10 10 134 https://mail.slaverymonuments.org/files/original/e974f5d022df99f923e02afd03bc94a4.jpg b3f706bc362fc1a2e0e3e0e9a4c958fe Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and 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 144 in. (365.76 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 Reconciliation Memorial (Liverpool, England) Description An account of the resource The iron torsos of two abstracted figures, engaged in a tight embrace, emerge from a rectangular iron base. Two other identical sculptures were erected in 1989 in Belfast, Northern Ireland, and Glasgow, Scotland. According to the artist, Stephen Broadbent, the works were meant to be “powerful symbol[s] of the way in which sectarianism can be overcome through solidarity.” Broadbent reappropriated the form to serve as a memorial to the transatlantic slave trade. Creator An entity primarily responsible for making the resource Broadbent, Stephen, 1961- Date A point or period of time associated with an event in the lifecycle of the resource September 19, 1990 Contributor An entity responsible for making contributions to the resource John Varley (Iron Founders) Ltd; Merseyside Council for Voluntary Service; Liverpool City 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 Concert Square, Concert and Wood Streets, Liverpool, L1 4DS, England Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Reconciliation Triangle Date Created Date of creation of the resource. 1989 Has Version A related resource that is a version, edition, or adaptation of the described resource. Two identical versions of this work exist in Belfast, Northern Ireland, and Glasgow, Scotland Extent The size or duration of the resource. 144 in. (365.76 cm) Medium The material or physical carrier of the resource. Cast iron Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Broadbent, Stephen. "Reconciliation." Broadbent Studio. Accessed April 11th, 2019. https://broadbent.studio/reconciliation. Hatch, John B. Race and Reconciliation: Redressing Wounds of Injustice. Lexington Books, 2008. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Subject The topic of the resource Subject (Topic) England--Liverpool Public art Public sculpture Slavery--England Transatlantic slave trade Subject (Object Type) Commemorative sculpture Source A related resource from which the described resource is derived Photograph: <a href="https://artuk.org/discover/artworks/reconciliation-330986" target="_blank" rel="noopener">Martin Henderson, Art UK</a> Rights Information about rights held in and over the resource Culture and Arts Investment Programme, Liverpool City Council, Cunard Building, Water Street, Liverpool, L3 1AH, England abstract figurative iron https://mail.slaverymonuments.org/files/original/ffec1056e474e75fd61f9ae23989e67f.jpg f450b9a059d304e784a417bef5e844b5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and 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 144'' (365.76 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 Reconciliation Memorial (Ouidah, Republic of Benin) Subject The topic of the resource Subject (Topic) Public art Public sculpture Republic of Benin--Cotonou Republic of Benin--Ouidah Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Originally placed in Cotonou, Republic of Benin, the bronze torsos of two abstracted figures, engaged in a tight embrace, emerge from a rectangular bronze base. Unlike the version in Liverpool, this work includes the addition of bronze bas-relief designs, reflecting images related to the transatlantic slave trade, including cotton plants, chains, and industrial factories. In 2021, the statue was moved to Centre Culturel de Rencontre International John Smith in Ouidah, République du Bénin. See "Création du CCR International John Smith à Ouidah", 2020, /https://www.accr-europe.org/fr/creation-du-centre-culturel-de-rencontre-international-john-smith-a-ouidah-benin and "Inauguration du CCR international John Smith à Ouidah," 2021, https://www.accr-europe.org/fr/les-actualites/actualites-professionnelles/inauguration-du-ccri-john-smith-au-benin. Creator An entity primarily responsible for making the resource Broadbent, Stephen, 1961 Contributor An entity responsible for making contributions to the resource Republic of Benin Government; Faith Bebbington (sculptor); Garry Morris (curator, Liverpool Maritime Museum); Liverpool school students; Richmond, VIrginia, school students 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 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Reconciliation Triangle Date Created Date of creation of the resource. 2005 Has Part A related resource that is included either physically or logically in the described resource. Inscription on side: Reconnaissons et pardonnons le passé Célébrons le présent Construisons l'avenir dans la réconciliation et la justice. Acknowledge and forgive the past Embrace the present Shape a future of reconciliation and justice. Has Version A related resource that is a version, edition, or adaptation of the described resource. An identical version of the <a href="https://www.slaverymonuments.org/items/show/1140" target="_blank" rel="noopener">Reconciliation Memorial</a> exists in Richmond, Virginia. Extent The size or duration of the resource. 