1 10 13 https://mail.slaverymonuments.org/files/original/ef3a6a485eb1c5d26c0e6c78475df69e.jpg ef2fa2fe9b0d94f479d127288bf1bb73 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 120 x 48 x 48 in. (304.8 x 121.92 x 121.92 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 Dred and Harriet Scott Statue (St. Louis, Missouri) Creator An entity primarily responsible for making the resource Weber, Harry, 1942- Subject The topic of the resource Subject (Topic) Antislavery movements--United States Enslaved persons--Emancipation--United States Missouri--St. Louis Public art Public sculpture Resistance Slavery--Missouri Subject (Name) Scott, Dred, 1799-1858 Scott, Harriet, 1815-1876 Subject (Object Type) Commemorative sculpture 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 Extent The size or duration of the resource. 120 x 48 x 48 in. (304.8 x 121.92 x 121.92 cm) Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource June 8, 2012 Contributor An entity responsible for making contributions to the resource Dred Scott Heritage Foundation: Lynne M. Jackson; National Park Service; Vladimir Zhitomirsky, VMD Sculpting; McCarthy Building Companies (Mark Smith, Mark Weiss and Dustin Roberts); KPFF Consulting Engineers; Rosch Companies; McFry Excavating; Geotechnology, Inc.; Rebar Specialist Inc.; Wilson Concrete, Vee-Jay Cement; Budrovich, Inc; Thomas Bradley and Frank Mares Rights Information about rights held in and over the resource Regional Arts Commission of St. Louis, 6128 Delmar Boulevard, St. Louis, Missouri, 63112, United States Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Old Courthouse, 11 N 4th Street, St. Louis, Missouri, 63102, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on base of work: 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. Dedicated June 8, 2012 Gift of the Dred Scott Heritage Foundation Harry Weber, Sculptor 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 A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:Dred_and_Harriet_Scott_Statue_2_(8257d8fd-c3a1-3d14-164d-d0961fc37038).jpg" target="_blank" rel="noopener">Wikimedia Commons</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. Weber, Harry. "About: Dred and Harriet Scott." Regional Arts Commission of St. Louis. Accessed April 30, 2021. https://racstl.org/public-art/dred-and-harriet-scott/. bronze figurative portrait https://mail.slaverymonuments.org/files/original/4a1cc0f190e13de470b2f0148ca1eaa3.JPG 668a98834f116e9a64e2ab72dc4cd55b https://mail.slaverymonuments.org/files/original/939a9c6f383a38d640f294b3f3e8f493.JPG d09eea9ae3c895ff6e8b9ef4bd6f917b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 36 x 33.6 x 24 in. (91.44 x 85.34 x 60.96 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Henry "Box" Brown Memorial (Richmond, Virginia) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Enslaved persons--Emancipation--United States Public art Public sculpture Resistance Slavery--Virginia Virginia--Richmond Subject (Name) Brown, Henry "Box," 1816-1897 Subject (Object Type) Commemorative sculpture 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 Box Brown Plaza, 1498 Dock Street, Richmond, Virginia, 23219, United States Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Description An account of the resource The memorial commemorates Henry "Box" Brown's harrowing journey to freedom. On March 23, 1849, with the assistance of James Caesar Anthony Smith, a freedman and white abolitionist, Samuel Alexander Smith, Brown shipped himself in a two-by-three-foot crate marked "dried goods" from Richmond to Philadelphia. Brown would later become a well-known antislavery activist, attempting to assist other enslaved people to escape in crates. The memorial includes a bronze crate meant to resemble the wooden one that Brown used. The crate is open and an outline of a crouching human figure is inscribed on the back panel of the box. An informational placard is sited near the sculpture, which details the history of slavery in Richmond and Brown's escape. Source A related resource from which the described resource is derived Photographs by Renée Ater Has Part A related resource that is included either physically or logically in the described resource. Inscriptions on five sides of box: "Buoyed up by the prospect of freedom...I was willing to dare even death itself." "The idea flashed across my mind of shutting myself up in a box, and getting myself conveyed... to a free state." "I laid me down in my darkened home of three feet by two feet." "My friends...managed to break open the box, and then came my resurrection from the grave of slavery." "I arose a free man." Inscription on the stone platform: "In a wooden crate similar to this one, Henry Brown, a Richmond tobacco worker, made the journey from slavery to freedom in 1849" Extent The size or duration of the resource. 