2
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
Emancipation 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>This collection focuses specifically on monuments and memorials that signal the end of slavery through the <a href="https://www.archives.gov/exhibits/featured-documents/emancipation-proclamation" target="_blank" rel="noopener">Emancipation Proclamation</a>. Included in this collection is a memorial to "<a href="https://www.ncpedia.org/contrabands" target="_blank" rel="noopener">contrabands</a>," those enslaved persons who sought freedom behind the Union lines during the American Civil War (1861-1865). Contraband monuments expand our understanding of Black self-emancipation.</p>
<p>From the <a href="https://www.nps.gov/articles/living-contraband-former-slaves-in-the-nation-s-capital-during-the-civil-war.htm" target="_blank" rel="noopener">National Park Service</a>:</p>
"At the start of the war, the Union had no policy to deal with the African Americans seeking protection. Individual commanders made their own decisions. Some commanders put them to work for Union troops while others returned them to plantation owners. At Fort Monroe in Hampton, Virginia, Union Maj. General Benjamin Butler refused to send three fugitives back into the bonds of slavery. He classified the escaping slaves as contraband of war. This term meant that once the fleeing slaves crossed Union army lines, they were classified as property. All enemy property that fell into Union hands constituted contraband and would not be returned. Because of Butler's actions, a federal policy was instituted on August 6, 1861 - fugitive slaves were declared to be "contraband of war" if their labor had been used to aid the Confederacy in anyway. If found to be contraband, they were declared free."</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
Entry portals: 126 in. (320.04 cm)
Portal widths: 78 in. (198.12 cm.) to 192 in. (502.92 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>Camp Barker Memorial</em> (Washington, DC)
Creator
An entity primarily responsible for making the resource
McDonald, Katie<br /><a href="https://after-architecture.com/office" target="_blank" rel="noopener">After Architecture</a>
<p></p>
Schumann, Kyle<br /><a href="https://after-architecture.com/office" target="_blank" rel="noopener">After Architecture</a>
Subject
The topic of the resource
Subject (Topic)<br />Civil War <br /><span>Refugee camps--History--19th century</span><br />Fugitive slaves--United States<br />Slaves--Emancipation--United States<br />Public art <br />Public sculpture<br />Mid-Atlantic United States
<p></p>
Subject (Object Type) <br />Commemorative sculpture
Contributor
An entity responsible for making contributions to the resource
Vinnie Bagwell (relief sculpture); Yun Associates, LLC (structural engineering); and Garrison Elementery School (DC Public Schools).
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: May 2019
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
Buildings and Structures
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1200 S Street NW, Washington, DC, 20009, United States
Extent
The size or duration of the resource.
Entry portals: 126 in. (320.04 cm)
Portal widths: 78 in. (198.12 cm.) to 192 in. (502.92 cm.)
Medium
The material or physical carrier of the resource.
Bronze; Charred wood; Brass
Rights Holder
A person or organization owning or managing rights over the resource.
Renée Ater
Description
An account of the resource
"The Camp Barker Memorial frames the site’s history as Camp Barker, a Civil War ‘contraband camp’, with three entry gateways to a public elementary school in northwest Washington D.C. Union forces used the term contraband to describe formerly enslaved persons, who were considered captured enemy property. While the site’s original buildings were built as barracks for Union soldiers, they were soon transformed into housing for those escaping slavery. Living conditions in the camp were harsh, but gave rise to the enduring community of the surrounding neighborhood." From <a href="https://after-architecture.com/campbarkermemorial" target="_blank" rel="noopener">After Architecture</a>, 2019.
Rights
Information about rights held in and over the resource
DC Public Schools, 1200 First Street, NE, Washington, DC, 20002
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
"Camp Barker Memorial, Washington, DC, United States, 2019." <em>Architectonic</em>. Accessed May 3, 2021, <a href="https://www.architonic.com/en/project/after-architecture-camp-barker-memorial/20076736" target="_blank" rel="noopener">https://www.architonic.com/en/project/after-architecture-camp-barker-memorial/20076736</a>.
After Architecture
contrabands
DC
emancipation
Katie MacDonald
Kyle Schumann
Vinnie Bagwell
-
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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.
