouth, New Hampshire.</p>
<p><strong>Further reading:</strong></p>
<p>Seth Freed Wesler, "Black Deaths Matter," The Nation, October 15, 2015, <a href="https://www.thenation.com/article/archive/black-deaths-matter/" target="_blank" rel="noopener">https://www.thenation.com/article/archive/black-deaths-matter/</a>.</p>
</div>
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
250 feet (76.2 meters)
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
<em>African Burial Ground National Monument</em> (New York City)
Subject
The topic of the resource
<p>Subject (Topic)<br />African Americans--New York<br />Cemeteries--New York<br />New York City--History<br />Northeastern United States<br />Public art<br />Public sculpture<br />Slave trade<br />Slavery--New York (State)</p>
<p>Subject (Object Type)<br />Commemorative sculpture</p>
Description
An account of the resource
<p>The memorial sits on .35 acres and includes seven distinct design features: Wall of Remembrance, Ancestral Re-Interment Grove, Memorial Wall, The Ancestral Chamber, Circle of the Diaspora, Spiral Processional Ramp, and The Ancestral Libation Court.<br /><br />The visitor is invited to walk through the monumental triangular structure known as “The Ancestral Chamber,” which represents the Middle Passage across the Atlantic Ocean. After passing through the chamber, the visitor encounters a spiral memorial wall featuring twenty religious symbols including a number of Adinkra symbols (Akan peoples, Ghana). The floor of the monument includes a world map centered on the West African coast with sun rays radiating towards North America, Brazil, Europe, and the Caribbean Islands.</p>
Creator
An entity primarily responsible for making the resource
Leon, Rodney, 1972-
Hollant-Denis, Nicole, 1965-
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: October 5, 2007
Contributor
An entity responsible for making contributions to the resource
Monica Aliaga-Robles (project architect); Robert Silman Associates (structural engineer); Langan Engineering (civil engineer); Elizabeth Kennedy Landscape Architects; Domingo Gonzales Associates (lighting design); Dr. Gerald Palevsky (fountain); General Services Administration; Federal Steering Committee; African-American descendant community; and the National Park Service.
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
290 Broadway, New York, New York, 10007, United States
Has Part
A related resource that is included either physically or logically in the described resource.
<p>Description of the seven elements from Rodney Leon, “The Ancestral Libation Chamber: Memorial on the African Burial Ground National Memorial,” National Park Service, <a href="https://www.nps.gov/afbg/learn/historyculture/upload/Rodney-Leon-Memorial.pdf" target="_blank" rel="noopener">https://www.nps.gov/afbg/learn/historyculture/upload/Rodney-Leon-Memorial.pdf</a>.</p>
<p><strong>Wall of Remembrance </strong><br />As one happens by the north wall facing Duane Street you are immediately struck by the scale and detail of a highly polished wall of granite inscribed with following libation text.<br /><br /><em>For all those who were lost</em><br /><em>For all those who were stolen</em><br /><em>For all those who were left behind</em><br /><em>For all those who were not forgotten</em><br /><br /><em>The Wall of Remembrance</em> is intended to draw a person in, and thus begin the process of enlightenment and education.</p>
<p><strong>Ancestral Re-interment Grove </strong><br />A path extends itself north to south from Duane Street. Along this path are seven burial mounds marking the locations of the seven large sarcophagi containing the remains of the 419 African descendants that were re-interred in October of 2003. In addition, a grove of seven trees create a natural buffer and shelter between the re-interment zone and adjacent building. The burial mounds serve as markers and the trees as guardians for the entrance to the <em>Libation Chamber</em>. It is appropriate to place flowers and other offerings along the path in front of the burial mounds.</p>
<p><strong>Memorial Wall </strong><br />The Southern wall of the <em>Libation Chamber</em> shall be engraved with a map containing images and text describing the components of the African Burial Ground National Monument site in context of the burial ground's actual boundaries in lower Manhattan. This map will allow people to understand the extent and scope of the burial ground's actual size which extends significantly beyond the boundaries of the memorial site.</p>
