13 10 134 https://mail.slaverymonuments.org/files/original/951ece6f02e080e45df0fb538940f529.jpg c182a12d25cf93fdd853322c4d2f5169 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 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Harriet Tubman Monument (Beaufort, South Carolina) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Public art Public sculpture  South Carolina--Beaufort Slavery--South Carolina United States--History--Civil War, 1861-1865 United States Colored Troops Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource The monument depicts Harriet Tubman, co-leader of the military operation now known as the Combahee River Raid (also called the Combahee Ferry Raid), which took place in South Carolina on June 1, 1863. During the raid, more than 700 enslaved people liberated themselves using riverboats under Tubman’s command. Harriet Tubman stands as a central figure atop a large pedestal, her right hand grasping a walking stick and her left hand extended backward toward the people. She wears a head wrap, a shawl tied at the waist, and a long, pleated skirt. Tubman is flanked by bas-relief wings that depict two Union soldiers and fifteen people seeking freedom. The Union soldiers, positioned on either side, stand in uniform with rifles held upright, their butts resting on the ground. The people seeking freedom—eight on one side and seven on the other—emerge from the textured bronze and are shown walking. Some carry bundles of belongings at their sides or on their heads; others hold the hands of children. A relief of a nineteenth-century steamboat and plaques with inscriptions are located on the front of the monument. Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Date A point or period of time associated with an event in the lifecycle of the resource June 1, 2024 Contributor An entity responsible for making contributions to the resource Tabernacle Baptist Church (owner and funder); Private donations Rights Information about rights held in and over the resource Tabernacle Baptist Church, 901 Craven Street, Beaufort, South Carolina, 29902, 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 Tabernacle Baptist Church, 907 Craven St, Beaufort, South Carolina, 29902, United States 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 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Makin, Ken. “A Civil War Hero Got a New Statue. Her Name Is Harriet Tubman.” The Christian Science Monitor, June 14, 2024. Accessed August 21, 2024. https://www.csmonitor.com/The-Culture/Arts/2024/0613/civil-war-statue-harriet-tubman-ed-dwight." Nelson, Kara. “Harriet Tubman Led a Raid That Freed More Than 700 Enslaved People. A South Carolina Church Has Built a Statue in Her Honor.” CNN, June 18, 2024. Accessed August 21, 2024. https://www.cnn.com/2024/06/18/us/tubman-combahee-river-south-carolina-reaj/index.html. Extent The size or duration of the resource. 168 in. (426.72 cm) Has Part A related resource that is included either physically or logically in the described resource. Inscription on a plaque on the front of the base: HARRIET TUBMAN CO-LEADER OF THE RAID AT COMBAHEE RIVER June 1, 1863 Inscription on a plaque below the previous plaque on the front of the base: ED DWIGHT Sculptor Text on a plaque near the monument: Boston Commonwealth - Boston July 10, 1863 HARRIET TUBMAN Col. Montgomery and his gallant band of 300 black soldiers, under the guidance of a black woman, dashed into the enemy's country, struck a bold and effective blow, destroying millions of dollars worth of commissary stores, cotton and lordly dwellings, and striking terror to the heart of rebeldom, brought off near 800 slaves and thousands of dollars worth of property, without losing a man or receiving a scratch! It was a glorious consummation. After they were fairly disposed of in the Beaufort church, they were addressed in strains of thrilling