36 x 33.6 x 24 in. (91.44 x 85.34 x 60.96 cm) Medium The material or physical carrier of the resource. Bronze Creator An entity primarily responsible for making the resource Unknown Date A point or period of time associated with an event in the lifecycle of the resource 2001 Rights Information about rights held in and over the resource City of Richmond, 900 East Broad Street, Richmond, Virginia, 23219, United States Contributor An entity responsible for making contributions to the resource City of Richmond; Richmond City Council Slave Trade Commission; Venture Richmond Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Encyclopedia Virginia. "Henry Box Brown (1815 or 1816-1897)." Accessed February 17, 2025. https://encyclopediavirginia.org/entries/brown-henry-box-1815-or-1816-1897. Brown, Henry. Narrative of the Life of Henry Box Brown, Written by Himself. Manchester: Lee and Glynn, 1855. Documenting the American South. Accessed February 17, 2025. https://docsouth.unc.edu/neh/brownbox/brownbox.html. abstract bronze https://mail.slaverymonuments.org/files/original/910a9bfc24eeda04e328c64259f50fca.jpg 5e6d67c68062a6681e07a0808a624184 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 84 in. (213.36 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 Spirit of Freedom (Hamilton, Bermuda) Creator An entity primarily responsible for making the resource Dowling, Carlos, 1949- Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cabinet Gardens, 105 Front Street, Hamilton, Bermuda Medium The material or physical carrier of the resource. Bronze Subject The topic of the resource Subject (Topic) Bermuda Islands--Hamilton Public art Public sculpture Resistance Slavery--Bermuda Islands Slavery--England Transatlantic slave trade Subject (Name) Bassett, Sarah (Sally), d. 1730 Subject (Object Type) Commemorative sculpture Description An account of the resource In 1730, the colonial government of Bermuda executed Sarah Bassett, an enslaved woman, for allegedly attempting to poison her granddaughter’s enslavers. In Spirit of Freedom, she is depicted as a slender female figure bound tightly with ropes, her arms restrained behind her back. Her head is tilted slightly upward and turned to the side, her eyes closed in silent defiance. Her legs are tightly bound to a stake and secured on top of a burning pyre. The sculpture stands on a circular pedestal. Around the base, the name “Sarah (Sally) Bassett” is inscribed, along with a description of events from her life. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Gibson, Stephanie. "Revealing Sally: Unveiling Bermuda's Resistance to Confront its Brutal Past." Monument Lab, May 4, 2020. Accessed February 15, 2021. https://monumentlab.com/bulletin/revealing-sally-unveiling-bermudas-resistance-to-confront-its-brutal-past. Swan, Quito. "Smoldering Memories and Burning Questions: The Politics of Remembering Sally Bassett and Slavery in Bermuda." In Politics of Memory: Making Slavery Visible in the Public Space, ed. Ana Lucia Araujo, 71-91. Routledge, 2012. CIPDH-UNESCO. "Spirit of Freedom." Memorias Situadas: Sites of Memory Related to Serious Human Rights Violations. Accessed February 4, 2026. https://www.cipdh.gob.ar/memorias-situadas/en/lugar-de-memoria/espiritu-de-libertad/. Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Sarah Bassett Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource February 9, 2009 Has Part A related resource that is included either physically or logically in the described resource. Six segments: The lower step of the base of the statue is divided into six segments. The segments are inscribed with events from Sarah Bassett's life. <ul> <li>Sarah (Sally) Bassett</li> <li>Sarah (Sally) Bassett was an enslaved woman owned by the estate of Francis Dickinson of Southampton.</li> <li>On June 1, 1730, she was tried on the "Suspicion of Poisoning several persons" including the mariner Thomas Forester (who owned Sally's granddaughter Beck), his wife Sarah, and Nancey, a household bondswoman.</li> <li>At the time of her sentencing, Sally was valued at one pound, four shillings and sixpence. Another local legend says that Bermuda's national flower, the Bermudiana, grew from Sally's ashes.</li> <li>Sally was charged with supplying Beck with the poison that Nancey discovered in the wall of the kitchen outlet. Although Sally maintained her innocence, stating that she "never deserved" the sentence given, she was burned at the stake for the offence.