<p><strong>The Ancestral Chamber </strong><br /><em>The Ancestral Chamber</em> is intended to reflect African cultural, spiritual and ancestral essence. This spiritual form rises out of the ground like an ancestral pillar and represents the soaring African spirit embracing and comforting all those who enter. <em>The Ancestral Chamber</em> is oriented towards the east and open to the sky above, allowing natural light to penetrate and illuminate the interior space. The interior of <em>The </em>Ancestral Chamber provides a sacred space for individual contemplation, reflection, meditation and prayer.</p>
<p><strong>Circle of the Diaspora </strong><br />Signs, symbols and images of the African Diaspora are engraved around the perimeter wall encircling the <em>Libation Court</em>. These symbols come from different areas and cultures throughout the Diaspora, especially Africa, Latin America and the Caribbean. Symbolic meaning is described below the image. As one circumambulates around the perimeter of the court and spirals down the processional ramp, these symbols present themselves as a reminder of the complexity and diversity of African culture's manifestation. They all come together to form a communal place and a reminder of the Burial Ground being an international center of gathering. For a complete list of the symbols, see <a href="https://www.nps.gov/afbg/learn/historyculture/adinkra-symbols.htm" target="_blank" rel="noopener">https://www.nps.gov/afbg/learn/historyculture/adinkra-symbols.htm</a>.</p>
<p><strong>Spiral Processional Ramp </strong><br /><em>The Spiral Processional Ramp</em> descends down 4’ below street level thereby bringing the visitor physically, psychologically and spiritually closer to the ancestors and original interment level. The ramp and stairs serve as bridges between the living and the spiritual realm. They symbolize the process of transcendence from physical to spiritual and passage from profane to sacred. The process will evolve from the public “secular” space of the city to the spiritual space of the <em>Libation Court</em> and culminate in the sacred space of <em>The Ancestral Chamber</em>.</p>
<p><strong>Ancestral Libation Court </strong><br /><em>The Ancestral Libation Court</em> is situated on axis with <em>The Ancestral Chamber</em>. It is located 4’ below street level, providing a physical and psychological separation from the public activity of the surrounding urban environment. The Libation Court is a communal gathering place where small to medium-scale public cultural ceremonies may occur. This spiritual space is where re- consecration of the African Burial Ground National Monument will continually take place during the libation or other ceremonial rituals. The sacred ceremonial ritual of “libation” is the act which will serve as an offering and an acknowledgement linking past, present and future generations in the spirit of Sankofa (an Adinkra symbol of West Africa meaning ‘learn from the past’).</p>
Extent
The size or duration of the resource.
250 feet (76.2 meters)
Medium
The material or physical carrier of the resource.
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.
<p>“African Burial Ground.” The New York Preservation Archive Project. Accessed April 11, 2019, <a href="http://www.nypap.org/preservation-history/african-burial-ground/" target="_blank" rel="noopener">http://www.nypap.org/preservation-history/african-burial-ground/</a>.</p>
<p>Frohne, Andrea E. <em>The African Burial Ground in New York City: Memory, Spirituality, Space</em>. New York: Syracuse University Press, 2015.</p>
<p>"African Burial Ground : African Burial Ground National Monument, New York." Tourist Map, National Park Service, 2011. Accessed May 24, 2020, <a href="https://www.loc.gov/item/2011587283/" target="_blank" rel="noopener">https://www.loc.gov/item/2011587283/</a>.</p>
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: National Park Service, <a href="https://www.nps.gov/media/photo/gallery.htm?pg=3570929&id=19CBA11C-155D-451F-67AA7B78DDDCB3A4" target="_blank" rel="noopener">https://www.nps.gov/media/photo/gallery.htm?pg=3570929&id=19CBA11C-155D-451F-67AA7B78DDDCB3A4</a>
Date Created
Date of creation of the resource.