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>Camp Nelson National Monument</em> (Nicholasville, KY)
Subject
The topic of the resource
Subject (Topic)<br />Men--United States Colored Troops<br />Associations--Military<br />Southeastern United States
Subject (Type)
National Monument
Description
An account of the resource
<p class="p2"><span class="s1">Camp Nelson National Monument, formerly Camp Nelson Civil War Heritage Park, is a 525-acre national monument, historical museum, and park located in southern Jessamine County, Kentucky, 20 miles south of Lexington, Kentucky.</span><span class="s1"></span></p>
<p class="p2"><span class="s1">The camp was established in 1863 as a depot for the Union Army during the Civil War, becoming a recruiting ground for new soldiers from Eastern Tennessee and escaping freedom seekers.<br /></span></p>
<p class="p1"><span class="s1">Among the many African American freedom seekers who arrived at Camp Nelson, were the families— wives, children, elderly parents— of the men who would later enlist and serve in the Union Army. The women, children, and parents built (makeshift) settlements on the outskirts of the camp, fueled by racist assumptions about African American women’s sexuality, a number of the white officers erroneously feared that the African American women would spread venereal disease among the black soldiers and began to agitate for their removal (</span><span class="s1">Richard Spears. “John G. Fee, Camp Nelson, and Kentucky Blacks, 1864-1865.” T<i>he Register of the Kentucky Historical Society</i>, Vol. 85, No. 1 (Winter 1987), 34).<br /><br /></span><span class="s1">Moreover, the freedom seekers from Kentucky were particularly vulnerable as they were still legally owned by Kentuckians who never officially join the Confederacy. At various points over 1864 Commander Speed Smith Fry successfully expelled unwanted refugees from Camp Nelson.<br /><br />On November 23, 1864, Fry ordered the forcible expulsion of more than 400 women and children. Leaving almost no time to gather their possessions, mounted Union soldiers drove the women and children from the camp in freezing temperatures and then destroyed their makeshift homes. More than 100 freedom seekers perished in the freezing weather. To read an affidavit of a USCT soldier from Kentucky whose family was forcibly removed in November 1864 from Camp Nelson, click <a href="http://www.freedmen.umd.edu/JMiller.html" target="_blank" rel="noopener">here. </a></span></p>
<p class="p2"><span class="s1"> </span></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: October 26, 2018
Rights
Information about rights held in and over the resource
National Park Service
Relation
A related resource
<a href="https://www.nps.gov/cane/learn/historyculture/index.htm" target="_blank" rel="noopener">Camp Nelson, National Park Service</a>
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
6614 Old Danville Road, Loop 2, Nicholasville, KY 40356, United States
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
Camp Nelson Civil War Heritage Park
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
"Camp Nelson, History and Culture." National Park Service. Accessed January 23, 2019, <a href="https://www.nps.gov/cane/learn/historyculture/index.htm" target="_blank" rel="noopener">https://www.nps.gov/cane/learn/historyculture/index.htm</a>
Camp Nelson Photographic Collection, 1864, University of Kentucky Special Collections Research Center. Accessed May 13, 2020, <a href="https://exploreuk.uky.edu/fa/findingaid/?id=xt77sq8qcb8z" target="_blank" rel="noopener">https://exploreuk.uky.edu/fa/findingaid/?id=xt77sq8qcb8z</a>.
Rights Holder
A person or organization owning or managing rights over the resource.
Renée Ater
Type
The nature or genre of the resource
Building and Structures
Source
A related resource from which the described resource is derived
National Park Service
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
Slavery Monuments in Europe
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.
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>Captured Africans</em> (Lancaster, England)
Subject
The topic of the resource
Subject (Topic)<br />Middle Passage<br />Transatlantic Slave Trade<br />Slave Trade<br />Lancaster, United Kingdom
Subject (Object Type)<br />Commemorative sculpture
Description
An account of the resource
<p class="p1"><span class="s1">Six rectangular perspex blocks, suspended between a rectangular, stainless steel column and an oblong, stone column, rests on a circular base embellished with a mosaic and small metal sculptures. The work is meant to recall the decks of the transatlantic slave ships that carried enslaved Africans to the Americas. The six perspex blocks are inscribed with the names of the different commodity objects these ships transported to and from the Americas: wealth, cotton, rum, mahogany, sugar, and slaves. The stainless steel column lists many of the slave ships that departed from Lancaster and the number of slaves these vessels forcibly seized in Africa. Underscoring the history of these horrific nautical journeys, the mosaic depicts a map detailing the routes of the Transatlantic Slave Trade, while the metal figures personify the <span>trauma and violence of the Middle Passage.</span></span></p>
Creator
An entity primarily responsible for making the resource
Dalton-Johnson, Kevin (sculpture)
Date
A point or period of time associated with an event in the lifecycle of the resource
Unveiled: October 10, 2005
Contributor
An entity responsible for making contributions to the resource
Ann McArdle, (mosaics); Local young people (iron figures); Slave Trade Arts Memorial Project (STAMP); National Lottery (Millennium Commission)
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
St George's Quay Lancaster, United Kingdom
Medium
The material or physical carrier of the resource.