</li> <li>Local lore holds that it was extremely hot when Sally was executed; and even now, Bermudians may refer to a scorchingly hot day as "a real Sally Bassett day."</li> </ul> Bronze plaque on the upper step of the base of the statue: The African Diaspora Heritage Trail Bermuda Officially Designated a UNESCO Slave Route Proejct Officially Opened 9 February 2009 By the Honorable Premier Dr. the Hon. Ewart F. Brown, JP, MP Extent The size or duration of the resource. 84 in. (213.36 cm) Source A related resource from which the described resource is derived Photograph: <a href="https://en.wikipedia.org/wiki/Sally_Basset#/media/File:Statue_of_Sally_Basset.jpg" target="_blank" rel="noopener">Wikipedia</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 Contributor An entity responsible for making contributions to the resource Progressive Labor Party (PLP), Bermuda Rights Information about rights held in and over the resource Government of Bermuda Administration Building, 30 Parliament Street, Hamilton HM12, Bermuda bronze figurative trees https://mail.slaverymonuments.org/files/original/296a8f99f98c7ddfbeba50976948f923.jpg 65d41f36cb58f10dd3adb2c0d0b2fb86 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 86.61 in. (220 cm) Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Estatua Zumbi dos Palmares (Salvador da Bahia, Brazil) Subject The topic of the resource Subject (Topic) Brazil--Salvador da Bahia Public art Public sculpture Maroons--Brazil Resistance Slavery--Brazil Slavery--Portugal Transatlantic slave trade Subject (Name) Zumbi (Zumbi dos Palmares), 1655-1695 Subject (Object Type)  Commemorative sculpture Creator An entity primarily responsible for making the resource Magno, Márcia Date A point or period of time associated with an event in the lifecycle of the resource May 30, 2008 Contributor An entity responsible for making contributions to the resource Fundação Cultural Palmares (Brasilia); Monument Committee: Mônica Kalile, Raimundo Bujão, Lázaro Duarte, Jorge Conceição, and  Valmir Dois Mundo; João Henrique de Barradas Carneiro, Mayor; Gilberto Passos Gil Moreira, Minister of Culture Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Praça da Sé, 15-23 - Pelourinho, Salvador - BA, 40020-210, Brazil Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque: "Zumbi dos Palmares “É chegada a hora de tirar nossa nação das trevas da injustica racial.” Nasceu livre, em 1655, na Serra da Barriga, união dos Palmares, Alagoas. Neto de Aqualtune, não permitiu a submissão de seu povo ao jugo da corda portuguesa, pois queria a liberdade para todos, dentro ou fora do Quilombo. Persistiu na luta e tornou-se líder do Quilombo, sento ferido em 1694, quando a capital Palmares foi destruída. Em 20 de Novembro de 1695, foi morto e decapitado. Após 300 anos, a data da morte desse líder da resistência negra foi instituída, pelo moviment negro, como o dia nacional da consciência negra." Bronze plaque: “Zumbi” (a Felicidade Guerreira) Letra de Waly Salomâo & música de Gilberto Gil (par o filme Quilombo) 1983  Zumbi, comandante guerreiro Ogunhê, ferreiro-mor capitão Da capitania da minha cabeça Mandai a alforria pro meu coração Minha espada espalha o sol da guerra Rompe mato, varre céus e terra A felicidade do negro é uma felicidade guerreira Do maracatu, do maculelê e do moleque bamba Minha espada espalha o sol da guerra Meu Quilombo incandescendo a serra Tal e qual o leque, o sapateado do mestre – escola de samba Tombo – de – ladeira, rabo – de – arraia, fogo – de – liamba... A felicidade do negro é uma felicidade guerreira" Bronze plaque: Esta escultura em bronze do Zumbi dos Palmares, herói da resistência negra contra a escravidâo, foi criada, projetada e executada pela escultora márcia, magno, resultado, de extensa pesquisa inconográfica, técnica e plástica, possui 2,20m de altura e expressa Altivez, força, dignidade e Beleza plástica. Simboliza “as multiplas faces dos espíritos de África”. Em posição de alerta, apresenta uma perna apoiada a outra, semelhante a um pássaro silvestre, ágil, dia e noite em permanente vigília. O guerreiro Zumbi dos Palmares está portando uma lança de caça e um gládio, cópia fiel do “Mukwale”, peça preciosa, utilizada por grandes guerreiros cuja decoração, do cabo representa o chefe tradicional em pé e atento a qualquer circunstãncia. 