Groundbreaking: September 28, 2005
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
archaeology
black cemetery
New York City
Rodney Leon
slavery
-
https://slaverymonuments.org/files/original/33796efec1326865a5e0ab1ad54e7772.jpg
8d0138c991edbd2475e46f2aabd9bb47
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
African American History
Contributor
An entity responsible for making contributions to the resource
Renée Ater
Description
An account of the resource
<div style="padding-right: 30%;">
<p>The monuments and memorials in this collection acknowledge the important contributions of African Americans to American history including the long arc of slavery. Some monuments, such as <i><a href="https://www.slaverymonuments.org/items/show/1134" target="_blank" rel="noopener">Texas African American History Memorial</a>,</i> include bas-reliefs of enslaved men and women and well-known historical figures, such as Medgar Evers and President Barack Obama. Other memorials such as <i><a href="https://www.slaverymonuments.org/items/show/1183" target="_blank" rel="noopener">Truths that Rise from the Roots Remembered</a>,</i> honor the ability of ordinary Black people to survive and thrive despite slavery, racism, and white supremacy. </p>
</div>
Creator
An entity primarily responsible for making the resource
Written by Grace Yasumura
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Sculpture
Physical Dimensions
The actual physical size of the original image
Approx: 132 in. (335.28 cm)
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>African-American Monument</em> (Savannah, GA)
Subject
The topic of the resource
<p>Subject (Topic)<br />American South<br />Georgia--History<br />Public art<br />Public sculpture<br />Savannah (Ga.)--History<br />Slavery<br />Slavery--Emancipation</p>
<p>Subject (Object Type)<br />Commemorative sculpture</p>
Description
An account of the resource
Sited on the tourist promenade of River Street, the work depicts a black family in contemporary dress. The father, mother, daughter, and son hold one another in a tight embrace as they stand on broken chains. Along the base of the work are engravings of ocean waves and two sets of chained hands.
Creator
An entity primarily responsible for making the resource
Spradley, Dorothy, 1946-
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: July 27, 2002
Contributor
An entity responsible for making contributions to the resource
Abigail Jordan and the African American Monument Association.
Format
The file format, physical medium, or dimensions of the resource
JPEG
Language
A language of the resource
English
Type
The nature or genre of the resource
Visual Arts-Sculpture
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Rousakis Riverfront Plaza, Savannah, Georgia, 31401, United States
Has Part
A related resource that is included either physically or logically in the described resource.
<p><em><strong>Inscription on granite base:</strong></em> <br />“We were stolen, sold and bought together from the African continent. We got on the slave ships together. We lay back to belly in the holds of the slave ships in each other’s excrement and urine together, sometimes died together, and our lifeless bodies thrown overboard together. Today, we are standing up together, with faith and even some joy.” Maya Angelou</p>
<p><em><strong>Bronze plaque with inscription on base: </strong></em><br />Please help the<br />African American Monument Association<br />Cover the debt for the<br />African American Monument<br />CONTRIBUTIONS MAY BE SENT TO:<br />National Bank of Commerce<br />2225 E Victory Drive<br />Savannah, GA 31404<br />or call 912-354-4634<br />FEDERAL ID NO. 58-1944952<br />Plaque courtesy of the Savannah College of Art and Design</p>
<p><em><strong>Bronze plaque with inscription added in 2019:</strong></em><br />The African American Monument<br />Dedicated July 27, 2002<br />In Honor Of<br />Dr. Abbie H. Jordan<br />(1925-2019)<br /><br />Educator, Leader, Trailblazer, and Community Activist<br />Dr. Jordan’s vision, tenacity, and financial contributions were the driving force that ensured the Savannah Waterfront was the home of the first statue in Savannah that honors African Americans. The Consortium of Doctors, Ltd., an organization that Dr. Jordan founded in 1991, made signifcant contributions to this effort.<br /><br />Sculptress: Dorothy Spradley<br />This plaque unveiled July 26, 2019</p>
Extent
The size or duration of the resource.
Approx: 132 in. (335.28 cm)
Medium
The material or physical carrier of the resource.
Bronze; Granite
Rights Holder
A person or organization owning or managing rights over the resource.
Renée Ater
Source
A related resource from which the described resource is derived
Photograph: Wikipedia Commons, <a href="https://en.wikipedia.org/wiki/File:African-American_Monument,_Savannah,_GA,_US.jpg" target="_blank" rel="noopener">https://en.wikipedia.org/wiki/File:African-American_Monument,_Savannah,_GA,_US.jpg</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.