Sandstone; Acrylic; Steel
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
Paul Collins, "Slave memorial is labour of love," <em>Lancaster Guardian</em>. Accessed April 29, 2019, <a href="https://www.lancasterguardian.co.uk/news/slave-memorial-is-labour-of-love-1-1165642" target="_blank" rel="noopener">https://www.lancasterguardian.co.uk/news/slave-memorial-is-labour-of-love-1-1165642</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
Waymarking.com
-
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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
Slavery Monuments in Europe
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.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Sculpture
Physical Dimensions
The actual physical size of the original image
354.331'' x 196.85''
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>Clave</em> (Rotterdam, The Netherlands)
Subject
The topic of the resource
Subject (Topic) <br />Slavery <br />Middle Passage<br />Transatlantic Slave Trade<br />Slave Trade<br />Rotterdam, The Netherlands
Subject (Object Type)<br />Commemorative sculpture
Creator
An entity primarily responsible for making the resource
da Silva, Alex, 1974-
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: June 16, 2013
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
Lloydstraat, 45-59, 3024 Rotterdam, The Netherlands
Extent
The size or duration of the resource.
354.331'' x 196.85''
Medium
The material or physical carrier of the resource.
Corten steel; Hot-dip galvanized steel
Description
An account of the resource
Four nude figures dance across the abstracted bow of a ship. Each figure strikes a distinct, rhythmic pose even as they are shackled together at the ankle by iron chains. The outer most figure appears to have broken free from this rhythmic chain-gang-- iron chains dangle freely from his right ankle. The work, unveiled on the 150th anniversary of the abolition of slavery in Surinam and the Dutch Antilles, is located along the Maas River in Lloydkwartier, a newly designed neighborhood built in the old port area of Delfshaven. The work’s location and title evoke the Dutch slave trade. Clave refers to a rhythmic pattern used in Afro-Cuban music.
Relation
A related resource
To watch a video of the work, click <a href="https://www.youtube.com/watch?v=boHuPIEnpx8" target="_blank" rel="noopener">here.</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.
Art@Site. "Alex da Silva," Accessed May 28, 2019: <a href="http://www.artatsite.com/Rotterdam/details/Silva-Alex-da-Slavernijmonument-Clave-sculpture-statue-Art-At-Site-Rotterdam.html" target="_blank" rel="noopener">http://www.artatsite.com/Rotterdam/details/Silva-Alex-da-Slavernijmonument-Clave-sculpture-statue-Art-At-Site-Rotterdam.html</a>
Has Part
A related resource that is included either physically or logically in the described resource.
Inscription on the work: <br /><br />"Het lichaam is dat slaaf is vertrekt de ziel die vrij is blijft"
Source
A related resource from which the described resource is derived
Art at Heart
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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
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>Colored Union Soldiers Monument</em> (Hertford, NC)
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)<br />Commemorative sculpture
Description
An account of the resource
The memorial consists of a rectangular stone marker that comes to a point and sits atop a concrete base. The marker is engraved with text on two sides and is accompanied by a North Carolina Civil War Trails marker and informational placard.
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: 1910
Contributor
An entity responsible for making contributions to the resource
United Daughters of Veterans
Relation
A related resource
<a href="https://docsouth.unc.edu/commland/monument/117/">Colored Union Soldiers Monument, Hertford </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
King and Hyde Park Streets, Hertford, North Carolina, 27944, United States.
Has Part
A related resource that is included either physically or logically in the described resource.