144 in. (365.76 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. Broadbent, Stephen. "Reconciliation Triangle." Broadbent Studio. Accessed April 11th, 2019. https://broadbent.studio/reconciliation-triangle-casestudy. Hatch, John B. Race and Reconciliation: Redressing Wounds of Injustice. Lexington Books, 2008. 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/w/index.php?search=Statut_de_la_réconciliation&title=Special%3AMediaSearch&type=image" target="_blank" rel="noopener">Wikimedia Commons</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Centre Culturel de Rencontre International John Smith, Palais de justice – Ouidah, BP 56 Ouidah, République du Bénin Rights Information about rights held in and over the resource Centre Culturel de Rencontre International John Smith, Palais de justice – Ouidah, BP 56 Ouidah, République du Bénin abstract bird bronze figurative inscription map slave ship https://mail.slaverymonuments.org/files/original/f54bab69a154a38515ba8d3b509ee6af.JPG c590c83e3d1da53f8acc00ad22d5060b https://mail.slaverymonuments.org/files/original/c085a7bea1e9d8663f985cc7eb26816d.JPG b0a1f045e90a54b8bcd85fd71570173a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and 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 144 in. (365.76 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 Reconciliation Memorial (Richmond, Virginia) Subject The topic of the resource Subject (Topic) Public art Public sculpture Slavery--Virginia Transatlantic slave trade Virginia--Richmond Subject (Object Type) Commemorative sculpture Description An account of the resource The bronze torsos of two abstracted figures, engaged in a tight embrace, emerge from a rectangular bronze base. This work includes the addition of bronze low-relief designs, reflecting images related to the slave trade, including a topographic map of the James River, birds following slave ships, chains with manacles, and a port with lifts pulling up cotton bales. The work was erected close to Richmond’s former slave market in Shockoe Bottom. Creator An entity primarily responsible for making the resource Broadbent, Stephen, 1961- Date A point or period of time associated with an event in the lifecycle of the resource March 31, 2007 Contributor An entity responsible for making contributions to the resource City of Richmond, Virginia; Faith Bebbington (sculptor); Garry Morris (curator, Liverpool Maritime Museum); Liverpool school students; Richmond, VIrginia, school students 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 East Main Street and North 15th Street, Richmond, Virginia, 23219, United States Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Reconciliation Triangle Has Part A related resource that is included either physically or logically in the described resource. Inscription on side: Reconnaissons et pardonnons le passé Célébrons le présent Construisons l'avenir dans la réconciliation et la justice. Acknowledge and forgive the past Embrace the present Shape a future of reconciliation and justice. Information plaque: The Triangle Liverpool, England The Benin Region of West Africa Richmond, Virginia During the 18th Century, these three places reflected one of the well-known triangles in the trade of enslaved Africans. Men, women, and children were captured in West and Central Africa and transported from Benin and other countries. They were chained, herded, loaded on ships built in England and transported through the unspeakable horrors of the Middle Passage. They were imported and exported in Richmond, Virginia and sold in other American cities. Their forced labor laid the economic foundation of this nation." Has Version A related resource that is a version, edition, or adaptation of the described resource. An identical version of the <a href="https://www.slaverymonuments.org/items/show/1139" target="_blank" rel="noopener">Reconciliation Memorial</a> exists in Ouidah, Republic of Benin. Extent The size or duration of the resource. 144 in. (365.76 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. Broadbent, Stephen. "Reconciliation Triangle." Broadbent Studio. Accessed April 11, 2019. https://broadbent.studio/reconciliation-triangle-casestudy. Hatch, John B. Race and Reconciliation: Redressing Wounds of Injustice. Lexington Books, 2008. 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 Rénee Ater Rights Information about rights held in and over the resource Public Art Commission, City of Richmond, 900 East Broad Street, Room 511, Richmond, Virginia, 23219, United States abstract bronze figurative inscription map slave ship 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/7b770ddd009b1e14d8aee73769212655.jpeg 61a6822b1324146db308408cb28fbe06 https://mail.slaverymonuments.org/files/original/e43ae51b6372cb23d78a5f157eabe056.jpeg 543807d93c2a4300b05979996cd9bea0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 300 in. (762 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 Shadow of a Face: Harriet Tubman Monument (Newark, New Jersey) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Black Power movements--New Jersey--Newark Civil rights