30 de Maio de 2008" Bronze plaque: "Homenagem a Zumbi dos Palmares  Projecto Autoria: Lázaro Souza Duarte  Zumbi dos Palmares líder da primeira experiência democrática do país. O Monumento de Zumbi dos Palmares é o símbolo da resistência do povo negro brasileiro e a materializaçâo da memória de lutas e conquistas pelo exercício da liberdade no fortalecimento pela consciência negra. Salvador, 30 de Maio de 2008  Comissâo Gestora  Mönica Kalile, Raimundo Bujâo, Lázaro Duarte, Jorge Conceiçâo e Valmir Dois Mundo  Joâo Henrique de Barradas Carneiro, Prefeito  Gilberto Passos Gil Moreira  Ministro da Cultura" English translations of the plaques can be found at the Historic Markers Database: https://www.hmdb.org/marker.asp?marker=26125. Medium The material or physical carrier of the resource. Bronze, Black granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Araujo, Ana Lucia. "Public Memory of Slavery in Brazil." In Slavery, Memory and Identity: National Representations and Global Legacies, eds. Douglas J. Hamilton, Kate Hodgson, and Joel Quirk, 115-130. London: Pickering & Chatto, 2012. Damasceno, Felipe. "Zumbi dos Palmares." Salvador Escravista. Accessed January 27, 2026. https://www.salvadorescravista.com/homenagens-reparadoras/zumbi-dos-palmares. "Fundação Cultural Palmares lança edital para escolher estátua de Zumbi." Instituto do Patrimônio Histórico e Artístico Nacional (Iphan, January 16, 2008. Accessed February 26, 2026. http://portal.iphan.gov.br/noticias/detalhes/1984/fundacao-cultural-palmares-lanca-edital-para-escolher-estatua-de-zumbi. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Description An account of the resource The work is dedicated to Zumbi dos Palmares, a quilombo leader and one of the principal forces behind the resistance to slavery in Brazil. The muscular, seminude figure of Zumbi dos Palmares, stands with his weight shifted to his right foot. He brings the sole of his left foot to his right shin and holds a spear in his left hand as he turns his head slightly to the left. Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:ZumbiStatue.jpg" target="_blank" rel="noopener">Wikipedia Commons</a> Rights Information about rights held in and over the resource Centro Administrativo da Bahia, Av. Luiz Viana Filho, 435, Salvador, Bahia, 41730-101, Brazil Extent The size or duration of the resource. 86.61 in. (220 cm) black granite bronze figurative machete (knife) https://mail.slaverymonuments.org/files/original/8ff36956c13b8d36d0cb3581cdc30bfa.jpg ee3201f70f8e829506542f66868b3378 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 180 in. (457.2 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1763 Monument (Georgetown, Guyana) Subject The topic of the resource Subject (Topic) Guyana--Georgetown Public art Public sculpture Resistance Slave insurrections--Canje River (Guyana) Slavery--Guyana Slavery--The Netherlands Transatlantic slave trade Subject (Name) Cuffy (Coffy, Kofi Badu), d. 1763 Subject (Object Type) Commemorative sculpture Description An account of the resource Unveiled three days before the tenth anniversary of Guyanese Independence, the work celebrates the Guyanese anti-colonial struggle, resistance to slavery, and eventual emancipation. It is dedicated to the memory of Cuffy (Kofi Badu), an Akan man sold into slavery who led a revolt in 1763 against the Dutch owners of the Magdalenburg plantation on the Canje River in Berbice (now part of Guyana). Although the uprising was ultimately unsuccessful, Cuffy’s rebellion anticipated the eventual end of slavery in Guyana. The sculpture stands atop a tall, tiered pedestal resembling a staircase. At the summit is a bold and commanding figure of Cuffy standing in a powerful, upright pose, with his feet planted firmly apart. He holds a pig in one hand and a dog in the other— symbols of greed and ignorance. His facial expression is defiant and determined, marked by a pouting mouth. The base of the monument prominently displays the number 1763, along with a bronze plaque bearing stylized bas-relief human figures in dynamic poses. Creator An entity primarily responsible for making the resource Moore, Philip Alphonso, 1921-2012 Date A point or period of time associated with an event in the lifecycle of the resource May 23, 1976 Contributor An entity responsible for making contributions to the resource National Trust of Guyana; Morris Singer Foundry; Dr. David Klautky (structural engineer); Albert Rodrigues (architect) Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant D'Urban Park, Square of the Revolution, Vlissengen Road, Georgetown, Guyana Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cuffy Monument Extent The size or duration of the resource. 180 in. (457.2 cm) Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:1763_Monument.