Inscriptions on the front: <br /><br />"In Memory<br /><br />Of the<br /><br />Colored Union<br /><br />Soldiers Who<br /><br />Faught in the<br /><br />War of<br /><br />1861-1865 <br /><br />Inscriptions on the rear: <br /><br />"Erected by the United Daughters of Veterans"<br /><br />The Informational placard provided by North Carolina Civil War Trails: <br />
<p class="p1"><span class="s1">"News of the bombardment of Fort Sumter inspired many African American men to enlist in the U.S. armed forces, but federal law prohibited their service. Frederick Douglass and other black leaders urged changes to allow black enlistments. By mid-1862, as the numbers of white volunteers diminished, the needs of the U.S. Army grew, and the announcement of the Emancipation Proclamation became imminent, more voices called for black recruitment. The Proclamation, issued on January 1, 1863, formally authorized African American military service. By the end of the war, about 180,000 blacks – including some from Perquimans County – had borne arms in the U.S. Army (almost 10 percent of total enlistments) and about 19,000 had served in the U.S. Navy. To remember the county’s African American Union soldiers, women of the black community, many of them the wives and widows of those men, erected one of the few such monuments in the nation on Academy Green in 1910. Coordinated by First Baptist Church and the United Daughters of Union Veterans, the monument is inscribed “In Memory of the Colored Union Soldiers Who Fought in the War of 1861-1865.” Academy Green was the location of the county’s first black school, library, and church (present-day First Baptist Church), which freed-men formed in a bush shelter in 1866. The congregation later built a church across the street. They Answered the Call Three of the men whom this monument commemorates are buried in Perquimans County. Sgt. John Gordon served in Co. A 1st U.S.C.T., organized in Washington, D.C., in May-June 1863. The regiment fought in Virginia (Wilson’s Wharf, The Crater, New Market Heights) and North Carolina (Fort Fisher). It also participated in Gen. Edward A. Wild’s eastern N.C. expedition in Dec. 1863 and burned a Confederate camp near Hertford. It mustered out on Sept. 29, 1865. Pvt. John Sharp enlisted in Co. B. 37th U.S.C.T. at age 19 on Jan. 21, 1864, in Plymouth, N.C. His regiment fought at New Market Heights and Fort Fisher and mustered out on Feb. 11, 1867. Pvt. Arthur Mixon served in Co. G, 40th U.S.C.T., organized in Aug. 1864 in Tennessee, where it guarded railroads and bridges. It mustered out in Oct. 1865."</span></p>
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
"Colored Union Soldiers Monument, Hertford."<em>Commemorative Landscapes of North Carolina</em>. Accessed January 22, 2019: <a href="https://docsouth.unc.edu/commland/monument/117/" target="_blank" rel="noopener">https://docsouth.unc.edu/commland/monument/117/</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
Medium
The material or physical carrier of the resource.
Unknown
Source
A related resource from which the described resource is derived
Documenting the American South
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
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
Interpretative sign
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>Commemorative Sign to the United States Colored Troops of the Civil War</em>, Philadelphia National Cemetery (Philadelphia, PA)
Subject
The topic of the resource
Subject (Topic)<br />Men--United States Colored Troops<br />Associations--Military<br />Northeastern United States
<span>Subject (Object Type)<br />Commemorative placard</span>
Description
An account of the resource
The sign, located in Philadephia's National Cemetery is dedicated to the United States Colored Troops (USCT) buried there. The storyboard was installed in 2017 after a backlash against a 2015 150-year anniversary commemoration that honored Confederate troops but omitted the U.S.C.T.
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: April 21, 2018
Contributor
An entity responsible for making contributions to the resource
Veterans Administration
Relation
A related resource
<p><a href="https://ncph.org/history-at-work/hidden-in-plain-sight-cemeteries-and-civil-rights/" target="_blank" rel="noopener">Hidden in plain sight: Cemeteries and civil rights</a> ;<br />To watch a video of the placecard dedication click <a href="https://www.youtube.com/watch?v=XwgDD_mWDWA" target="_blank" rel="noopener">here</a> </p>
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
Philadelphia National Cemetery, 6909 Limekiln Pike, Philadelphia, PA 19138, United States
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
Mimi Eisen. "Hidden in plain sight: Cemeteries and civil rights." <em>National Council on Public History</em>. Accessed January 23, 2019: <a href="https://ncph.org/history-at-work/hidden-in-plain-sight-cemeteries-and-civil-rights/" target="_blank" rel="noopener">https://ncph.org/history-at-work/hidden-in-plain-sight-cemeteries-and-civil-rights/</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
Medium
The material or physical carrier of the resource.