movements--United States Freedom New Jersey--Newark Public art Public sculpture Underground Railroad Subject (Name): Tubman, Harriet, 1822-1913 Subject (Object Type): Commemorative sculpture Description An account of the resource A larger-than-life metal structure outlining a figure of Harriet Tubman stands at the site where a statue of Christopher Columbus once stood. Two sloped and offset semi-circular walls surround the metal structure. One of the walls is made of unfinished concrete; on its outer perimeter is a striking relief of Harriet Tubman’s face, assembled like a puzzle. On the inner perimeter are a series of blue tiles featuring varied designs. The other semi-circular wall, known as the Learning Wall, is composed of metal and wood planks. Its outer perimeter features a timeline of Harriet Tubman’s life, while the inner perimeter presents paragraphs of text under the heading Newark’s Black Liberation Heritage. The central metal structure in anchored to the ground with six vertical metal beams, along with six horizontal beams that extend over the Learning Wall, forming a trellis-like structure representing Tubman’s cloak. At night, a series of ground lights encircle the monument, illuminating the metal structure and trellis, backlighting the Newark’s Black Liberation Heritage text, and highlighting the bench beside the concrete wall. On-site, the viewer can hear oral histories from members of the Newark community responding to the question, “What is your story of liberation?” as well as Queen Latifah’s narration of Tubman’s stories and Newark’s history. Community members were also invited to carve abstract representations of their narratives into the blue tiles, which appear on the concrete wall alongside their recorded stories. Creator An entity primarily responsible for making the resource John, Nina Cooke, 1973- 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 March 9, 2023 Contributor An entity responsible for making contributions to the resource Audible (recorded oral histories; funder); The City of Newark (funder); the Mellon Foundation (funder); and individual residents in partnership with The Newark City Parks Foundation, Newark Arts, The Newark Museum of Art, and the Newark Public Library. Rights Information about rights held in and over the resource City of Newark, City Hall, 920 Broad Street, Newark, New Jersey, 07102, United States Relation A related resource Harriet Tubman Monument Project Videos Series, https://vimeo.com/showcase/tubman-monument-newark. 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 Square Park, 531 Broad Street, Newark, New Jersey, 07102, United States Medium The material or physical carrier of the resource. Iron; Concrete; Wood 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. Cooke John, Nina. “Harriet Tubman Monument-Studio Cooke John.” Accessed August 13, 2024. https://www.cookejohn.com/harriet-tubman-monument. Hobson, Janell. "Harriet Tubman's 'Shadow of a Face': New Monument Advances Inclusive History." Ms., March 9, 2023. Accessed May 30, 2025. https://msmagazine.com/2023/03/09/harriet-tubman-monument-newark-nj/. Nayyar, Rhea. “Harriet Tubman Monument Unveiled in New Jersey.” Hyperallergic, March 9, 2023. Accessed August 14, 2024. https://hyperallergic.com/807193/harriet-tubman-monument-unveiled-in-newark-new-jersey/. Extent The size or duration of the resource. 300 in. (762 cm) Has Part A related resource that is included either physically or logically in the described resource. Inscription on the inner perimeter of the metal wall, left to right: Newark’s Black Liberation Heritage Newark’s Black community has a long history of activism for liberation. For more than 250 years, free and enslaved Blacks worked for the liberation of themselves and others, building a community of activists and standing up boldly for their civil rights. This work served as the foundation for the political activism and cultural force of today’s Newark. First Africans in New Jersey The African presence in New Jersey dates back to the 1600s. The earliest known evidence of enslaved Africans in Newark appears in slave owner Azariah Crane’s will, dated 1721. The earliest documented “self-liberation” in Newark was by a 35-year-old Black man named Charles, who ran away from his enslaver, Emanuel Cocker, in 1748. Black Soldiers in the Revolution The American Revolutionary War (1775-83) advanced the ideals of universal human equality but left intact the economic and social underpinnings of slavery. Some enslaved Africans saw the Revolution as an opportunity to advance their individual and community liberation. Jack Cudjo Banquante, a native-born African enslaved by Benjamin Coe of Newark, was the only known Black Newarker to gain his freedom in recognition of his heroism in the Revolutionary War. Freedom Seekers in New Jersey Beginning in the early 1800s, fugitive slaves from Southern states increasingly came through New Jersey on their journey to Northern states and Canada, where they hoped to live as free individuals. The Underground Railroad—the secretly organized network of institutions, safe houses, and like-minded Black and White abolitionist activists—operated in several states including