1 10 10 https://mail.slaverymonuments.org/files/original/70776862bc720d8d42521301c94c7c96.jpeg 0a09b312fba696b92589ac301deafcbc https://mail.slaverymonuments.org/files/original/a3870ff33004bea2b4962fc6b1073ab4.jpeg b6e16baef7077e49d7fd4e2f6e1d432c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater 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 Day Memorial: Fah Who Dis? AstroBlack Joy (Brampton, Ontario) Creator An entity primarily responsible for making the resource Dabreo, Kanisha, 1996- Date A point or period of time associated with an event in the lifecycle of the resource August 1, 2024 Contributor An entity responsible for making contributions to the resource AstroSankofa Arts Collective: Jamera Dacosta, Jason O'Brian, Komi Olafimihan; City of Brampton; Mentees: A. Y. Johnson, Denée Rudder, Rihanna Graham, Malachai Watson-Narcisse Rights Information about rights held in and over the resource Corporation of the City of Brampton, 2 Wellington Street West, Brampton, Ontario, L6Y 4R2, Canada 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 Emancipation Park, 7599 Dixie Road, Brampton, Ontario, L5S 1L4, Canada Subject The topic of the resource Subject (Topic) Afrofuturism Enslaved persons--Emancipation--Canada  Freedom Fugitive slaves--Canada Ontario--Brampton Public art Public sculpture Slavery--Canada Subject (Object Type) Commemorative sculpture Description An account of the resource "Aligned with the North Star, which guided freedom-seekers via the Underground Railroad, the southern structure represents the past (pre-1867) and the "Global South." The northern structure signifies the present and future, and Canada as the Northside, where emancipation is being actualized. Each panel vibrantly illustrates different aspects of history and the pursuit of emancipation, offering a rich narrative for exploration." "The posing question, "fah who dis?" in the title of the project, is a patois/creolized take on the Akan people's word "Fawohodie," meaning freedom. The design reflects the image for the term from their collection of icons called Adinkra symbols. The Fawohodie symbol resembles a traditional Akan chief's chair, and the associated proverb with the symbol is "Fawohodie ene obre na enam," translating to "freedom comes with its responsibilities." From the Cultural Services Division, City of Brampton, Ontario: https://www.brampton.ca/EN/Arts-Culture-Tourism/Cultural-Services/Public-Art/Pages/Public-Art-Profile.aspx?ItemId=037. Source A related resource from which the described resource is derived Photographs: <a href="https://www.brampton.ca/EN/Arts-Culture-Tourism/Cultural-Services/Public-Art/Pages/Public-Art-Profile.aspx?ItemId=037" target="_blank" rel="noopener">City of Brampton, Ontario</a> Type The nature or genre of the resource Visual Arts-Sculpture Medium The material or physical carrier of the resource. Steel; Aluminum; Bronze; Copper; Wood; Paint. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. City of Brampton. "Emancipation Day Memorial--Fah Who Dis? AstroBlack Joy, 2024." Cultural Services Division. Accessed February 4, 2026. https://www.brampton.ca/EN/Arts-Culture-Tourism/Cultural-Services/Public-Art/Pages/Public-Art-Profile.aspx?ItemId=037. Has Part A related resource that is included either physically or logically in the described resource. Inscriptions on half circles (Akan fawohodie symbol): Emancipate Yourself from Mental Slavery None But Ourselves Can Free Our Mind Information plaque: Emancipation Day Memorial--Fah Who Dis? AstroBlack Joy, 2024 Need text here Adinkra symbols aluminum figurative inscription wood https://mail.slaverymonuments.org/files/original/bfa6926268bc4747a4286cbfc9e92fba.jpg df44e834459c7a5362b07e806e2011dd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 108 in. (275 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 Freedmen's Memorial to Abraham Lincoln (Washington, DC) Creator An entity primarily responsible for making the resource Ball, Thomas, 1819-1911 Subject The topic of the resource Subject (Topic) Emancipation Proclamation--United States Enslaved persons--Emancipation Public art Public sculpture Slavery--Washington (D. C.) United States--History--Civil War, 1861-1865 Washington (D. C.) Subject (Name) Lincoln, Abraham, 1809-1865 Subject (Object Type) Commemorative sculpture Description An account of the resource The sculptor Thomas Ball’s composition includes two figures, one fully clothed, the other semi-nude. Due to the dozens of photographs that survive from the 1860s, we recognize that the standing bearded man