eloquence by their gallant deliverer; to which they responded in a song. "There is a white robe for thee." A song so appropriate and so heartfelt and cordial as to bring unbidden tears. The colonel was followed by a speech from the black woman who led the raid, and under whose inspiration it was originated and conducted. For sound sense and real native eloquence, her address would do honor to any man, and it created a great sensation. Source A related resource from which the described resource is derived Photograph: <a href="https://www.csmonitor.com/The-Culture/Arts/2024/0613/civil-war-statue-harriet-tubman-ed-dwight" target="_blank" rel="noopener">Ken Makin</a>, Christian Science Monitor bas-relief bronze Civil War figurative portrait https://mail.slaverymonuments.org/files/original/d614f341f474877640c3f7c535839aad.jpeg a367720c1b1114f2bfae06804527bfc7 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 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 Monumento a la abolición de las esclavitud (Ponce, Puerto Rico) Subject The topic of the resource Subject (Topic) Abolition of slavery Enslaved persons--Emancipation Freedom Public art Public sculpture Puerto Rico--Ponce Transatlantic slave trade Subject (Object Type): Commemorative sculpture Description An account of the resource A bronze sculpture of a seminude, Black man in a kneeling position is located at the southernmost point of El Parque de la Abolición (Abolition Park) in Ponce, Puerto Rico. His hands are open, palms facing upward, with broken manacles hanging from his wrists. The cement base of the monument features a bronze plaque with inscriptions. Behind the figure rises a one-hundred-foot-tall triangular marble obelisk. Creator An entity primarily responsible for making the resource Cott, Victor Manuel, 1898-1962 Source A related resource from which the described resource is derived Photograph by Nélari Figueroa Torres, 2024 Date A point or period of time associated with an event in the lifecycle of the resource 1956 Contributor An entity responsible for making contributions to the resource City of Ponce (obelisk designer) Rights Information about rights held in and over the resource Casa Alcaldía de Ponce, Calle Villa, Ponce, 00730, Puerto Rico 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 Parque de la Abolición, 294P+9W6, PR-123, Barrio Cuarto, Ponce, 00732, Puerto Rico, United States Medium The material or physical carrier of the resource. Bronze; Marble 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. Aponte Rivera, Ana Cristina. “Víctor Cott Negrón.” Periodica El Valle 9, September 22, 2014. Accessed August 26, 2024. https://issuu.com/ccvc/docs/peridicoelvalle. García, Rafael V. Capó. “Monuments to Mestizaje and the Commemoration of Racial Democracy in Puerto Rico.” Visual Anthropology Review 39, no. 2 (Fall 2023): 350–87. Pagán, Wilbert. “Victor Manuel Cott Negron: Nuestro Primer Escultor Por Excelencia.” El Vocero de Puerto Rico, February 4, 2023. Accessed August 26, 2024. https://issuu.com/vocero.com/docs/v02042023/18. Extent The size or duration of the resource. Obelisk: 1200 in. (3048 cm) Has Part A related resource that is included either physically or logically in the described resource. Inscription on the plaque on the front of the monument, Spanish: MONUMENTO A LA ABOLICIÓN DE LA ESCLAVITUD CONMEMORA EL DECRETO DE LA ABOLICIÓN DE LA ESCLAVITUD EN PUERTO RICO EL 22 DE MARZO DE 1873 EL OBELISCO CON LA ESTATUA DE UN NEGRO LIBERTO FUE CREACIÓN DEL ARTISTA VÍCTOR COTT. INAUGURADO EN 1956, DURANTE LA ADMINISTRACIÓN DEL ALCALDE ANDRÉSGRILLASCA SALAS, Y RESTAURADO EN EL 2006, DURANTE LA ADMINISTRACIÓN DEL ALCALDE FRANCISCO ZAYAS SEIJO. 