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Rights Information about rights held in and over the resource National Trust of Guyana, 94 Carmichael Street, North Cummingsburg, Georgetown, Guyana Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. National Trust of Guyana. "1763 Monument." December 17, 2021. Accessed February 16, 2025. https://ntg.gov.gy/monument/1763-monument/. Conduru, Roberto. "Transnational Counter-monuments: Anti-Slavery and Pro-Freedom Memorials." ReVista: Harvard Review of Latin America, July 30, 2021. Accessed January 28, 2026. https://revista.drclas.harvard.edu/transnational-counter-monuments/. Has Part A related resource that is included either physically or logically in the described resource. Signage: 1763 Monument National Trust of Guyana Safeguarding and Promoting Our Heritage Located at the eastern end of Brickdam on Vlissengen Road, D’Urban Park, is the 1763 Monument, a National Monument. This structure was built at a cost of $38,000.00 to commemorate the 1763 rebellion also known as the “Great Rebellion” that occurred on plantation Magdelenenburg in Berbice, Region six. The plantation was located on the upper Canje River and was owned by Madam Vernesobre.  The uprising that started on February 23, 1763, was considered the first true attempt by slaves to fight for their freedom in an organized fashion, started. During the revolt, a household slave named Cuffy from plantation Lilienburg quickly assumed a leading role in the rebellion and organized a number of riots against plantations owners. The uprising lasted for more than a year before the Dutch were able to overcome the slaves.  For Guyana’s 10th Independence anniversary, a call was made to have a monument erected to commemorate the rebellion. Advertisements were placed in the local newspapers calling for designs and Mr. Phillip Alphonso Moore’s concept of the monument was selected. The structure was unveiled by President Linden Forbes Sampson Burnham on May 23, 1976.  The monument was casted in sections at the Morris Singer Foundry in Basingstoke, England, with the assistance of structural engineer Dr. David Klautky and was assembled through welding. On site, it stands 4.6 metres (15 feet) high and weighs 2267 kilograms (2 ½ tons) and rests on a plinth 5.5 metres (18 feet) high which was designed by architect Albert Rodrigues. Some features of the monument include shield like face on the chest that represents a spiritual guard against enemies and map of Guyana carved on the back representing the peoples of Guyana. bronze figurative https://mail.slaverymonuments.org/files/original/5c14a352740f5f0171386213ac0e85d3.jpg 187f183b3c31c596341a12f45aa7b759 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Three Rebel Queens of the Virgin Islands (Charlotte Amalie, St. Thomas, USVI) Subject The topic of the resource Subject (Topic) Public art Public sculpture Resistance St. Thomas (USVI)--Charlotte Amalie Slave insurrections--St. Croix (USVI) Slavery--Denmark Slavery--St. Croix (USVI) Transatlantic slave trade Subject (Name) Thomas, Mary (Queen Mary), ca. 1838–1905 Salomon, Axeline E. (Queen Agnes), ca. 1858-? McBean, Matilda (Queen Matilda), ca. 1958-1935 Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial shows three women facing outward, the leaders of the "Fireburn" Uprising in 1878, the largest labor revolt in Danish colonial history. Dressed in floor-length dresses and aprons, each figure carries objects related to their resistance. One figure lifts a lantern in her right hand (Queen Agnes-Agnes Salomon) . The second figure holds a cane knife in her right hand and a torch in her left (Queen Mary-Mary Thomas), while the third figure holds a torch in her right hand (Queen Matilda-Matilda McBean). Creator An entity primarily responsible for making the resource Hallier, Richard, 1944-2010 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Dronningens Gade, Charlotte Amalie, St. Thomas 00802, U.S. Virgin Islands Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. The Three Queens of the Virgin Islands Fountain Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque: THE THREE QUEENS OF THE VIRGIN ISLANDS In 1878 three former slave ladies on St. Croix led an insurrection against the Danish Government for improved working and living conditions. During this action, a major portion of Frederiksted was destroyed by fire. This revolt is known today as “FIREBURN” and the ladies are renowned as “Queen Mary, Queen Agnes and Queen Matilda” – The Three Queens of the Virgin Islands. Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:The_Three_Rebel_Queens_of_the_Virgin_Islands.jpg" target="_blank" rel="noopener">Wikipedia Commons</a> Date A point or period of time associated with an event in the lifecycle of the resource 2005 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Danish Colonies/The Danish West Indies/Fireburn." Nationalmuseet. Accessed January 27, 2026. https://en.natmus.dk/historical-knowledge/historical-themes/danish-colonies/the-danish-west-indies/fireburn/. Fireburn Files Project. Accessed January 27, 2026. https://fireburnfiles.dk/. Virgin Islands Studies Collective (VISC). "Ancestral Queendom: Reflections on the Prison Records of the Rebel Queens of the 1878 Fireburn in St. Croix, USVI (formerly the Danish West Indies." Nordisk Tidsskrift for Informationsvidenskab og Kulturformdling 8, no. 2 (2019): 19-36. Accessed January 27, 2026. https://tidsskrift.dk/ntik/article/view/118478/166419. bronze figurative lantern machete (knife) https://mail.slaverymonuments.org/files/original/cbfb7838072ef94e49ac8e0711275620.jpg db38e36309ba9b82e726ee748c3ea4f4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 276 in. (701.04 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource I Am Queen Mary (Copenhagen, Denmark) Subject The topic of the resource Subject (Topic) Denmark--Copenhagen Public art Public sculpture Resistance Transatlantic slave trade Slave insurrections--St. Croix (USVI) Slavery--Denmark Slavery--St. Croix (USVI) Subject (Name) Thomas, Mary (Queen Mary), ca. 1848–1905 Subject (Object Type) Commemorative sculpture Description An account of the resource The statue is an allegorical portrait of Mary Thomas, known as Queen Mary, an enslaved woman who worked on a sugar cane planation in the Danish West Indies (now Saint Croix, U.S. Virgin Islands). She led the largest labor revolt in Danish colonial history, the "Fireburn" Uprising in 1878. Mary is shown seated in a wicker throne; she holds a cane knife in one hand and a torch in the other. Dressed in a simple cotton shift and wearing a head wrap, Mary sits atop a plinth made of coral stones cut out of the sea at Saint Croix by enslaved Africans. "In December 2020 a winter storm severely damaged the monument. The figure was removed and an Augmented Reality version of the sculpture was developed to hold space for the work and activate new dialogues. The artists are currently working towards raising the funds to ensure that this towering monument stays at the entrance to Copenhagen's port for generations to come. Acknowledging the imbalances between colonial powers and their former colonies, the fundraising campaign will leverage the visibility and resources generated by the existing monument in Copenhagen to secure the funds to make a companion one possible in St. Croix." (https://www.iamqueenmary.com) Creator An entity primarily responsible for making the resource Ehlers, Jeannette, 1973- Belle, La Vaughn, 1974- Date A point or period of time associated with an event in the lifecycle of the resource March 31, 2018 Contributor An entity responsible for making contributions to the resource The Municipality of Copenhagen; Wow Factory; 3D Printhuset; SMK; The National Gallery of Denmark; ActionAid, Denmark; Beckett-Fonden; the Danish Agency for Culture and Palaces Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Vestindisk Pakhus, Toldbodgade 40, 1253 Copenhagen, Denmark Extent The size or duration of the resource. 276 in. (701.04 cm) Medium The material or physical carrier of the resource. Polystyrene; Sealants; Paint; Coral stones from St. Croix, Virgin Islands Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://barnard.edu/news/break-down-i-am-queen-mary-barnard" target="_blank" rel="noopener">Barnard College</a> Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Barnard University. "Break This Down: I Am Queen Mary at Barnard." October 15, 2019. Accessed February 16, 2025. https://barnard.edu/news/break-down-i-am-queen-mary-barnard. I Am Queen Mary. Accessed February 16, 2025. https://www.iamqueenmary.com/. Has Part A related resource that is included either physically or logically in the described resource. Stone plaque on front of plinth: I Am Queen Mary A Hybrid of Bodies, Nations & Narratives By La Vaughn Belle and Jeannette Ehlers 2018 Rights Information about rights held in and over the resource Jeannette Ehlers and La Vaughn Belle, https://www.iamqueenmary.com/press-images-for-download. allegory figurative machete (knife) Polystyrene portrait https://mail.slaverymonuments.org/files/original/d7af90a63c21d37c73bf8c773db015d6.jpg c839d4a7bd90a2496d9eea1e67a9b9fb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 156 in. (396.24 