is Abraham Lincoln. Dressed in a shirt with tie, a long coat, and trousers, Lincoln stands upright with most of his weight on one leg, in "contrapposto." Clothing and posture civilize Lincoln, marking his intelligence and morality. The kneeling man, a newly emancipated enslaved person, is semi-nude. The only article of clothing that he wears is a piece of cloth draped from his waist to the edge of his buttocks. The sinewy muscles are clearly delineated in the man’s arms, legs, and abdominal muscles. Modeled with short curly hair, the former slave is also shown with a distinctive broad nose, signifying his African ancestry. Source A related resource from which the described resource is derived Photograph by Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource April 14, 1876 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 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Ater, Renée. "On the Removal of Statues: Freedmen's Memorial to Abraham Lincoln." On Monuments Blog, July 1, 2020. https://www.reneeater.com/on-monuments-blog/2020/7/1/on-the-removal-of-statues-freedmens-memorial-to-abraham-lincoln. White, Jonathan W. and Scott Sandage. "What Frederick Douglass Had To Say About Monuments." Smithsonian Magazine, June 20, 2020. https://www.smithsonianmag.com/history/what-frederick-douglass-had-say-about-monuments-180975225/. Has Part A related resource that is included either physically or logically in the described resource. Plaque on front of memorial: Freedom's Memorial In grateful memory of Abraham Lincoln. This monument was erected by the Western Sanitary Commission of Saint Louis, Mo., with funds contributed solely by emancipated Citizens of the United States declared free by his Proclamation, January 1st A.D. 1863. The first contribution of five dollars was made by Charlotte Scott, a freed woman of Virginia, being her first earnings in freedom and consecrated by her suggestion and request, on the day she heard of President Lincoln’s death, to build a monument to his memory. Plaque on back of memorial: And upon this act, sincerely believed to be an act of justice, warranted by the Constitution upon military necessity, I invoke the considerate judgment of mankind, and the gracious favor of Almighty God. — A. Lincoln, Emancipation Proclamation, Jan 1, 1863. Western Sanitary Commission James E. Yeatman, President. C. S. Greeley, Treas. Geo. Partridge, Dr. J. B. Johnson, Wm. C. Eliot. Rights Information about rights held in and over the resource National Park Service, 1849 C Street, NW, Washington, DC, 20240, 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 Lincoln Park, East Capitol Street, SE, Washington, DC, 20003, United States Extent The size or duration of the resource. 108 in. (275 cm) Medium The material or physical carrier of the resource. Bronze; Granite Contributor An entity responsible for making contributions to the resource Charlotte Scott (donor); Emancipated Citizens of the United States (donors); Western Sanitary Commission of St. Louis: James E. Yeatman, President; Carlos S. Greeley, Treasurer; George Partridge; Dr. J. B. Johnson; Reverend William Greenleaf Eliot. 19th-century sculpture bronze Civil War figurative granite https://mail.slaverymonuments.org/files/original/50c4a5e84abd4d0588f158aa392c65ab.jpeg a73cce7fda9db262b9a6116437de20d4 https://mail.slaverymonuments.org/files/original/a9da5d8c8b8632309df9fdc3ef16bebc.jpeg 3848700cddc0acc39f5294363247d194 https://mail.slaverymonuments.org/files/original/4b1964b5f81014d65d590c57d7eb72b3.jpeg 40332b776f8924b80f7c153ab8ce6838 https://mail.slaverymonuments.org/files/original/9ea401230953551814c3d5775ea8ffb9.jpeg 370a40447927f7b4cbbdf238f0c0f0ac https://mail.slaverymonuments.org/files/original/7d9b4fe56c13f0395bfef85efe211285.jpeg b459ad813d6d47c78387ce166b2e24bc https://mail.slaverymonuments.org/files/original/3f2e3255d1c0a2c6810e762358f59bdf.jpeg 222e9394587d42928b24e73793f75e0f https://mail.slaverymonuments.org/files/original/9d37b48e4d5cd1b4acb8be5b826e12df.jpeg f8f137920ccce59004b404d176794dac Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 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 Camp Barker Memorial (Washington, DC) Creator An entity primarily responsible for making the resource MacDonald, Katie, 1992- After Architecture Schumann, Kyle, 1992- After Architecture Bagwell, Vinnie, 1957- Subject The topic of the resource Subject (Topic) Enslaved persons--Emancipation Fugitive slaves Public art Public sculpture Refugee camps--History--19th century United States Colored Troops United