Unknown
Source
A related resource from which the described resource is derived
Kait Moore, Philadelphia Inquirer
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
Emancipation 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>This collection focuses specifically on monuments and memorials that signal the end of slavery through the <a href="https://www.archives.gov/exhibits/featured-documents/emancipation-proclamation" target="_blank" rel="noopener">Emancipation Proclamation</a>. Included in this collection is a memorial to "<a href="https://www.ncpedia.org/contrabands" target="_blank" rel="noopener">contrabands</a>," those enslaved persons who sought freedom behind the Union lines during the American Civil War (1861-1865). Contraband monuments expand our understanding of Black self-emancipation.</p>
<p>From the <a href="https://www.nps.gov/articles/living-contraband-former-slaves-in-the-nation-s-capital-during-the-civil-war.htm" target="_blank" rel="noopener">National Park Service</a>:</p>
"At the start of the war, the Union had no policy to deal with the African Americans seeking protection. Individual commanders made their own decisions. Some commanders put them to work for Union troops while others returned them to plantation owners. At Fort Monroe in Hampton, Virginia, Union Maj. General Benjamin Butler refused to send three fugitives back into the bonds of slavery. He classified the escaping slaves as contraband of war. This term meant that once the fleeing slaves crossed Union army lines, they were classified as property. All enemy property that fell into Union hands constituted contraband and would not be returned. Because of Butler's actions, a federal policy was instituted on August 6, 1861 - fugitive slaves were declared to be "contraband of war" if their labor had been used to aid the Confederacy in anyway. If found to be contraband, they were declared free."</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
Various sizes
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Corinth Contraband Camp</em> (Corinth, MS)
Subject
The topic of the resource
<p>Subject (Topic)<br />American South<br />Civil War<br />Corinth (Miss.)<br />Fugitive slaves--United States<br />Mississippi--History<br />Public art<br />Public sculpture<br />Refugee camps--Southern States--History--19th century<br />Slaves--Emancipation--United States<br /><br /></p>
<p>Subject (Object Type)<br />Commemorative sculpture</p>
Description
An account of the resource
Eight life-size bronze statues (in six groupings) commemorate the formerly enslaved persons who escaped from the South and sought safety and freedom behind Union lines at the Corinth Contraband Camp in Corinth, Mississippi. Established by Union General Grenville M. Dodge in 1862 to shelter freedom-seekers, the Corinth Contraband Camp featured a church, a school, a hospital, and numerous homes as well as productive and profitable farms that were operated by freedmen and women. The bronze statues include: a woman with her hands on her hips, “the greeter”; a laundress ironing clothes; a farmer tending to his crops with a hoe; a female teacher with a young female student who read together from an open Bible; a man and boy gathering books; and a member of the United States Colored Troops who pulls <em>Hardee's Rifle and Light Infantry Tactics</em> from his haversack . Included at the site: two bronze plaques with inscriptions attached to a concrete wall near the greeter; two bronze low reliefs on a concrete wall opposite the greeter; and an informational panel explaining farming at the site in front of the farmer.<br /><br />The two bronze low reliefs are based on nineteenth-century photographs: Timothy H. O'Sullivan, <a href="https://www.loc.gov/item/2018666225/" target="_blank" rel="noopener">[Rappahannock River, Va. Fugitive African Americans fording the Rappahannock]</a>, August 1862 and G.W. Foster, <a href="https://exploreuk.uky.edu/fa/findingaid/?id=xt77sq8qcb8z" target="_blank" rel="noopener">Refugee camp; street scene, Camp Nelson, Kentucky</a>, 1864.
Creator
An entity primarily responsible for making the resource
Lugar, Larry, 1953-
Lugar, Andrea, 1952-
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: May 23, 2009
Rights
Information about rights held in and over the resource
National Park Service, U.S. Department of the Interior, 1849 C Street NW, Washington, DC 20240, United States
Format
The file format, physical medium, or dimensions of the resource
JPEG
Language
A language of the resource
English
Type
The nature or genre of the resource
Visual Arts-Sculpture
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
800 N Parkway St, Corinth, Mississippi, 38834, United States
Has Part
A related resource that is included either physically or logically in the described resource.
<p><em><strong>Inscription on bronze plaque at entrance:</strong></em><br />Site of the Corinth Contraband Camp<br />November 1862-December 1863<br />Here a newly freed people took their unswerving first steps on the long road to full citizenship.</p>
<p><em><strong>Inscription on bronze plaque at entrance:</strong></em><br />“This is a great opportunity afforded your race. Will you improve it?” — Lorenzo Thomas, Adjutant General, United States Army, in a speech to the Corinth Contraband Camp, May 15, 1863<br /><br />Warmly received amid cheers of the assembled crowd, General Thomas’s words formed a challenge met daily by all who arrived to fulfill the mission of this camp.<br /><br />Assisted by the American Missionary Association, some 6,000 ex-slaves here practiced free enterprise and pursued an education for themselves and their children.<br /><br />Bravely affirming their unalienable right to equality. Men from this camp swelled the ranks of two infantry regiments raised for services in the U.S. Army.<br /><br />Although short-lived, the Corinth Contraband Camp served as a model endeavor for later United States efforts during the American Civil War.</p>
<p><em><strong>Information sign in front of farmer statue:</strong></em><br />Contraband Camp<br /><br />The Corinth Contraband Camp offered former slaves the first step toward self-sustainbility and freedom through profitable farming. These men, women, and children grew 300 acres of cotton and 100 acres of vegetables. All of the crops were sold, and the profits combined to about $5,000 per month, which would exceed $70,000 in today's money.<br /><br />Individuals also had smaller gardens that fed themselves and their families. These gardens consisted of tomatoes, cabbages, sweet potatoes, and other vegetables. This was the first time that many of the former slaves had grown crops for themselves rather than for someone else's benefit.<br /><br />Even though the Corinth Contraband Camp was only active for a little more than a year. It helped over 6,000 African Americans take a major step toward eventual citizenship. These newly freed African Americans would go on to use the skills they learned at the Corinth Contraband Camp to raise families, work paid jobs, and become self-sufficient members of society.<br /><br />This working garden was designed and created as part of an Eagle Scout project. (The rest of the text has weathered away.)<br /><br /><br /></p>
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.