New Jersey and assisted individuals in their strategies for freedom. New Jersey Safe Houses New Jersey had twelve confirmed safe houses as part of the Underground Railroad. Newark’s known safe house, located at 70 Warren Street, was built in 1830 by Jacob D. King, a leader in the African Methodist Episcopal Zion Church (the first Black church in Newark) and a founding member of the Colored Anti-Slavery Society of Newark. Newark’s Black Churches Newark’s Black religious institutions were multifaceted sites for racial pride, education, community organizing, Underground Railroad activism, and fundraising for Black liberation. In 1849, Frederick Douglass spoke at the Colored Presbyterian Church to promote his newspaper, The North Star, and to rally the city’s vibrant Black abolitionist community for the cause of freedom. Colored Anti-Slavery Society The Colored Anti-Slavery Society of Newark was one of the first Black-led anti slavery organizations in the country. Organized in 1834 by local clergy and working-class Blacks, the Society called for an immediate end to slavery in New Jersey and worked tirelessly towards it. White Abolitionists Newark-based white abolitionists also fought for the immediate end to slavery. Some, not all, believed that Blacks should have full civil rights here in the United States, while some advocated for a mass relocation of free Blacks to Africa. The goal of the American Colonization Society, for instance, was to gradually settle free Blacks and emancipated slaves in Liberia. Black Business Owners Many of the earliest successful Black Newark business owners were important supporters of the Underground Railroad. For instance, it is believed that Black stagecoach owners were essential to the network. Transporting people to New York City and other major towns gave them the cover to assist fugitive slaves on their route to freedom. The goal of the American Colonization Society, for instance, was to gradually settle free Blacks and emancipated slaves in Liberia. Anti-Abolitionist Interests In the mid-1800s, Newark’s leaders openly opposed abolitionist calls to federally end slavery, fearing it would destroy the city’s valuable customer base in the South. In 1839, a public meeting chaired by Newark’s mayor and attended by the city’s leading politicians, industrialists, and merchants resolved that the federal government should not intervene in Southern states’ choice to continue slavery, thus preserving their economic and financial interests. New Jersey Abolished Slavery In his first act as governor of New Jersey, Marcus L. Ward, a Newark native who lived at 51 Washington Street, secured the state’s ratification of the 13th Amendment to the U.S. Constitution on January 23, 1866. As the last state in the Union to fully abolish slavery, New Jersey joined its neighbors in supporting the freedom of all Black people. abstract concrete iron portrait wood https://mail.slaverymonuments.org/files/original/d0a46e259b723a478013be39289f9f7a.jpg af442c285562a5f14c81eeae350ef4a5 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 Abolition of Slavery Creator An entity primarily responsible for making the resource Written by Renée Ater Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This grouping of commemorative works focus on the abolition of slavery in countries engaged with the slave trade including England, France, The Netherlands, and Spain. England enacted the Slave Trade Act of 1807, prohibiting the Atlantic slave trade in the British Empire. It did not abolish slavery in its colonies until the 1833 Slavery Abolition Act. France first abolished slavery on February 4, 1794, during the French Revolution. Napolean Bonaparte reinstituted slavery in France's colonies in 1802. Slavery was officially abolished in France with the Decree of the Abolition of Slavery of April 27, 1848. The Netherlands officially abolished slavery in its colonies (Suriname and the Dutch Caribbean) on July 1, 1863, but it was not until July 1, 1873, that enslaved persons were freed from state supervision on plantations. Spain abolished the slave trade in 1817 with a treaty with England, which was not enforced until 1820. However, slavery continued in its colonies. The Spanish National Assembly abolished slavery in Puerto Rico in 1863 and in Cuba in 1886. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture 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 Slavernijmonument/National Slavery Monument (Amsterdam, The Netherlands) Subject The topic of the resource Subject (Topic) Abolition of slavery Public art Public sculpture Slave ships The Netherlands--Amsterdam Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Taken collectively, the elongated bronze figures of enslaved Africans evoke the hull of a ship. An over life-sized woman, her arms outstretched as she arches her body backward, recalls the ship’s prow. The stern of the ship is personified by a number of nude figures, staggering forward, tethered to one another by the shackles around their necks and wrists. The rough-hewn texture of the bronze surface abstracts the individual features of each figure. The memorial commemorates the abolition of slavery in the Netherlands