States--History--Civil War, 1861-1865 Washington (D. C.) Subject (Object Type) Buildings and Structures Commemorative sculpture Contributor An entity responsible for making contributions to the resource Yun Associates, LLC (structural engineering); Garrison Elementary 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 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 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 Garrison Elementary School, 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 Created by the architecture firm After Architecture (Katie MacDonald and Kyle Schumann), the memorial consists of three entry gatewaysthat serve as both functional entrances and commemorative spaces. Constructed from charred wood and lined with reflective brass, the portals feature bronze bas-relief panels by sculptor Vinnie Bagwell. These panels depict key figures and moments from African American history, including Sojourner Truth, Frederick Douglass, and the year 1862—the year of the District of Columbia Emancipation Act. Rights Information about rights held in and over the resource DC Public Schools, 1200 First Street, NE, Washington, DC, 20002, 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. "Camp Barker Memorial, Washington, DC, United States, 2019." Architectonic. Accessed May 3, 2021. https://www.architonic.com/en/project/after-architecture-camp-barker-memorial/20076736. McDonald, Katie and Kyle Schumann. “Camp Barker Memorial: From Object to Urban Mediator.” Expanding the View: 109th Association of Collegiate Schools of Architecture Annual Meeting Proceedings, March 24-26, 2001. Accessed August 27, 2024. https://www.acsa-arch.org/chapter/camp-barker-memorial-from-object-to-urban-mediator/. Taylor, Sharine. “The Camp Barker Memorial Is a Sobering Look at America’s Past (and Present).” Azure, August 19, 2019. Accessed April 21, 2025. https://www.azuremagazine.com/article/the-camp-barker-memorial-is-a-sobering-look-at-americas-past-and-present/. Adinkra symbols bas-relief bronze Civil War wood https://mail.slaverymonuments.org/files/original/254672aeb2ae63c0d1f2cdf6413ec02b.jpeg 2ebc104da31e5965296c7606cde49375 https://mail.slaverymonuments.org/files/original/0f5f248978463ac075763d1b0a87827a.jpeg 5bee016b5984fc4b8a120999d418501d https://mail.slaverymonuments.org/files/original/a67f77f19b42524179325ff776211da0.jpeg 3a4b88b9c5d9e56646fae08b127dbf54 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 72 in. (182.88 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 Legacies (Memphis, Tennessee) Creator An entity primarily responsible for making the resource Bagwell, Vinnie, 1957- Date A point or period of time associated with an event in the lifecycle of the resource 2012 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Chickasaw Heritage Park, 305 Metal Museum Drive, Memphis, Tennessee, 38106, United States Extent The size or duration of the resource. 72 in. (182.88 cm) Medium The material or physical carrier of the resource. Bronze (figure); Field-stone boulder (base), Mesabi-black-granite (ring) Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Subject The topic of the resource Subject (Topic) Chickasaw Nation Enslaved persons--Emancipation Freed persons Public art Public sculpture Tennessee--Memphis Subject (Object Type) Commemorative sculpture Description An account of the resource Legacies depicts a Chickasaw woman wrapped in a cloak. The artist Vinnie Bagwell has embellished the hem of the cloak with bas-relief, illuminating the complex history of present-day Memphis. She includes an African American woman and child. The two figures recall the 1866 emancipation of enslaved Black people in the Chickasaw Nation. The treaty of 1866 also included a provision that the US Government grant US citizenship to members of the Chickasaw Nation. On the work's back, the Spanish conquistador, Hernando De Soto, who trespassed into Chickasaw territory in 1540, is shown. Bagwell also includes an African American man playing the guitar and the famed blues musician, William Christopher Handy. Braille on the cloak reads "Legacies." The bronze statue rests on a field-stone boulder within a Mesabi-black granite ring. Source A related resource from which the described resource is derived Photographs: <a href="https://uacmem.org/projects/legacies" target="_blank" rel="noopener">UrbanArt Commission</a> Contributor An entity responsible for making contributions to the resource UrbanArt Commission; City of Memphis 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 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Public