“Corinth Contraband Camp.” Shiloh National Military Park, National Park Service. Accessed February 13, 2019, <a href="https://www.nps.gov/shil/planyourvisit/contrabandcamp.htm" target="_blank" rel="noopener">https://www.nps.gov/shil/planyourvisit/contrabandcamp.htm</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 Renée Ater
Contributor
An entity responsible for making contributions to the resource
Siege and Battle of Corinth Commission (Rosemary Williams), Shiloh National Military Park (Superintendent Haywood “Woody” Harrell), Mississippi Department of Archives and History, and Corinth African-American Historical Society, and Preston Knight (Knight Brothers, Inc.).
Date Created
Date of creation of the resource.
First statue installed: October 13, 2008
Relation
A related resource
<a href="https://www.nps.gov/shil/learn/historyculture/corinth.htm" target="_blank" rel="noopener">Corinth Civil War Interpretative Center</a>
Extent
The size or duration of the resource.
Various sizes
Andrea Lugar
contrabands
emancipation
freedom
Larry Lugar
Mississippi
Shiloh National Military Park
-
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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
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
Bronze statue: 84 in. (213.36 cm.)
Granite base: 44 ¾ x 59 in. (113.67 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>Denmark Vesey Monument</em> (Charleston, SC)
Subject
The topic of the resource
<p>Subject (Topic)<br />Anti-slavery movements--United States<br />Public art<br />Public sculpture<br />Slave insurrections--South Carolina--Charleston<br />Slave revolt--South Carolina--Charleston<br />Slavery--South Carolina<br />South Carolina--History</p>
<p>Subject (Name)<br />Vesey, Denmark, 1767-1822</p>
<p>Subject (Object Type) <br />Commemorative sculpture</p>
Description
An account of the resource
<p>The work is dedicated to Denmark Vesey, a carpenter and self-educated black man who planned one of the most extensive slave revolt in U.S. history in Charleston, SC in 1822. Vesey, elegantly dressed in a collared jacket, trousers, and an exceedingly long and slim cravat, is shown holding his carpentry bag, his hat, and his Bible. The figure stands atop a massive granite pedestal that is inscribed on two sides with biographical and historical information about Vesey and his vital contributions to the fight for the emancipation of black people.</p>
Creator
An entity primarily responsible for making the resource
Dwight, Ed, 1933-
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: February 8, 2014
Contributor
An entity responsible for making contributions to the resource
Denmark Vesey and the Spirit of Freedom Monument Committee and City of Charleston.
Relation
A related resource
To watch a video of the the monument's dedication, click <a href="https://www.youtube.com/watch?v=QaQOovmfq6Q" 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
Hampton Park, 30 Mary Murray Drive, Charleston, South Carolina, 29403, United States
Has Part
A related resource that is included either physically or logically in the described resource.
<p><em><strong>Inscription on front of black granite plinth:</strong></em><br />Denmark Vesey<br />Slave Rebellion Organizer<br />Born Circa 1767-July 2, 1822<br /><br />Denmark Vesey, previously named Telemaque, was born either in Africa or on the Caribbean island of St. Thomas. At the age of 14, he was purchased by the slave trader Captain Joseph Vesey and transported to the French Colony of St. Domingue, where the young African was sold along with 389 other slaves. Claimed to be suffering from epilepsy by his new owner, Denmark was returned to Captain Vesey.<br /><br />The young man accompanied Captain Vesey on many trading voyages as part of the crew. In 1873, immediately after the American Revolution, Captain Vesey relocated to Charleston, South Carolina, where Denmark continued to serve him for approximately another 17 years. In 1799, however, Denmark won $1,500 in the East Bay Street Lottery in Charleston and purchased his freedom for $600.<br /><br />Denmark Vesey was a highly skilled carpenter and well known within free black and slave society. According to his contemporaries, he harbored frustration at his inability to legally free his wife and children. His antislavery sentiments may have received a wider audience when in 1818 enslaved and free black Charlestonians established a branch of the African Methodist Episcopal (AME) Church where he served as a church leader.<br /><br />Vesey envisioned a community where all would be free , but recently planned state legislation of 1820 made legal emancipation of slaves nearly impossible. Furthermore, municipal authorities repeated attacks on the AME Church convinced Vesey slavery was such a violation of God's law that rebellion was necessary to obtain liberty. He placed his own life at risk as he dared to plan to recruit others to achieve the goal of freedom.</p>