<p>Ater, Renée. “Slavery and Its Memory in Public Monuments.” <em>American Art</em> 24, no. 1 (2010): 20-23.</p>
<p>Alderman, Derek H. “Surrogation and the Politics of Remembering Slavery in Savannah, Georgia (USA).” <em>Journal of Historical Geography</em> 36 (2010): 90-101.</p>
Rights
Information about rights held in and over the resource
Greenscapes Division, Public Works & Water Resources, City of Savannah, 2 East Bay Street, Savannah, Georgia, 31401, United States
African American history
Dorothy Spradley
Georgia
slavery
-
https://slaverymonuments.org/files/original/dbf45268e559381124b20a5c221e55c7.jpg
4a89ea04c5919b7eeb73482f1d1c6574
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
USCT Monuments
Contributor
An entity responsible for making contributions to the resource
Renée Ater
Description
An account of the resource
<div style="padding-right: 30%;">
<p class="p1"><span class="s1">The monuments and memorials in this section honor the vital contributions of the United States Colored Troops (USCT) in the Union victory during the Civil War. On May 22, 1863, the U.S. War Department created the Bureaus of Colored Troops. By the end of the Civil War ended, nearly 180,000 men, including white officers, served in 175 regiments of USCT, which made up six percent of the Union army. The monuments in the sections are located across the nation from the <i><a href="https://www.slaverymonuments.org/items/show/1100" target="_blank" rel="noopener">Memorial to the 2nd Regiment Infantry</a></i> in Fort Myers, Florida, to the<i> <a href="https://www.slaverymonuments.org/items/show/1102" target="_blank" rel="noopener">Solider Memorial</a></i> at Lincoln University in Jefferson City, Missouri.</span></p>
</div>
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
<em>African-American Soldier Monument</em> (Danbury, CT)
Subject
The topic of the resource
Subject (Topic)<br />Men--United States Colored Troops<br />Associations--Military<br />Northeastern United States
Subject (Object Type)<br />Commemorative sculpture
Description
An account of the resource
The black granite monument, which resembles the adjacent grave markers, is dedicated to honoring African-American veterans who volunteered for Civil War service.
Date
A point or period of time associated with an event in the lifecycle of the resource
2007
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
Wooster Cemetery, 20 Ellsworth Ave, Danbury, CT 06810, United States
Has Part
A related resource that is included either physically or logically in the described resource.
<p class="p1"><span class="s1">Inscription on the work:</span></p>
<p class="p2"><span class="s1"></span></p>
<p class="p1"><span class="s1">"To the memory of the black soldiers of Greater Danbury who served in the 29th and 30th Regiments Conn. Volunteer Infantry during the Civil War 1861-1865.” </span></p>
<p class="p1"><span class="s1">Below the inscription is an image of the Grand Army of the Republic medal. The rear of the monument includes the names of the 70 members of the 29th Connecticut</span><span class="s2"> Volunteer </span><span class="s1">Infantry</span><span class="s2"> Regiment;</span><span class="s1"> the names of the 9 members of the 30th Connecticut</span><span class="s2"> Volunteer </span><span class="s1">Infantry</span><span class="s2"> Regiment</span><span class="s1">, as well as the names of those who served as part of the 8th Connecticut</span><span class="s2"> Volunteer </span><span class="s1">Infantry</span><span class="s2"> Regiment</span><span class="s1">; the 2nd USCT; the 26th USCT; US Navy; 62nd New York Infantry.</span></p>
Medium
The material or physical carrier of the resource.
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.