Art Archive. "Legacies." Accessed February 19, 2025. https://publicartarchive.org/art/Legacies/d0118e83. UrbanArt Commission. "Legacies." Accessed March 24, 2025. https://uacmem.org/projects/legacies. Rights Information about rights held in and over the resource City of Memphis, 125 North Main Street, Memphis, Tennessee, 38103, United States bas-relief black granite bronze figurative https://mail.slaverymonuments.org/files/original/79dbb3250a9613ab576f7b6c91f18367.jpeg 7c64c9087e25f85e2726b5ca979690ed Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 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 Neg Mawon Emancipation Monument (Roseau, Dominica) Subject The topic of the resource Subject (Topic) Dominica--Roseau Enslaved persons--Emancipation--Dominica Freedoom Maroons--Dominica Public art Public sculpture Slavery--Dominica Slavery--England Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Standing resolutely forward, the muscular figure of a shirtless self-emancipated man ('neg mawon'), with broken shackles and chains around his wrists and neck, holds a conch shell to his lips. The bronze figure, located in the center of a traffic circle, celebrates the self-emancipated (maroon) societies that engaged in a sustained struggle against slavery and French colonialism. The work was unveiled during Dominica’s 2013 Emancipation Celebrations. Creator An entity primarily responsible for making the resource Zamora, Franklyn Date A point or period of time associated with an event in the lifecycle of the resource August 1, 2013 Contributor An entity responsible for making contributions to the resource Government of the Commonwealth of Dominica; Ministry of Culture; National Cultural Council. 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 Turkey Lane and Victoria Street, Roseau, Dominica Has Part A related resource that is included either physically or logically in the described resource. Plaque next to monument: This monument is a symbol of freedom and emancipation. It is a tribute to all the enslaved Africans who suffered and were executed in the history of Dominica. It honours the Maroons who risked their lives to fight for the emancipation of all. It pays homage to those who were sold and executed at the Old Roseau Market and who were held at the Barracoon Building in Roseau before being sold and sent to the plantations. This monument salutes the memory of our African ancestors and the immense contribution of their skills to our early infrastructure and the development of agriculture in Dominica through the shedding of their blood, sweat and tears. It celebrates the powerful and lasting influence which our which our African ancestors had on Dominica's present day culture, especially in our forms of music, language, costumes and cuisine. This memorial is a reminder to all Dominicans that we should continue to sustain our African heritage and its many cultural expressions. Extent The size or duration of the resource. 84 in. (213.36 cm) 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: Ariane Colenbrander, <a href="https://www.flickr.com/photos/arianec/49267300456/in/album-72157712340816712/" target="_blank" rel="noopener">Flickr</a> 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. Dominica News Online. "Emancipation Statue Unveiled." August 2, 2013. Accessed February 15, 2025. https://dominicanewsonline.com/news/homepage/news/culture/emancipation-statue-unveiled/. Government Information Service. "Emancipation Monument Officially Unveiled." Government of the Commonwealth Dominica. August 6, 2013. Accessed February 15, 2025. https://news.gov.dm/news/news-items/emancipation-monument-officially-unveiled. Rights Information about rights held in and over the resource Government of the Commonwealth of Dominica, Government Headquarters, Kennedy Avenue, Roseau, Commonwealth of Dominica. bronze figurative inscription manacles seashell https://mail.slaverymonuments.org/files/original/85f2c22f3913882a1462a440e8eddee0.jpg a998be6eb7300f8f288e97e9a90bfc0f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 354.331 x 125.984 in. (900 x 320 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 L'arbre de la liberté (Schoelcher, Martinique) Subject The topic of the resource Subject (Topic) Freedom Martinique--Schoelcher Public art Public sculpture Slavery--Martinique Resistance Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Facing the Caribbean Sea, the memorial consists of eight abstracted forms, some of which are rectilinear and geometric, and others more curvilinear with rounded organic forms. The bronze figures are embellished with symbols, which according to the sculptor, represent "the spirit of the liberated man." Creator An entity primarily responsible for making the resource Guédon, Henri, 1944-2006 Date A point or period of time associated with an event in the lifecycle of the resource 2001 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Place des Arawaks, 97233 Schoelcher, Martinique Extent The size or duration of the resource. 