22 DE MARZO DE 2008 Inscription on the plaque on the front of the monument, English translation: MONUMENT TO THE ABOLITION OF SLAVERY COMMEMORATES THE ACT THAT ABOLISHED SLAVERY IN PUERTO RICO ON MARCH 22, 1873 THE OBELISK WITH THE STATUE OF A FREED BLACK MAN WAS CREATED BY THE ARTIST VICTOR COTT. INAUGURATED IN 1956, DURING THE ADMINISTRATION OF MAYOR ANDRÉS GRILLASCA SALAS, AND RESTORED IN 2006, DURING THE ADMINISTRATION OF MAYOR FRANCISCO ZAYAS SEIJO. MARCH 22, 2008 bronze manacles marble obelisk 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/ec1a069eadbc21d8c348bc1b4fb8970e.jpg 92131a262cf2396b9b34373816b042c9 https://mail.slaverymonuments.org/files/original/698b7316a02f08443dd3dc7be62688cc.jpg 31ec429c9e4f678df3bcc84e9c0a8c93 https://mail.slaverymonuments.org/files/original/0cd139b5bfd162a279fdfb33d191441f.jpeg 52171053d96e1209b06537f5a9063355 https://mail.slaverymonuments.org/files/original/cd063aca98205c8092a306c4c5248c02.jpg 473568dbae0ab13a8b85ff31df058420 https://mail.slaverymonuments.org/files/original/4e9683b2a5b1054cd85b9ff2b07b3b49.jpeg 529856a29f2feba92d256bfba13715da https://mail.slaverymonuments.org/files/original/2eeee21c77693600ba1a00c42869cd8f.jpeg 92827905be0379b4e89f4bf62c326626 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 90.55 in. (230 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 Harriet Tubman (Auburn, New York) Subject The topic of the resource Subject (Topic) Antislavery movements New York (State)--Auburn Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object) Commemorative sculpture Description An account of the resource The seven-and-half foot tall (2.3 meters) bronze statue represents a young Harriet Tubman, traveling on the Underground Railroad. Clothed in nineteenth-century shawl, jacket, pleated skirt, and a pistol tucked into her satchel. Tubman strides forward with her booted foot visible below the hem of her skirt. She extends her left hand behind her as if signaling to an invisible group to follow closely on the arduous route to Canada. In her right hand, she holds the ring of a lantern, illuminating the pathway to freedom. Creator An entity primarily responsible for making the resource Hanlon, Brian P., 1961- 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 November 13, 2018 Contributor An entity responsible for making contributions to the resource George and Mary Cuthbert Family; Harriet Tubman Downtown Memorial Committee; Celebrate! Diverse Auburn; Harriet Tubman Boosters Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant New York State Equal Rights Heritage Center, 25 South Street, Auburn, New York, 13021, United States Has Part A related resource that is included either physically or logically in the described resource. Stainless steel plaque: "I was the conductor on the Underground Railroad for eight years, and I can say what most conductors can't say -- I never ran my train off the track and I never lost a passenger." Harriet Tubman at a suffrage convention, NY, 1896 Harriet Tubman statue donated by the George and Mary Cuthbert family in honor of Edward L. Cuthbert Jr. who believed that Harriet's life was an inspiration to all of humankind. Dedicated November 2018 Sculptor Brian P. Hanlon Medium The material or physical carrier of the resource. Bronze Extent The size or duration of the resource. 90.55 in. (230 cm) Rights Information about rights held in and over the resource New York State Equal Rights Heritage Center, 25 South Street, Auburn, New York, 13021, 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. Ater, Renée. "NY State Network to Freedom: Harriet Tubman Statue and Equal Rights Heritage Center, Auburn." On Monuments Blog, April 27, 2020. https://www.reneeater.com/on-monuments-blog/2020/4/17/ny-state-network-to-freedom-harriet-tubman-statue-and-equal-rights-heritage-center-auburn. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad bronze figurative lantern pistol https://mail.slaverymonuments.org/files/original/65af46a67fcc33da4f65e526f8c404d7.jpg 63ce44941fa6937cba8d18c921839e50 https://mail.slaverymonuments.org/files/original/2bc1f0edc691080db2efb75826851172.jpg 1b52a7b04f990462cca5910ca2c309e7 https://mail.slaverymonuments.org/files/original/023b2645a39b3328faa258a472ea65d9.jpg 53496cd17ac3427071e32b136f096270 https://mail.slaverymonuments.org/files/original/9f258fdaebac3184564a33f541cd9923.jpg 53affaea163681af14b2f3eb878a8308 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Slave Memorial (Mount Vernon, Virginia) Subject The topic of the resource Subject (Topic) Cemeteries--Virginia Enslaved persons George Washington’s Mount Vernon Plantations--Virginia Slavery--Virginia Subject (Object) Commemorative sculpture Description An account of the resource Near the Mount Vernon cemetery for enslaved persons, the memorial consists of three concentric circles acting as steps that are inscribed with the words: “Faith,” “Hope” and “Love.” The steps lead toward the central, gray granite column, which is truncated to suggest “life unfinished.” Inscribed on the surface of the column: “In memory of the Afro Americans who served as slaves at Mount Vernon this monument marking their burial ground.” The commemorative work is located 50 yards southwest of George and Mary Washington’s tomb. Creator An entity primarily responsible for making the resource Howard University Architecture Students Source A related resource from which the described resource is derived Photograph: <a href="https://www.flickr.com/photos/timevanson/16759857225/in/photostream/" target="_blank" rel="noopener">Tim Evanson, Flickr, CC BY-SA 2.0</a> Date A point or period of time associated with an event in the lifecycle of the resource September 21, 1983 Contributor An entity responsible for making contributions to the resource Mount Vernon Ladies’ Association (MVLA); Black Women United for Action Rights Information about rights held in and over the resource Mount Vernon Ladies’ Association, Mount Vernon, 3200 Mount Vernon Memorial Highway Mount Vernon, Virginia, 22121, 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 3200 Mount Vernon Memorial Highway Mount Vernon, Virginia, 22121, United States Medium The material or physical carrier of the resource. Granite 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. George Washington’s Mount Vernon. “The Slave Memorial.” Accessed October 9, 2024. https://www.mountvernon.org/george-washington/slavery/the-slave-memorial-at-mount-vernon. Has Part A related resource that is included either physically or logically in the described resource. Inscription on the monument: In memory of the Afro Americans who served as slaves at Mount Vernon. This monument marking their burial ground dedicated September 21, 1983, Mount Vernon Ladies’ Association Inscription on plaque near memorial entrance: Slave Memorial In 1929, the Mount Vernon Ladies' Association placed a marker noting the location of the slave cemetery, believed to be the first commemoration of its kind at a historic site. Despite this recognition, the burial ground lay unattended for decades, until a group of citizens began a concerted effort to honor the enslaved people buried here. In 1983, Mount Vernon dedicated a new memorial, which was designed by architecture students at Howard University. It is a lasting tribute to the memory of those individuals who lived and toiled in bondage here. Approaching Slave Memorial Quiet please and remain on gravel path Inscription on Slave Burial Area plaque: Slave Burial Area “Near (George Washington’s) tomb you see the burying place of his slaves containing 150 graves.” Visitor to Mount Vernon 1833 Many African American—free and enslaved—who worked at Mount Vernon from the 1750s into the 19th century are believed to be buried near here, according to early visitor accounts, oral tradition and a circa 1860 map. Among them is William Lee, George Washington’s personal servant during the Revolutionary War, who was granted freedom and an annuity in Washington’s will. West Ford (1784-1863), a freed slave was hired by the Washington family in the 19th century, is also thought to be buried here. The Mount Vernon Ladies’ Association sought Ford’s advice in the early restoration of the estate. Today, a memorial stands at the center of the burial area, serving as a testament to the hundreds of slaves who labored on Mount Vernon’s grounds and lay in unmarked graves. 