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Estatua de Yanga/Gaspar Yanga (Veracruz, Mexico) Subject The topic of the resource Subject (Topic) Enslaved persons--Emancipation Maroons--Mexico Mexico--Verzcruz Public art Public sculpture Resistance Slavery--Mexico Transatlantic slave trade Subject (Name) Yanga, Gaspar Subject (Object Type) Commemorative sculpture Description An account of the resource The muscular, semi-nude figure looks resolutely forward as he raises a machete in his right hand and holds a long (sugar cane?) in his left. A shackle with a broken chain is still attached to his left wrist. The work was created to celebrate Gaspar Yanga, a seventeenth-century self-emancipated (former enslaved person) leader of a maroon colony of self-emancipated people near Veracruz, Mexico. He successfully resisted a Spanish attack on the maroon colony in 1609 and later negotiated with the Spanish colonial government to secure self-rule for the maroon settlement. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Negro Yanga, Barrio del Negro Tango, 94930 Yanga, Veracruz, Mexico Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. El Yanga Has Part A related resource that is included either physically or logically in the described resource. Plaque: "El Yanga" Negro Africano precursor de la libertad de los negros eslavos fundo este pueblo de San Lorenzo de Cerralvo (hoy Yanga) por acordado del virrey de nueva Espana, Don Rodrigo Osorio Marquez de Cerrvalo, el dia tres de Octobre del ano 1631 por mandato del virrey trazo el pueblo el Capitan Hernando de Castro Espinosa, H. Ayuntamento Constl. 1973-1976 El Yanga ver agosto 10 De 1976 Primer pueblo libre de America English translation: Black African liberator and precursor of the black slaves who founded this town of San Lorenzo de Cerralvo (today Yanga) by agreement of the viceroy of New Spain, Don Rodrigo Osorio Marquez de Cerrvalo, on the third day of October 1631 by order of the viceroy. This town was laid out by Captain Hernando of Castro Espinosa. H. Constl. City Council, 1973-1976. El Yanga on August 10, 1976. First free town in America Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Creator An entity primarily responsible for making the resource Lendechy, Erasmo Vásquez, 1918-2002 Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:EstatuaYanga.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Date A point or period of time associated with an event in the lifecycle of the resource August 10, 1976 Extent The size or duration of the resource. 156 in. (396.24 cm) Medium The material or physical carrier of the resource. Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Rosas, Salma Lara. "Erasmo Vazquez Lendechy: autor de la escultura en Yanga y ayudante principal de Frieda Kahlo." El Sol de Corodoba, August 11, 2024. Accessed on February 2, 2025, https://oem.com.mx/elsoldecordoba/cultura/quien-fue-erasmo-vazquez-lendechy-historia-del-artista-que-hizo-la-escultura-de-yanga-13224263. Carillo, Karen Juanita. "Mexico's First Liberated City Commemorates Its Founding." JSTOR Daily, October 20, 2021. Accessed February 16, 2025, https://daily.jstor.org/mexicos-yanga-commenorates-founding. Conduru, Roberto. "Transnational Counter-monuments: Anti-Slavery and Pro-Freedom Memorials." ReVista: Harvard Review of Latin America, July 30, 2021. Accessed January 28, 2026, https://revista.drclas.harvard.edu/transnational-counter-monuments/. Enslaved: Peoples of the HIstorical Slave Trade. "Yanga." Enslaved.org. Accessed February 4, 2026. https://enslaved.org/fullStory/16-23-126857/ Contributor An entity responsible for making contributions to the resource City of Yanga Rights Information about rights held in and over the resource City of Yanga, Edificio Municipal, Avenue 2, Centro, 94930 Yanga, Veracruz, Mexico bronze figurative machete (knife) https://mail.slaverymonuments.org/files/original/d41857e1a7f0604f95ccd2dd96405304.jpg 55406df3e19380b1498d93c6fda0c845 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Desenkadená/Unchained (Willemstad, Curaçao) Subject The topic of the resource Subject (Topic) Curaçao--Willemstad Public art Public sculpture Resistance Slave insurrections--Curaçao Slavery--Curaçao Slavery--The Netherlands Transatlantic slave trade Subject (Object Type) 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, Desenkadená (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 An entity primarily responsible for making the resource Simon, Nel, 1938- Date A point or period of time associated with an event in the lifecycle of the resource October 17, 1998 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 