354.331 x 125.984 in. (900 x 320 cm) Medium The material or physical carrier of the resource. Bronze; Concrete Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Les Arbre de la Liberté." Fédération Martiniquaise des Offices de Tourisme et Syndicats d'Initiative. Accessed May 28, 2019. http://www.accueil-martinique.fr/FR/visite-les-arbres-de-la-liberte_10037.html. 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://terresducentremartinique.fr/sites-musees/larbre-de-la-liberte/" target="_blank" rel="noopener">Terres du Centre Martinique</a> Rights Information about rights held in and over the resource Mairie de Schoelcher, 3 rue Fessenheim, 97233 Schoelcher, Martinique abstract bronze concrete trees https://mail.slaverymonuments.org/files/original/c22f72d80c5c59d017647c1ea5ac2a07.jpeg cde78b61608852be0d3617f33eb517fc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 168 in. (426.72 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Redemption Song (Kingston, Jamaica) Subject The topic of the resource Subject (Topic) Enslaved persons--Emancipation--Jamaica Jamaica--Kingston Public art Public sculpture Slavery--England Slavery--Jamaica Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Redemption Song centers two bronze nude figures, a Black female and a Black male. Laura Facey modeled the figures from the knees up, standing in a cast-iron domed fountain and with water flowing at their knees. They face one another as they tip their heads upward and gaze at the sky to freedom/emancipation. The artist was inspired by Bob Marley iconic song "Redemption Song" on his Uprising album. Creator An entity primarily responsible for making the resource Facey, Laura, 1954- Date A point or period of time associated with an event in the lifecycle of the resource July 31, 2003 Contributor An entity responsible for making contributions to the resource National Gallery of Jamaica; Jamaica National Heritage Trust; National Government of Jamaica 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 Emancipation Park, Oxford Road and Knutsford Boulevard, Kingston, Jamaica Extent The size or duration of the resource. 168 in. (426.72 cm) Medium The material or physical carrier of the resource. Bronze; Cast iron 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://www.laurafacey.com/freedom-road/redemption-song/" target="_blank" rel="noopener">Laura Facey</a> Rights Information about rights held in and over the resource Kingston and Saint Andrew Municipal Corporation, 24 Church Street, Kingston, Jamaica Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dacres, Petrina. "Monument and Meaning." Small Axe 8, no. 2 (2004): 137-153. Cooper, Carolyn. "Enslaved in Stereotype: Race and Representation in Post-Independence Jamaica." Small Axe 8, no. 2 (2004): 154-169. Grahman, Narda. "Whose Monument: The Battle to Define, Interpret, and Claim Emanciaption." Small Axe 8, no. 2 (2004): 170-178. Mains, Susan. "Monumentatlity Caribbean: Borders, Bodies, and Redemptive City Spaces." Small Axe 8, no. 2 (2004): 179-198. bronze figurative iron https://mail.slaverymonuments.org/files/original/e38d6d8f89221bc31ab977f86a3ba023.jpg 735278269f7006c9c22002d0c593bc56 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 141.72 x 94.44 in. (359.9688 cm x 239.8776 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Le Marron Inconnu (Port-au-Prince, Haiti) Subject The topic of the resource Subject (Topic) Abolition of slavery Enslaved persons--Emancipation--Haiti Haiti--Port-au-Prince Maroons--Haiti Public art Public sculpture Slavery--Haiti Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource The bronze sculpture depicts a man, clad only in torn shorts, kneeling on his right leg. His left leg is outstretched behind him; a broken iron chain lays on the ground around his left foot. He arches his torso back as he holds a conch shell to his lips with his left hand, tilting his head upward. His right hand holds a machete at the ground. The statue was created to commemorate the abolition of slavery in Haiti. In 1989, the United Nations used the image on postage stamps to commemorate Article 4 of the Universal Declaration of Human Rights: "No one shall be held in slavery or servitude; slavery and the slave trade shall be prohibited in all their forms." Creator An entity primarily responsible for making the resource Mangonès, Albert, 1917–2002 Date A point or period of time associated with an event in the lifecycle of the resource September 22, 1967 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Place du Marron Inconnu, Champ de Mars, HT6110 Port-au-Prince, Haiti Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Neg Marron; Nèg Mawon Extent The size or duration of the resource. 