Dave Pelland. "Unknown and African-American Soldier Monuments, Danbury." <em>CT Monuments. Net Connecticut History in Granite and Bronze.</em> Accessed January 23, 2019: <a href="http://ctmonuments.net/2009/04/unknown-and-african-american-soldier-monuments-danbury/" target="_blank" rel="noopener">http://ctmonuments.net/2009/04/unknown-and-african-american-soldier-monuments-danbury/</a>
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
Source
A related resource from which the described resource is derived
CT Monuments.net
Civil War
USCT
-
https://slaverymonuments.org/files/original/91fe9f6c3146000c29633aa2e7893a9f.jpg
a39b736a88c49d6001747cc3733ef266
https://slaverymonuments.org/files/original/8167c9f26a5a52ac6ff99320a4f8944b.jpg
cf131b4c53b9f51be7224bac52ceca77
https://slaverymonuments.org/files/original/6a1c6ac6dd9c3004afe33617e82a8079.jpg
16280465cf6ca1090e06be70fea3a3ef
https://slaverymonuments.org/files/original/8df8ab2d4d95eb031abf60466b382e21.jpg
8dc7c7f88e9cf710b6ea67519cccb85a
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
Monuments to Resistance
Contributor
An entity responsible for making contributions to the resource
Renée Ater
Description
An account of the resource
<div style="padding-right: 30%;">
<p>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, <a href="https://yalebooks.yale.edu/book/9780300227116/slaves-cause" target="_blank" rel="noopener" title="The Slave's Cause"><em>The Slave's Cause: A History of Abolition</em></a>, 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. <br /><br />The works in this section honor these diverse histories of resistance. The <em></em><em><a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a></em> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad, while the<i> <a href="https://www.slaverymonuments.org/files/original/990388eb5485a0a89742679dfd40fb43.jpg" target="_blank" rel="noopener" title="Edmonson Sisters Memorial">Edmonson Sisters Memorial</a></i><a href="https://www.slaverymonuments.org/files/original/990388eb5485a0a89742679dfd40fb43.jpg" target="_blank" rel="noopener" title="Edmonson Sisters Memorial"> </a>in Alexandria, Virginia, celebrates the abolitionists and formerly enslaved sisters Mary and Emily Edmonson.</p>
</div>
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
168 in. (426.72 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
<em>Amistad Memorial</em> (New Haven, CT)
Subject
The topic of the resource
<p>Subject (Topic)<br />Abolitionists--United States<br />Amistad Mutiny<br />Anti-slavery movements--United States<br />Northeastern United States<br />Public art<br />Public sculpture<br />Slave insurrections<br />Slave trade<br />Slavery--United States<br /><br /></p>
<p>Subject (Name)<br />Pieh, Sengbe (Joseph Cinque), ca. 1814-ca. 1879</p>
<p>Subject (Object Type)<br />Commemorative sculpture</p>
Description
An account of the resource
<p>The <em>Amistad Memorial </em>centers around a large bronze triangular prism adorned with<span> sculptural </span>reliefs, depicting scenes from the life of Sengbe Pieh. In <span>1839 </span>Pieh led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad. The Amistad was seized off the coast of Long Island, NY, by the U.S. brig, Washington and the Africans on board were imprisoned on charges of murder. The case went to the US Supreme Court, where Pieh and his fellow Africans were found to have rightfully defended themselves as they were free individuals, having been kidnapped and transported illegally.</p>
<p>The memorial stands on the site of the New Haven jail, where Pieh and the other Amistad Africans were held during their trials. The three sides of the sculpture depict the life of Pieh: the first side shows him as a young man in Africa; the second side depicts his court trials, and the third side shows Pieh after he won his freedom. A fourth side of the sculpture, only visible from the upper floors of City Hall, includes images of disembodied hands emerging from ocean waves, a reminder of the thousands who perished during the Middle Passage. Pieh's famous courtroom statement, "make us free" is inscribed on the work’s granite base. The memorial rests atop a squared platform, which was inserted into a purpose-built recessed space added to City Hall during a 1990 renovation.</p>
Creator
An entity primarily responsible for making the resource
Hamilton, Ed, 1947-
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: September 18, 1992
Contributor
An entity responsible for making contributions to the resource
The Amistad Committee, Inc.
Relation
A related resource
To read more about the Supreme Court Case, <em>United States v. The Amistad</em>, click <a href="https://www.archives.gov/education/lessons/amistad" target="_blank" rel="noopener">here.</a>
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
New Haven City Hall, 165 Church Street, New Haven, Connecticut, 06510, United States
Has Part
A related resource that is included either physically or logically in the described resource.