in 1863. Creator An entity primarily responsible for making the resource de Vries, Erwin, 1929-2018 Date A point or period of time associated with an event in the lifecycle of the resource 2002 Contributor An entity responsible for making contributions to the resource Stichting Sophiedela; National Platform Slavery Past (Landelijk Platform Slavernijverleden, LPS) 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 Oosterpark 9, 1092 AA Amsterdam, The Netherlands 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:Slavernij_monument_oosterpark.jpg" target="_blank" title="Slavernijmonument/National Slavery Monument " rel="noopener">Wikipedia 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. Kardux, Johanna C. "Monuments of the Black Atlantic: Slavery Memorials in the United States and the Netherlands." In Blackening Europe: The African American Presence, ed. Heike Raphael-Hernandez, 87-105. Routledge: 2004. Horton, James Oliver and Johanna C. Kardux. "Slavery and the Contest for National Heritage in the United States and the Netherlands." American Studies International 42, nos. 2 and 3 (June-October 2004): 51-74. van Stipriaan, Alex, "Disrupting the Canon: The Case of Slavery." In Beyond the Canon: History of the Twenty-first Century, eds. Maria Grever and Siep Sturrman, 205-219. Palgrave Macmillan UK, 2007. abstract bronze figurative manacles shackles slave ship https://mail.slaverymonuments.org/files/original/4117d64fb952ea6436cab2d90162e816.jpg 18e7ca6b0c0aee9ef2f8afe3dae85cbf 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 Slavery Memorial (Cambridge, Massachusetts) Subject The topic of the resource Subject (Topic) Enslaved persons Harvard Law School Massachusetts--Cambridge Slavery--Massachusetts Subject (Object) Commemorative sculpture Description An account of the resource The Slavery Memorial at Harvard Law School consists of a large boulder with a bronze plaque inset into it. The plaque reads: “In honor of the enslaved whose labor created wealth that made possible the founding of Harvard Law School. May we pursue the highest ideals of law and justice in their memory.” Creator An entity primarily responsible for making the resource Harvard Law School Source A related resource from which the described resource is derived Photograph: <a href="https://www.nytimes.com/2022/09/12/us/harvard-slavery-reparations-ancestors.html" target="_blank" rel="noopener">Vanessa Leroy for The New York Times</a> Date A point or period of time associated with an event in the lifecycle of the resource September 5, 2017 Contributor An entity responsible for making contributions to the resource Harvard Law School: Martha Minow, John F. Manning, Annette Gordon-Reed, and Janet E. Halley Rights Information about rights held in and over the resource Harvard Law School, 1585 Massachusetts Avenue, Cambridge, Massachusetts, 02138, 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 The Crossroads (plaza between Langden Hall and Caspersen Student Center), Harvard Law School, Cambridge, Massachusetts, 02138, United States Medium The material or physical carrier of the resource. Stone; Bronze 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. Wright, Kim. “Harvard Law School Unveils Memorial Honoring Enslaved People Who Enabled Its Founding.” Harvard Law Today, September 5, 2017. Accessed January 24, 2026, https://hls.harvard.edu/today/harvard-law-school-unveils-memorial-honoring-enslaved-people-contributed-founding/. Halper, James D. “Law School Unveils Slavery Monument, Reflects History.” The Harvard Crimson, September 6, 2017. Accessed January 24, 2026, https://www.thecrimson.com/article/2017/9/6/hls-plaque-honors-slaves/. Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque affixed to boulder: In honor of the enslaved whose labor created wealth that made possible the founding of Harvard Law School May we pursue the highest ideals of law and justice in their memory inscription stone https://mail.slaverymonuments.org/files/original/6b38971fc4636a7c6a09c9074784a7e2.JPG bd7d5b3dc69ca7a32d3117d998651e23 https://mail.slaverymonuments.org/files/original/29bd10a4eeaadaf29ad6b96dcc0e14f7.JPG 459d28965a4569840287ff255a1da29b https://mail.slaverymonuments.org/files/original/a2d8b5d14d00e9f76a640968840357e3.JPG b14dc7036a2e66c6c3769c2123d1aec2 https://mail.slaverymonuments.org/files/original/65d3ba20c0410f9284597d70e13c9c71.jpg 1cb389f4b119154fda5e4c54104038a1 https://mail.slaverymonuments.org/files/original/b57a83a0196feb2b3e52ad68b8ef8944.jpg 791d946ad158b4c53067247b692beddf https://mail.slaverymonuments.org/files/original/25def8acb75a3acf95ad39a255f415cc.JPG aa1162f105c784774ca6050c965ef48e https://mail.slaverymonuments.org/files/original/368d66dcd63e135c9b3fdc5cd8587503.JPG 31d42747e1d4cda02228e0a07bf4a392 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Universities and Slavery Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments in this collection examine the intertwined histories of American universities and slavery. In his book, Ebony and Ivy: Race, Slavery, and the Troubled History of America’s Universities (2013), Craig Steven Wilder examines how universities and colleges were established and expanded because