141.72 x 94.44 in. (359.97 x 239.88 cm) Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://en.wikipedia.org/wiki/Le_Marron_Inconnu#/media/File:Le_Marron_Inconnu_-_April_2018_side.jpg" target="_blank" rel="noopener">Wikipedia</a> Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Payton, Claire Antone. "The Political Lives of Haiti's Marron Inconnu." Radical History Review, issue 152, (May 2025): 70-90.  Bell, Beverly. "Chapter 4: Maroon Man: Social Movements Throughout History." In Fault Lines: Views Across Haiti's Divide, 32-40. Cornell University Press, 2013. Conduru, Roberto. "Transnational Counter-monuments: Anti-Slavery and Pro-Freedom Memorials." ReVista: Harvard Review of Latin America, July 30, 2021. Accessed January 28, 2025. https://revista.drclas.harvard.edu/transnational-counter-monuments/. Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque on front of statue: Text derives from a passage from Book of Maccabees (3:3–9). Ce fut lui qui accrut la grandeur de son peuple. Lui, qui s’arma du glaive et de la torche, tel un géant ; Lui, qui fit de ses armes un abri pour les siens. Semblable au lion, par ses grandes actions ; Il harcela partout ceux qui le tourmentaient ; brûla leurs champs, détruisit leurs demeures ; Ses exploits irritèrent des rois ; mais firent, cependant, la joie de tout un peuple ; Sa mémoire sera éternellement en bénédiction… Dr. François Duvalier Président a Vie de la République 22 September 1967 English translation: It was he who increased the greatness of his people. He who armed himself with sword and torch, like a giant; he who made his weapons a shelter for his people. Like a lion in his great deeds, he harassed those who tormented him everywhere, burned their fields, destroyed their homes. His exploits angered kings, but brought joy to an entire people. His memory will be blessed forever... (L'histoire controversée du Marron inconnu, https://ayibopost.com/lhistoire-controversee-du-marron-inconnu/) Contributor An entity responsible for making contributions to the resource François Duvalier (patron); Amerigo Marco Montagutelli and art students at the Académie des Beaux-Arts; Andrisson Fils-Aimé (model) Rights Information about rights held in and over the resource Ministry of Culture and Communication, Haitian Copyright Office (BHDA), 31, rue Cheriez, Canape-Vert, Port-au-Prince, Haiti (West Indies) bronze chains figurative seashell shackles https://mail.slaverymonuments.org/files/original/fb692a79f17d643de96f1323497a7f84.jpeg 456646b64d2183fb91d0c010a035ccdf https://mail.slaverymonuments.org/files/original/f074b4e55b5c8c79c7a28bc6a82ee29a.jpeg 84fe61fda6bc488ed32631b33f2729a6 https://mail.slaverymonuments.org/files/original/24c49eea95c88844ee25238420698d90.jpeg 1aa967e33444c3de3c90823d22cf295a https://mail.slaverymonuments.org/files/original/d060a46e4405cf3f36e18dfa46d5f94a.jpeg 4caca941f2ee0190b0895e250c5ddbe7 https://mail.slaverymonuments.org/files/original/0892e7b036b2eac3ccc360e13ef634b5.jpeg 879cdabd9334287de838fc1055f0ff29 https://mail.slaverymonuments.org/files/original/ca828d8f156ce5c7fd692106fd5de077.jpeg f378eca583bdb443e1d6f7375f1803cd https://mail.slaverymonuments.org/files/original/c30c4456879a54b6c6bd846b8925cc0c.jpeg eecca1d0e86170feac1b7feee3508284 https://mail.slaverymonuments.org/files/original/9858fd099f3175337597418424411677.jpeg e11977324a66cee3cea2d8db1839c53c https://mail.slaverymonuments.org/files/original/a5eb8d35bb0806dbe6088b409794d807.jpeg 7a42081377dd1f41df05fc5a1801a5d3 https://mail.slaverymonuments.org/files/original/1a507bf13145789b2457494de495d5a0.jpeg f77580bcdb76e51bc2cdd79e71ad1bb9 https://mail.slaverymonuments.org/files/original/e063b8d8090b26dbf01e07e47aa2c18f.jpeg 51ef9ac3197516980005aa198c136328 https://mail.slaverymonuments.org/files/original/bfc6a8dc1f72e54e83e6746502153a10.jpeg 7a6518e3d95a98dfec6a013fe36edd27 https://mail.slaverymonuments.org/files/original/051aee4e4b689850b0ccb50f63ce7046.jpeg