<p><em><strong>Inscription on back of black granite plinth:</strong></em><br />Denmark Vesey<br /><br />Vesey and his lieutenants "Gullah" Jack Pritchard, Peter Poyas, and Monday Gell developed a plan for a revolt, which may have involved thousands of followers. Their war of liberation was originally planned for July 14, 1822, and called for conspirators to seize weapons and set fires around the city. Once reinforced by rural slaves, as many as possible were to escape to Haiti where African people had already abolished slavery and formed an independent nation. According to Congregational minister and abolitionist Thomas Wentworth Higginson, the plan was "the most elaborate insurrectionary project ever formed by American slaves."<br /><br />When two slaves informed the authorities of the plot, the conspirators tried to move the date to June 16, but their plan failed. Arrests and trials followed and beginning on July 2, 1822, two days before Independence Day, Vesey and 34 of his compatriots were hanged. This figure represents the greatest number of slave conspiracy-related executions in American history. 37 were banished, most outside the United States, and four whites were briefly fined and incarcerated for for sympathizing with the conspirators. To strenghten security, officials demolished the AME Church, and the state legislature imposed rigorous new laws, including the Negro Seaman Act subjecting free black sailors from outside the state to arrest when their ships docked in Carolina ports. Free black men were required to have white guardians, and those who left the state were barred from returning. By the mid-1820s, the city fortified itself with an arsenal and barracks. In 1842, the Military College of South Carolina, now known as the "The Citadel," was established on that same site.<br /><br />Despite the daunting opposition, Vesey's Spirit and liberating vision did not die. He became an inspiring symbol of freedom for later abolitionists including David Walker, John Brown, Harriet Tubman, Frederick Douglass, and Harriet Beecher Stowe. His resolve demonstrates the timeless universality of men and women's desire for freedom and justice irrespective of race, creed, condition, or color.</p>
<p><em><strong>Round sign on side of black granite plinth:</strong></em><br />Charleston Stories<br />Hear Denmark Vesey here<br />Completing the Story:<br />Bringing a Community Together<br />www.charlestonstories.org<br />History calls back</p>
Extent
The size or duration of the resource.
Bronze statue: 84 in. (213.36 cm.)
Granite base: 44 ¾ x 59 in. (113.67 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>Parker, Parker, "Denmark Vesey Monument Unveiled before Hundreds." Post and Courier, February 14, 2014. Accessed April 12, 2019, <a href="https://www.postandcourier.com/features/arts_and_travel/denmark-vesey-monument-unveiled-before-hundreds/article_35622532-8a45-5060-a819-0e33a47c8a20.html" target="_blank" rel="noopener">https://www.postandcourier.com/features/arts_and_travel/denmark-vesey-monument-unveiled-before-hundreds/article_35622532-8a45-5060-a819-0e33a47c8a20.html.</a></p>
<p>Mellnik, Ted. "The Remarkable History of Charleston's Racial Divide, As Told by the City's Silent Statues." Washington Post, June 24, 2015. Accessed April 12, 2019, <a href="https://www.washingtonpost.com/news/wonk/wp/2015/06/24/the-remarkable-history-of-charlestons-racial-divide-as-told-by-the-citys-silent-statues/" target="_blank" rel="noopener">https://www.washingtonpost.com/news/wonk/wp/2015/06/24/the-remarkable-history-of-charlestons-racial-divide-as-told-by-the-citys-silent-statues/</a>.</p>
<p>"Denmark Vesey Monument." Charleston Justice Journey. Accessed May 27, 2020, <a href="https://charlestonjusticejourney.org/locations/denmark-vesey-monument/" target="_blank" rel="noopener">https://charlestonjusticejourney.org/locations/denmark-vesey-monument/</a>.</p>
<p>"Denmark Vesey, Hampton Park." Charleston Stories. Accessed May 27, 2020, <a href="http://charlestonstories.org/statues/Denmark-Vesey/" target="_blank" rel="noopener">http://charlestonstories.org/statues/Denmark-Vesey/</a>.</p>
<p>Wright, Deborah and Daron Calhoun. "Remember Denmark Vesey of Charleston!" Avery Messenger (Summer 2014): 6-8. Accessed May 27, 2020, <a href="https://avery.cofc.edu/wp-content/uploads/2011/10/messenger_springsummer2014.pdf" target="_blank" rel="noopener">https://avery.cofc.edu/wp-content/uploads/2011/10/messenger_springsummer2014.pdf</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 Izetta Autumn Mobley
Rights
Information about rights held in and over the resource
City of Charleston, 80 Broad Street, Charleston, South Carolina, 29401, United States
anti-slavery
Charleston
Denmark Vesey
Ed Dwight
rebellion
South Carolina
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f33a636a70a41b176de9b9b10d868eb5
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 the Caribbean
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>Desenkadena</em> (Willemstad, Curaçao)
Subject
The topic of the resource
Subject (Topic)<br />Slavery-Emancipation<br />Middle Passage<br />Transatlantic Slave Trade<br />Slave Trade<br />Diaspora <br />Willemstad, Curaçao
Subject (Object Type)<br />Commemorative sculpture
Description
An account of the resource
The over life-size bronze sculptural group depicts three figures, two men and one woman. As the title of the work, <em>Desenkadena</em> (unchained) suggests, the figures are breaking free from the chains that bind their wrists. The central figure is flanked by a man and woman, both of whom gaze at him as he breaks their chains. The “chain breaker,” a muscular, semi-nude man, stands in front of an anvil. Simon captures the figure mid-swing as he raises a hammer over his head with his right hand. In his left hand he holds iron chains in place with a chisel. The work commemorates the 1795 slave rebellion led by an enslaved person called Tula.