of the massive wealth they accrued from the transatlantic slave trade and slavery. Slave traders became the principal financiers of endowed faculty chairs and were appointed as university trustees, and colleges and universities made special efforts to recruit the sons of the slaveholding elite. Presidents of universities also held Black people in bondage, for example, Princeton’s first nine university presidents owned enslaved people. Universities and colleges such as the University of Virginia have recognized how enslaved people labored on their campuses, waiting on faculty and students and tending to their grounds. Just as importantly, the classes at many universities upheld the logic of racism foundational to American slavery. As researchers at Rutgers found, “The faculty and curriculum at Rutgers and other early American colleges reinforced the theological and scientific racism that provided the ideological and spiritual justification for the free labor of Africans, the absolute power of slave owners, and the separation of the races.” Often responding to pressure from students and activists, universities and colleges across the United States have begun to think more critically about how to address the complex, untold, and painful history of slavery and its ongoing legacy on their campuses. The memorials in this collection, such as the University of Virginia’s <a href="https://www.slaverymonuments.org/items/show/1127" target="_blank" rel="noopener" title="https://www.slaverymonuments.org/items/show/1127">Memorial to Enslaved Laborers</a> are intended as spaces for learning, healing, and reconciliation. In addition to building monuments, universities are also attempting to redress and repair their relationship with communities most affected by slavery. William and Mary’s Lemon Project, for example, focuses on “contributing to and encouraging scholarship on the 300-year relationship between African Americans and William and Mary, and building bridges between the university and Williamsburg and Greater Tidewater area.” Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Sculpture: 96 x 96 x 55 in. (243.84 x 243.84 x 149 cm) Granite column: 43.375 x 39.5 x 30 in. (110.17 x 100.33 x 76.2 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 Slavery Memorial (Providence, Rhode Island) Subject The topic of the resource Subject (Topic) Brown University Enslaved persons Public art Public sculpture Slavery--Rhode Island Rhode Island--Providence Subject (Object Type) Commemorative sculpture Description An account of the resource Located near University Hall, the oldest building on campus and constructed with the labor of enslaved persons, the memorial has two distinct features: a sculpture and a stone plinth. The sculpture consists of a massive ductile cast iron chain, which emerges from a large cast iron dome. The links of the chain are broken and the iron dome, just visible as it emerges out of the earth, recalls the physical restraints of a ball and chain. A stone plinth with engraved text stands next to the sculpture. Creator An entity primarily responsible for making the resource Puryear, Martin, 1941- Date A point or period of time associated with an event in the lifecycle of the resource September 27, 2014 Contributor An entity responsible for making contributions to the resource The Slavery and Justice Committee; Brown University Public Art Committee; Brown Corporation Rights Information about rights held in and over the resource Brown University, 1 Prospect Street, Providence, Rhode Island, 02912, 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 Manning Hall, 21 Prospect St, Providence, Rhode Island, 02912, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on granite column: This memorial recognizes Brown University’s connection to the trans-Atlantic slave trade and the work of Africans and African-Americans, enslaved and free, who helped build our university, Rhode Island, and the nation. Extent The size or duration of the resource. Sculpture: 96 x 96 x 55 in. (243.84 x 243.84 x 149 cm) Granite column: 43.375 x 39.5 x 30 in. (110.17 x 100.33 x 76.2 cm) Medium The material or physical carrier of the resource. Ductile cast iron; Mirrored stainless steel; Black granite Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photographs by Sally Promey Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Wilder, Craig Steven. Ebony and Ivy: Race, Slavery, and the Troubled History of America's Universities. Bloomsbury Publishing, 2014. Simmons, Ruth J. "Slavery and Justice at Brown: A Personal Reflection." In Slavery and the University: Histories and Legacies, eds. Leslie M. Harris, James T. Campbell, and Alfred L. Brophy. University of Georgia Press, 2019. Ater, Renée. "Tactility, Memory Work, and Martin Puryear's Slavery Memorial." In Slavery and Justice Report with Commentary on Context and Impact, eds. Anthony Bogues, Cass Cliatt, and Alison Levy, 23-32. 2nd edition. Brown University, 2021. https://slaveryandjustice.brown.edu/sites/default/files/reports/BRW321-SlaveryandJustice-10-22-21.pdf. University of Virginia. "Universities Studying Slavery." President's Commission on Slavery and the University. https://slavery.virginia.edu/universities-studying-slavery/. abstract black granite iron stainless steel https://mail.