a21790d318f5b3a1fa0b064a685bb721 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Various sizes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Corinth Contraband Camp (Corinth, Mississippi) Subject The topic of the resource Subject (Topic) Enslaved persons--Emancipaiton Fugitive slaves--United States Mississippi--Corinth Refugee camps--Southern States--History--19th century United States--History--Civil War, 1861-1865 United States Colored Troops Subject (Object Type) Commemorative sculpture Description An account of the resource Eight life-size bronze statues (in six groupings) commemorate the formerly enslaved persons who escaped from the South and sought safety and freedom behind Union lines at the Corinth Contraband Camp in Corinth, Mississippi. Established by Union General Grenville M. Dodge in 1862 to shelter freedom-seekers, the Corinth Contraband Camp featured a church, a school, a hospital, and numerous homes as well as productive and profitable farms that were operated by freedmen and women. The bronze statues include: a woman with her hands on her hips, “the greeter”; a laundress ironing clothes; a farmer tending to his crops with a hoe; a female teacher with a young female student who read together from an open Bible; a man and boy gathering books; and a member of the United States Colored Troops who pulls Hardee's Rifle and Light Infantry Tactics from his haversack . Included at the site: two bronze plaques with inscriptions attached to a concrete wall near the greeter; two bronze low reliefs on a concrete wall opposite the greeter; and an informational panel explaining farming at the site in front of the farmer. The two bronze low reliefs are based on nineteenth-century photographs: Timothy H. O'Sullivan, Rappahannock River, Va. Fugitive African Americans fording the Rappahannock, August 1862 and G.W. Foster, Refugee camp; Street scene, Camp Nelson, Kentucky, 1864. Creator An entity primarily responsible for making the resource Lugar, Larry, 1953- Lugar, Andrea, 1952- Date A point or period of time associated with an event in the lifecycle of the resource May 23, 2009 Rights Information about rights held in and over the resource National Park Service, U.S. Department of the Interior, 1849 C Street NW, Washington, DC, 20240, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 800 N Parkway St, Corinth, Mississippi, 38834, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on bronze plaque at entrance: Site of the Corinth Contraband Camp November 1862-December 1863 Here a newly freed people took their unswerving first steps on the long road to full citizenship. Inscription on bronze plaque at entrance: “This is a great opportunity afforded your race. Will you improve it?” — Lorenzo Thomas, Adjutant General, United States Army, in a speech to the Corinth Contraband Camp, May 15, 1863 Warmly received amid cheers of the assembled crowd, General Thomas’s words formed a challenge met daily by all who arrived to fulfill the mission of this camp. Assisted by the American Missionary Association, some 6,000 ex-slaves here practiced free enterprise and pursued an education for themselves and their children. Bravely affirming their unalienable right to equality. Men from this camp swelled the ranks of two infantry regiments raised for services in the U.S. Army. Although short-lived, the Corinth Contraband Camp served as a model endeavor for later United States efforts during the American Civil War. Information sign in front of farmer statue: Contraband Camp The Corinth Contraband Camp offered former slaves the first step toward self-sustainbility and freedom through profitable farming. These men, women, and children grew 300 acres of cotton and 100 acres of vegetables. All of the crops were sold, and the profits combined to about $5,000 per month, which would exceed $70,000 in today's money. Individuals also had smaller gardens that fed themselves and their families. These gardens consisted of tomatoes, cabbages, sweet potatoes, and other vegetables. This was the first time that many of the former slaves had grown crops for themselves rather than for someone else's benefit. Even though the Corinth Contraband Camp was only active for a little more than a year. It helped over 6,000 African Americans take a major step toward eventual citizenship. These newly freed African Americans would go on to use the skills they learned at the Corinth Contraband Camp to raise families, work paid jobs, and become self-sufficient members of society. This working garden was designed and created as part of an Eagle Scout project. (The rest of the text has weathered away.) Medium The material or physical carrier of the resource. Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. National Park Service. “Corinth Contraband Camp.” Shiloh National Military Park. Accessed February 13, 2019. https://www.nps.gov/shil/planyourvisit/contrabandcamp.htm. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photographs by Renée Ater Contributor An entity responsible for making contributions to the resource Siege and Battle of Corinth Commission (Rosemary Williams), Shiloh National Military Park (Superintendent Haywood “Woody” Harrell), Mississippi Department of Archives and History, and Corinth African-American Historical Society, and Preston Knight (Knight Brothers, Inc.). Date Created Date of creation of the resource. First statue installed: October 13, 2008 Extent The size or duration of the resource. Various sizes Bible book bronze Civil War concrete figurative https://mail.slaverymonuments.org/files/original/47810cfb0e2a79246063789ed6d08cb0.jpg c42a1cf65cbbfff3004d0a32118b307f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 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 Emancipation (Boston, Massachusetts) Creator An entity primarily responsible for making the resource Fuller, Meta Warrick, 1877-1968 Subject The topic of the resource Subject (Topic) Allegory (art) Emancipation Proclamation--United States Enslaved persons--Emancipation Freedom Massachusetts--Boston Public art Public sculpture Subject (Object Type) Commemorative sculpture Description An account of the resource Originally created in 1913 for the National Emancipation Exposition in New York City, the multi-figure sculpture is anchored around a truncated tree that reaches over the heads of the three human figures. The tree is roughly realized, and Fuller’s hand is evident in the surface treatment. At the center of the composition, a young woman and man stand upright and are seminude. The couple emerge from the “Tree of Knowledge.” Behind the male figure, the female figure of “Humanity,” clothed in a gown, bows her head and rests it on her raised left arm. She gently rests her right hand on the young man’s shoulder. The bronze cast was made in 1999. Two inscriptions were added to granite base of the monument in 2013. Source A related resource from which the described resource is derived Photograph by Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource June 20, 1999 Contributor An entity responsible for making contributions to the resource CBA Landscape Architects, Boston, Massachusetts; United South End Settlements, Boston, Massachusetts; New England Foundation for the Arts, Boston, Massachusetts; The George B. Henderson Foundation and The Edgar Ingersoll Browne Fund, Boston, Massachusetts; and Boston Parks and Recreation Rights Information about rights held in and over the resource National Center of Afro-American Artists, 300 Walnut Street, Roxbury, Massachusetts, United States and The Museum of Afro-American History, 46 Joy Street, Boston, Massachusetts, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Harriet Tubman Park, Columbus Avenue and Pembrook Street, Boston, Massachusetts, 02116, United States Date Created Date of creation of the resource. 1913 Has Part A related resource that is included either physically or logically in the described resource. Inscription on granite base (1999): Emancipation, 1913. In honor of African American freed persons who by their courage and valor gave meaning to emancipation. Meta Vaux Warrick Fuller, (1877-1968) sculptor. Courtesy of The Museum of the National Center for Afro-American Artists and the Museum of Afro-American History. Inscription on granite base (2013): “Humanity weeping over her suddenly freed children who beneath the gnarled fingers of Fate, step forth into the world, unafraid.” Meta Warrick Fuller Inscription on granite base (2013): “The Negro has been emancipated from slavery but not from the curse of race hatred and prejudice. . . It was not Lincoln alone who wrote the Emancipation but the humane side of the nation . . .” Meta Warrick Fuller Medium The material or physical carrier of the resource. Bronze; Pink 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. Ater, Renée. Remaking Race and History: The Sculpture of Meta Warrick Fuller. Berkeley: University of California Press, 2011. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Extent The size or duration of the resource. 84 in. (213.36 cm) allegory bronze figurative granite trees