Creator
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Simon, Nel, 1938-
Date
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Dedicated: October 17, 1998
Relation
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To see how the work was made, click <a href="http://nelsimon.nl/en/16031/the_making_of_the_tula_monument_desenkadena_curacao/" target="_blank" rel="noopener">here.</a>
Format
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JPEG
Language
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English
Type
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Visual Arts-Sculpture
Coverage
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Tula Monument, 4352+9F Willemstad, Curaçao
Alternative Title
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<em>Tula Monument</em>
Medium
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Bronze
Rights Holder
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Renée Ater
Source
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Pinterest.com
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https://slaverymonuments.org/files/original/f948f7d14c249e70c9a41bc6626186c3.jpeg
148d8fb87a2aa525ee31914135b4f898
Dublin Core
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Title
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Monuments to Resistance
Contributor
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Renée Ater
Description
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<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
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Written by Grace Yasumura
Still Image
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Original Format
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Sculpture
Physical Dimensions
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120 x 48 x 48 in. (304.8 x 121.92 x 121.92 cm.)
Dublin Core
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Title
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<em>Dred and Harriet Scott</em> (St. Louis, MO)
Creator
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Weber, Harry, 1942-
Subject
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Subject (Topic)<br />Abolitionists--United States <br />Antislavery movements--United States<br />Public art <br />Public sculpture<br />Slavery-Emancipation
<p></p>
Subject (Name)<br />Scott, Dred, 1799-1858<br />Scott, Harriet, 1815-1876
<p></p>
Subject (Object Type) <br />Commemorative sculpture
Format
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JPEG
Language
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English
Type
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Visual Arts-Sculpture
Extent
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120 x 48 x 48 in. (304.8 x 121.92 x 121.92 cm.)
Medium
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Bronze
Rights Holder
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Renée Ater
Date
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Dedicated: June 8, 2012
Contributor
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Dred Scott Heritage Foundation and National Park Service.
Rights
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Regional Arts Commission of St. Louis (RAC), 6128 Delmar Boulevard, St. Louis, Ohio 63112
Coverage
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Old Courthouse, 11 N. 4th Street, St. Louis, Missouri, 63102, United States
Has Part
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<strong><em>Inscription on base of work</em>:<br /></strong>Dred and Harriet Scott filed suit for their freedom at this courthouse in 1846. Their case reached the United States Supreme Court and Was decided in 1857. The court ruled that the Scotts and all African Americans were not citizens of the United States. Opposition to the decision was one of the causes of the Civil War and led to the Thirteenth, Fourteenth, and Fifteenth Amendments to the Constitution. The Scotts' struggle for freedom stands as a defining moment in the history of the Civil Rights Movements.<br /><br />Dedicated June 8, 2012<br />Gift of the Dred Schott Heritage Foundation<br />Harry Weber, Sculptor <br /><strong><br /></strong>
Description
An account of the resource
A figurative statue of Dred and Harriet Scott. Dred Scott wears a suit with tie. He reaches his left arm behind Harriet Scott, embracing her; they also hold hands. Harriet Scott wears a full-length dress and turns her head upward.
Source
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Photograph from <a href="https://www.wikidata.org/wiki/Q75117035" target="_blank" rel="noopener">WikiData</a>.
Bibliographic Citation
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"Dred and Harriet Scott." Regional Arts Commission of St. Louis. Accessed April 30, 2021, <a href="https://racstl.org/public-art/dred-and-harriet-scott/" target="_blank" rel="noopener">https://racstl.org/public-art/dred-and-harriet-scott/</a>.