<p><em><strong>Inscription on base:</strong></em><br />This monument is a memorial to the 1839 Amistad Revolt and its leader, Sengbe Pieh, also known as Joseph Cinque. Sengbe Pieh was one of the millions of Africans kidnapped from their homes and transported in bondage to the Americas. Sold into slavery in Cuba, he and forty-eight other men, and four children were bound aboard the schooner La Amistad. During a storm, Sengbe Pieh successfully freed himself and his fellows. The Africans seized the ship, but their offers to steer La Amistad homeward were thwarted. After futile weeks at sea, they were captured off Long Island by the U.S.S. Washington.</p>
<p><em><strong>Inscription on base:</strong></em><br />On this site, the Amistad Africans were jailed awaiting trial for piracy and murder. To aid their struggle for freedom, the Amistad Committee formed, counting in its number ministers Simeon Jocelyn, Joshua Leavitt, and James Pennington; merchant Lewis Tappan; professor Josiah Gibbs; and lawyer Roger Baldwin. The Africans were tried twice prior to their ultimate triumph before the United States Supreme Court, where former President John Quincy Adams courageously defended them. Sengbe Pieh and his fellows were declared Free Persons.</p>
<p><em><strong>Inscription on base:<br /></strong></em>"Make Us Free"<br /><br />The Africans sought to return home. To raise funds for their voyage and to further the anti-slavery cause, they engaged in a series of speaking tours. In 1841, after a sojourn that profoundly influenced the abolitionist movement, they set sail, free at last.<br /><br />To commemorate the heroism of the Amistad Africans and those who shared in their quest for freedom, the 1989 Amistad Committee commissioned his sculpture by Ed Hamilton and dedicated it on September 26, 1992.</p>
Extent
The size or duration of the resource.
168 in. (426.72 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.
<p>Hernandez, Esteban. "New Haven to Celebrate 175th Anniversary of Amistad, the Slave Ship that Led to Freedom." <em>New Haven Register</em>. Accessed April 12, 2019, <a href="https://www.nhregister.com/connecticut/article/New-Haven-to-celebrate-175th-anniversary-of-11338269.php" target="_blank" rel="noopener">https://www.nhregister.com/connecticut/article/New-Haven-to-celebrate-175th-anniversary-of-11338269.php</a>.</p>
<p>"Our Public Art Collection." Department of Arts, Culture, and Tourism, City of New Haven. Accessed May 27, 2020, <a href="https://www.newhavenct.gov/gov/depts/arts/public_art/public_art_collection.htm" target="_blank" rel="noopener">https://www.newhavenct.gov/gov/depts/arts/public_art/public_art_collection.htm</a>.</p>
"Amistad Memorial." Public Art Archive. Accessed May 27, 2020, <a href="https://locate.publicartarchive.org/art/Amistad-Memorial?ib=ext" target="_blank" rel="noopener">https://locate.publicartarchive.org/art/Amistad-Memorial?ib=ext</a>.
<p>"The Amistad Memorial." Amistad Committe, Inc. Accessed May 27, 2020, <a href="https://www.amistadcommitteeinc.org/amistad-memorial" target="_blank" rel="noopener">https://www.amistadcommitteeinc.org/amistad-memorial</a>.</p>
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 Renee Ater
Rights
Information about rights held in and over the resource
Department of Arts, Culture, and Tourism, City of New Haven, 165 Church Street, 6th Floor, New Haven, Connecticut, 06510, United States
Amistad
Connecticut
Ed Hamilton
rebellion
slavery
-
https://slaverymonuments.org/files/original/eae68eafc47aa1634ff49681b4b234ee.jpg
160a487be55b26d28bf4b47f50dd4330
https://slaverymonuments.org/files/original/c0d01a5381ac354c913ea98fb3c4e11f.jpg
3172ef4619557227e59873fe300be999
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 Monuments
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
<div style="padding-right: 30%;">
<p>The monuments and memorials in the section commemorate the extraordinary achievements of the abolitionist and women’s rights activist <a href="https://www.harriettubmanmonuments.slaverymonuments.org/exhibits/show/commemorating-harriet-tubman/tubman-bio" target="_blank" rel="noopener">Harriet Tubman</a>, née Araminta Ross, (c. 1822—1913). Born into slavery on Maryland’s Eastern Shore, she 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 <a href="https://www.harriettubmanmonuments.slaverymonuments.org/exhibits/show/commemorating-harriet-tubman/tubman-ugrr/short-history-ugrr" target="_blank" rel="noopener">Underground Railroad</a>, 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"><em>Unwavering Courage in the Pursuit of Freedom</em></a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener"><em>Swing Low</em></a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people.</p>
</div>
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
Dimensions variable
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
<em>Araminta With Rifle and Veve</em> (empheral)
Subject
The topic of the resource
<p>Subject (Topic) <br />Abolitionists--United States<br />Anti-slavery movements--United States<br />Northeastern United States <br />Public art <br />Public sculpture <br />Temporary art<br />Underground Railroad</p>
<p>Subject (Name) <br />Tubman, Harriet, 1822-1913</p>
<p>Subject (Object Type) <br />Commemorative sculpture</p>
Description
An account of the resource
A monumental outdoor figure of Harriet Tubman armed with a long rifle and further fortified with a bronze-colored patina. Tubman stands on numerous quilts.