Parke Lucha pa Libertat, John F. Kennedy Boulevard, Willemstad, Curaçao Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Tula Monument Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:Nationaal_monument_Desenkandená,_Parke_di_Lucha_pa_Libertat.jpg" target="_blank" rel="noopener">Wikimedia Commons</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. Conduru, Roberto. "Transnational Counter-monuments: Anti-Slavery and Pro-Freedom Memorials." ReVista: Harvard Review of Latin America, July 30, 2021. Accessed January 28, 2026, https://revista.drclas.harvard.edu/transnational-counter-monuments/ CIPDH-UNESCO. "Desenkadená." Memorias Situadas: Sites of Memory Related to Serious Human Rights Violations. Accessed February 4, 2026. https://www.cipdh.gob.ar/memorias-situadas/en/lugar-de-memoria/desenkadena/ "The Making of the Tula Monument Curaçao by Nel Simon, 1996-1997." YouTube. Accessed February 26, 2026. https://youtu.be/R5TIUbo6aag. Contributor An entity responsible for making contributions to the resource Government of Curaçao Rights Information about rights held in and over the resource Cultural Affairs Department, Ministry of Education, Science, Culture, and Sport, 24-26 Schouwburgweg, Willemstad, Curaçao bronze chains figurative manacles https://mail.slaverymonuments.org/files/original/a1cc6e7b96ad566f941d0ab0d0f8a615.jpg 78a9a600a6f799146035bc4448c2ac1a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Statue (Bridgetown, Barbados) Subject The topic of the resource Subject (Topic) Barbados--Bridgetown Enslaved persons--Emancipation--Barbados Freedom Public art Public sculpture Resistance Slave insurrections--Barbados Slavery--Bardados Slavery--England Transatlantic slave trade Subject (Name) Bussa (dates unknown) Subject (Object Type) Commemorative sculpture Description An account of the resource The monumental bronze statue depicts a semi-nude figure, dressed only in shorts. He raises his arms in a triumphant gesture, which accentuates the broken chains around his wrists. The identity of the figure is thought to be the leader of the April 1816 slave revolt, General Bussa. Although ultimately unsuccessful, it was the largest revolt in Barbadian history, General Bussa commanded nearly 400 freedom fighters. Creator An entity primarily responsible for making the resource Broodhagen, Karl, 1909–2002 Date A point or period of time associated with an event in the lifecycle of the resource March 28, 1985 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 J. T. C. Ramsey Roundabout, ABC Highway and Highway 5, Bridgetown, Barbados Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Bussa Has Part A related resource that is included either physically or logically in the described resource. Inscription on front of monument,an excerpt from the Abolition Act of 1833: ...Be therefore enacted…that from and after the first day of August one thousand eight hundred and thirty-four all persons who in conformity with the laws now in forces in the said colonies respectively shall on or before (August 1, 1834) have been duly registered as slaves in and such colony and who on (August 1, 1834) shall be actually within any such colony and who shall by such registries appear to be (August 1, 1834) of the full age of six years and upwards shall by force and virtue of this act...become and be apprenticed laborers...' The Abolition Slavery Act (1883) This statue was erected by the government and people of Barbados to commemorate the 150th anniversary of the abolition of slavery and the emancipation of Barbadians from the institution of slavery This statue was unveiled by the Prime Minster The Hon. H. B. St. John O. C. M. P. on 28 March 1984 Inscription on side of monument: "De Ting Come from England To Set We Free Now Lick And Lock-Up Done Wid Hurrah Fuh Jin-Jin. . ." Barbados Folk Song Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: Daniel Berek, <a href="https://www.flickr.com/photos/dlberek/12711319014/in/photolist-knjstT-21ogW3e-2jEVqzG-knfQhE-2oiPipb-2h5Be8V-oVhsgN" target="_blank" rel="noopener">Flickr</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. Conduru, Roberto. "Transnational Counter-monuments: Anti-Slavery and Pro-Freedom Memorials." ReVista: Harvard Review of Latin America, July 30, 2021. Accessed January 28, 2026, https://revista.drclas.harvard.edu/transnational-counter-monuments/ Rights Information about rights held in and over the resource Division of Culture, Prime Minister's Office, Turners Hall, Saint Andrew, Barbados Contributor An entity responsible for making contributions to the resource Government of Barbados