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg 7268cf848b31fc83b60b54a1c5e60661 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture 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 Sojourner Truth Memorial Statue (Florence, Massachusetts) Creator An entity primarily responsible for making the resource Warren, Thomas Jay, 1958- Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Massachusetts--Florence Public art Public sculpture Women--Suffrage Subject (Name) Truth, Sojourner, c. 1797-1883 Subject (Object Type) Commemorative sculpture Description An account of the resource The life-size bronze figure of Sojourner Truth stands at the center of a square concrete base. Truth is shown bespectacled, wearing a period-appropriate head covering, long scarf, and floor-length dress. Her arms are open at her side, in an inviting gesture. She holds a walking stick in her right hand. Source A related resource from which the described resource is derived Photograph: <a href="https://sojournertruthmemorial.org/about-us/memorial-statue/" target="_blank" rel="noopener">Sojourner Truth Memorial Committee</a> Date A point or period of time associated with an event in the lifecycle of the resource October 6, 2002 Contributor An entity responsible for making contributions to the resource Sojourner Truth Memorial Statue Committee; Massachusetts Monument Grants program; Florence Savings Bank; Smith College; Community Foundation of Western Massachusetts; Denig Design Associates of Northampton 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 Sojourner Truth Memorial Park, 121 Pine Street, Florence, Massachusetts, 01062, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque set in concrete (1): The Northhampton Association of Education and Industry was a number of utopian communities that arose during in the 1840s. Its members were ardent abolitionists who believed in equality for blacks and women. The Association served as a haven for radical reformers and was a stop on the Underground Railroad. Sojourner Truth and David Ruggles, a well-known African-American abolitionist, were valued members. Engaged in silk manufacturing and other economic activities, the Association paid all workers equally. Frederick Douglass remembers its people as "the most democratic I have ever met. There was no high, no low, no masters, no servants, no white, no black."  In 1993, the Committee for Northampton was formed to dismantle racism and to call for social justice. This memorial was inspired by the life of Sojourner Truth and the interracial community to which she belonged. Welcome to this site and to this cause. Bronze plaque set in concrete (2): Sojourner Truth was born a slave named Isabella in upstate New York in 1797. She worked for a series of five masters while raising five children. When slavery ended in New York State in 1827, she settled in New York City. A deeply religious woman, Isabella took the name Sojourner Truth after God spoke to her. She was 46 years old when she set out walking and preaching through Long Island and Connecticut. Eventually, she reached Massachusetts and joined the Northampton Association of Education and Industry. From her home here in what is now Florence, Truth broadened her mission and began speaking out for the abolition of slavery and for women's rights. Small bronze plaque: A gift to the City of Northampton 2002 Sculptor: Thomas Jay Warren Landscape Architect: Denig Design Associates <a href="http://www.johnsendelbach.com/2023/06/sojourner-truth-memorial-florence-ma.html"></a> Bronze plaque set in concrete (3): After the demise of the Northampton Association, Samuel L. Hill and others founded the factory village of Florence. With Hill's help, Sojourner Truth brought her home on Park Street. Unable to read or write, Truth dictated her story to a neighbor, The Narrative of Sojourner Truth, was published in 1850. She became well-known as an orator, singer, evangelist, abolitionist and reformer, selling her Narrative and photographs of herself throughout the nation.  Although she moved to Battle Creek, Michigan, in 1857, she was fondly remembered in Florence, where her wisdom and wit were especially valued. Samuel Hill noted that his long aquaintance with Sojourner Truth confirmed her "title to the name you have chosen, and its record in humanity's 'Book of Life.' 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. Sojourner Truth Memorial Committee. “Memorial Statue.” Accessed October 31, 2019. https://sojournertruthmemorial.org/about-us/memorial-statue/. Western Massachusetts Master Gardner Association. "Sojourner Truth Memorial Park." Accessed February 19, 2025. https://www.wmmga.org/content.aspx?page_id=22&club_id=101643&module_id=227884. Mass Moments. "Northampton Dedicates Sojourner Truth Statue." October 4, 2022. Accessed October 31, 2019. https://www.massmoments.org/moment-details/northampton-dedicates-sojourner-truth-statue.html. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Rights Information about rights held in and over the resource Western Massachusetts Master Gardener Association, 481 Station Road, Amherst, Massachusetts, 01002, United States bronze concrete figurative portrait https://mail.slaverymonuments.org/files/original/5684ef628f59173d89021d2d5a5a969d.jpeg 9a690de4ea4132989c96828d0b78d80d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 144 in. (365.76 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 Sojourner Truth Monument (Battle Creek, Michigan) Creator An entity primarily responsible for making the resource Allen, Tina, 1950-2008 Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Michigan--Battle Creek  Public art Public sculpture Women--Suffrage Subject (Name) Truth, Sojourner, c. 1797-1883 Subject (Object Type) Commemorative sculpture Description An account of the resource The monumental bronze figure of Sojourner Truth stands behind a concave wall, on an elevated semi-circular stage. She stands to the left of a lectern, her left arm outstretched at her side as she looks out at an imagined audience. She places her right hand on the book that rests atop the lectern. Truth is shown bespectacled, wearing a scalloped-edge bonnet, fringed shawl, and floor-length dress. A bronze plaque describing Truth’s life and accomplishments is affixed to the front of the lectern. The concave wall behind Truth is embellished with bronze plaques bearing quotes from Truth. Source A related resource from which the described resource is derived Photograph: <a href="https://freshwater-reporter.com/michigans-underground-railroad/" target="_blank" rel="noopener">Grace Grogan, Freshwater Reporter</a> Date A point or period of time associated with an event in the lifecycle of the resource September 25, 1999 Contributor An entity responsible for making contributions to the resource Sojourner Truth Institute of Battle Creek; The United Arts Council of Calhoun County 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 Monument Park, Division Street North and East Michigan Avenue, Battle Creek, Michigan, 49017, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque (lectern): This monument was dedicated by the people of Battle Creek, Michigan, on September 25, 1999. To preserve the image and honor of the legacy of Sojourner Truth (1797-1883), who lived in this area for the last 27 years of her life. Although she could neither read nor write, this charismatic ex-slave was empowered by a deep religious faith to carry her message of social reform and individual right across the country. Using humor, wit and song in her oratory, Sojourner Truth transformed national attitudes and institutions. The community inspired the vision of Truth which is embodied in this sculpture by internationally renowned artist Tina Allen. It is for each of us who stand here to carry on the work of Truth. Bronze plaque on brick wall (right): “… And Truth shall be my abiding name.” Bronze plaque on brick wall (left): “Lord, I have done my duty and I have told the Truth and kept nothing back.” Bronze plaque with Sojourner Truth’s signature: Because it was illegal to reach slaves, Sojourner Truth never learned to read or write. This is the only known example of her signature, which she wrote in an autograph book owned by Hattie Johnson, a local high school student, on April 23, 1880. (from the archives of the Historical Society of Battle Creek) Bronze plaque in front of statue: Sojourner Truth was born as the slave Isabella in New York State about 1797. As a child she spoke only low Dutch and, like most slaves, she never learned to read or write. While she was in bondage, she married Thomas, a fellow slave, and had five children. She was sold to four new owners before walking away to freedom in 1826. Isabella then settled in New York City until 1843, when she changed her name to Sojourner Truth. Relying on her deep religious faith, she was determined to travel the land as an itinerant preacher, speaking the truth and fighting against injustice. She became a prominent figure in several national social reform movements, working for the abolition of slavery, women’s rights, temperance, prison reform, and the rights of former slaves. Sojourner first came to Battle Creek in 1856 to speak to the Quaker Friends of Human Progress. She moved to the area a year later and lived here for the last twenty-six years of her life. She died on November 26, 1883, and is buried in Oak Hill Cemetery. Sojourner Truth was perhaps the most famous African American woman in 19th century America. For over forty years she was a passionate advocate for the dispossessed, using her quick wit and fearless tongue to fight for human rights. May her legacy live on. Extent The size or duration of the resource. 144 in. (365.76 cm) Medium The material or physical carrier of the resource. Bronze; Brick; 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. The Historical Marker Database. "Sojourner Truth Statue." Accessed February 20, 2025. <a href="https://www.hmdb.org/m.asp?m=177333">https://www.hmdb.org/m.asp?m=177333</a>. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Rights Information about rights held in and over the resource City of Battle Creek, Michigan, 10 North Division Street, Battle Creek, Michigan, 49014, United States book bronze figurative portrait