Creator
An entity primarily responsible for making the resource
Scott, Joyce J., 1948-
Source
A related resource from which the described resource is derived
Photograph: Bryan Anselm, New York Times, <a href="https://www.nytimes.com/2018/01/04/arts/design/joyce-j-scott-grounds-for-sculpture-harriet-tubman.html" target="_blank" rel="noopener">https://www.nytimes.com/2018/01/04/arts/design/joyce-j-scott-grounds-for-sculpture-harriet-tubman.html</a>
Date
A point or period of time associated with an event in the lifecycle of the resource
Installed: October 20, 2017-April 1, 2018
Rights
Information about rights held in and over the resource
Grounds for Sculpture, 80 Sculptors Way, Hamilton, New Jersey, 08619, 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
Grounds for Sculpture, 80 Sculptors Way, Hamilton, New Jersey, 08619, United States
Medium
The material or physical carrier of the resource.
Milled foam; Found objects; Blown glass; Mixed media appliqués; Beads
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
<p>Princethal, Nancy. "Inspired by Harriet Tubman: An Artist Takes Glass to Extremes." <i>New York Times</i>, January 4, 2018. Accessed April 1, 2018, <a href="https://www.nytimes.com/2018/01/04/arts/design/joyce-j-scott-grounds-for-sculpture-harriet-tubman.html" target="_blank" rel="noreferrer noopener">https://www.nytimes.com/2018/01/04/arts/design/joyce-j-scott-grounds-for-sculpture-harriet-tubman.html</a>.</p>
<p>Dube, Ilene. "I Was an Artist in Vitro": Joyce J. Scott and Her Darkly Beautiful Art. <i>Hyperallergic</i>, January 30, 2018. Accessed April 1, 2018, <a href="https://hyperallergic.com/423894/i-was-an-artist-in-vitro-joyce-j-scott-and-her-darkly-beautiful-art/" target="_blank" rel="noreferrer noopener">https://hyperallergic.com/423894/i-was-an-artist-in-vitro-joyce-j-scott-and-her-darkly-beautiful-art/</a>.</p>
<p>Sims, Lowery Stokes and Patterson Sims. <em>Joyce J. Scott: Harriet Tubman and Other Truths</em>. Exh. cat. Hamilton, NJ: Grounds for Sculpture, 2018.</p>
Rights Holder
A person or organization owning or managing rights over the resource.
Renée Ater
Extent
The size or duration of the resource.
Dimensions variable
References
A related resource that is referenced, cited, or otherwise pointed to by the described resource.
<a href="https://www.slaverymonuments.org/exhibits/show/commemorating-harriet-tubman" target="_blank" rel="noreferrer noopener">Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad</a>
Contributor
An entity responsible for making contributions to the resource
Grounds for Sculpture; Lowery Stokes Sims; Patterson Sims; Seph Rodney; Robbye D. and Kevin Apperson; Jacqueline and Rene Copeland; Mike De Paola; Gordon and Lulie Gund; Greg Kucera and Larry Yocum; Barbara Lawrence and Allen Laskin; Martha Macks-Kahn; Henry Thaggert; Alan White; Clifford Ward (resident artist Grounds for Sculpture); Jeff Capes (contractor); Jason Wright; The Seward Johnson Atelier (Hamilton, NJ); John Lash and the Digital Atelier (Mercerville, NJ); and Timothy McFadden and McFadden Art Glass (Baltimore, MD)
abolitionist
anti-slavery
Harriet Tubman
Joyce Scott
New Jersey
Underground Railroad
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https://slaverymonuments.org/files/original/45c48f19ac00e72adb07f7fb288619ce.jpg
b65f04fb288ab13cb7704de92e7d50d6
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Slavery Monuments in Africa
Creator
An entity primarily responsible for making the resource
Written by Renée Ater
Contributor
An entity responsible for making contributions to the resource
Renée Ater
Description
An account of the resource
<div style="padding-right: 30%;">Monuments and memorials to the <a href="https://www.slavevoyages.org/voyage/maps#introductory-" target="_blank" rel="noopener">transatlantic slave trade</a> in West and East Africa are included in this collection. Memorialization efforts from Senegal to present-day Nigeria are tied to <a href="https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc" target="_blank" rel="noopener" title="The Slave Route Project"><em>The Slave Route Project</em></a>, run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives :<br />
<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 <a href="(see%20https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)" target="_blank" rel="noopener">https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc</a>)</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." <br /><br />In conjunction with UNESCO, Senegal, Ghana, and Tanzania have chosen to remember the transatlantic slave trade through sculpture, the built environment, and the landscape. All three countries have sites on UNESCO's <a href="https://whc.unesco.org/en/list/" target="_blank" rel="noopener">World Heritage List</a>: <a href="https://whc.unesco.org/en/list/26" target="_blank" rel="noopener">Island of Goree</a> off the coast of Senegal, opposite the city of Dakar; the <a href="https://whc.unesco.org/en/list/34" target="_blank" rel="noopener">forts and castles</a> along the coast of Ghana; and <a href="https://whc.unesco.org/en/list/173" target="_blank" rel="noopener">Stone Town of Zanzibar</a> off the coast of Tanzania in the Indian Ocean.</div>
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
<em>Atorkor Slave Monument</em> (Atorkor, Ghana)
Subject
The topic of the resource
Subject (Topic)<br />Slavery<br />Middle Passage<br />Transatlantic Slave Trade<br />Slave Trade<br />Public art<br />Public sculpture<br />Anlo-Afiadenyigba, Ghana
Subject (Object Type)<br />Commemorative sculpture
Description
An account of the resource
<p class="p1"><span class="s1">The memorial is located in the coastal Ghanaian district of Anlo, once known for its substantial involvement in the slave trade. A high-walled circular enclosure with a small wooden door, which serves as a narrow entrance, leads the viewer to the central feature of the memorial: a life-size sculptural group of a tall European slave-trader brandishing a whip over two kneeling African figures. The African figures, dressed in traditional garb, are chained at the neck. The interior walls of the monument are embellished with a narrative frieze illustrating a popular local legend. The narrative frieze of the memorial tells the story of a popular white trader who lived in Atorkor (a small village located in the district of Anlo): As the story goes: “One day, the Trader announced a dancing competition for the best dancers and drummers amongst the youth on his ship. The best dancer in the village was a beautiful young girl, but her parents forbade her from attending the party, as she had not completed her chores for the day. All the other young people in the village went to the dancing competition on the boat, where they were plied with rum before being shackled and sold into slavery.” As artist and educator Senam Okudzeto notes, “There are many versions of the story. This particular one corresponds with the official government version and was sourced from a website put up by the present chief of Atorkor, Samuel Adjorlorlo, who runs the Atorkor Development Foundation (ADF), an NGO for the development of the region” (see b<span>ibliographic citation).</span></span></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
1999
Contributor
An entity responsible for making contributions to the resource
Tourism Development Committee (part of the National Gov't of Ghana)
Format
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JPEG
Language
A language of the resource
English
Type
The nature or genre of the resource
Visual Arts-Sculpture
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
Okudzeto, Senam. "Emotive Histories: The Politics of Remembering Slavery in Contemporary Ghana." <em>Atlantic Studies </em>9, no. 3 (2012): 337-61.
Akyeampong, E. "History, Memory, Slave-Trade and Slavery in Anlo (Ghana)." <em>Slavery and Abolitio</em>n 22., no. 2 (2010): 1-24.
Rights Holder
A person or organization owning or managing rights over the resource.
Renée Ater
Source
A related resource from which the described resource is derived
Visit Volta Region, Ghana Tourism Authority