1929 Marker In memory of the many faithful, colored servants of the Washington family buried at Mount Vernon from 1760 to 1860. Their unidentified graves surround this spot. columns granite inscription https://mail.slaverymonuments.org/files/original/f1dd3ed93d76a41f46ba02f3afa1bdce.jpg a9034ffec18e1f56973c927675727c72 https://mail.slaverymonuments.org/files/original/2077d879ebe4586dc736751d7215a3b9.jpg 64966657d49082b096d7a41f8ec3a8cf https://mail.slaverymonuments.org/files/original/bbd7a92b139cc80d18a4625d2b16e179.jpg 0369d6758f7604a026f2c401ba7e10c5 https://mail.slaverymonuments.org/files/original/a96704597ae086ab52a2869e31d67aea.jpg a64debf9ecbd467a1724dd72d3bc2c7e https://mail.slaverymonuments.org/files/original/7fc5a5a2ff406d7be2e03f02e0c0e5e2.jpg 90557dc466f80235ebdde70ad38093ec https://mail.slaverymonuments.org/files/original/8c8c541e2665c16734e8aeb81ba53a68.jpg 09144059968314fe6f29af3d45f2d29a https://mail.slaverymonuments.org/files/original/3a32fcf8c8ed0db44cd0c45406f7f99a.jpg 42ee920f32a589ec5ac21fdcaecf4534 https://mail.slaverymonuments.org/files/original/69957d987e59cde468c6b0750ec6cb4e.jpg 83935ea6f9193c6c402a153bbd2bde21 https://mail.slaverymonuments.org/files/original/3eaec6097ce1eea36f1fffd50ae8f3e7.jpg 94412c76e18181956aaad728c606b80a https://mail.slaverymonuments.org/files/original/bb3a3e608a2f9c1ae9b16de265dd7077.jpg 91374fbcec15daf0fdd31f40f2de60e8 https://mail.slaverymonuments.org/files/original/c474c5c93b4a82f82345a08715a34ac9.jpg a1b91fe16b1d17025fafc547f6c0965f 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 Kunta Kinte-Alex Haley Memorial (Annapolis, Maryland) Subject The topic of the resource Subject (Topic) African Americans--History Enslaved persons Maryland--Annapolis Slavery--Maryland Transatlantic slave trade Subject (Name) Haley, Alex, 1921-1992 Subject (Object) Commemorative sculpture Description An account of the resource The Kunta Kinte-Alex Haley Memorial is located at the City Dock in Annapolis, Maryland. The bronze sculpture group includes a life-size statue of Alex Haley who sits on a stone bench. He is shown reading with one hand on an open book and his other hand resting in his lap. Three children, two girls and a young boy, sit or lay on the brick plaza in front of Haley, looking and listening to him with rapt attention. On Leonard A. Blackshear Walkway, parallel to the memorial, a “Story Wall” consists of ten markers with bronze plaques containing text from Alex Haley’s Roots; each plaque is framed with bas-reliefs that relate to the message of the text. Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Source A related resource from which the described resource is derived Photograph: <a href="https://www.flickr.com/photos/presmd/21601264555/in/photolist-yUQ8nM-8zLSUt-2ocuZ7N-8zLSVX-8zQ1Ay-2ocuKS6-8zQ1Dh-8zLT5x-8zLSSr-38yRfV-2ocqXfC-2octzGW-2ocvQ1F-2ocv2oX-3QDVJ-2octyh6-2octHDn-2ocuMwi-3QEin-2ocw5La-2ocqSg9-dWLNjV-2octoHM-2octorV-2ocuPrq-2ocvQTR-2ocvQx5-2octoEW-dMSsgM-2ocqKt1-2ocuR6n-2ocqJNy-2ocw9MG-yEjCYa-2ocqLEu-2ocw9xJ-2ocvQTs-2octo1u-2ocvDs6-2ocqJ8F-2ocuPN7-2octpYY-2ocqUq4-2ocvH1J-2ocvT6G-2ocuUJz-2ocvUeU-2octyty-2ocqJjc-2octFqV/" target="_blank" rel="noopener">Preservation Maryland, Flickr, CC BY-SA 2.0</a> Story Wall Photographs by Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource June 12, 2002 Contributor An entity responsible for making contributions to the resource Kunta Kinte-Alex Haley Foundation; Gary S. Schwerzler (site design); Peter D. Tasi (Story Wall & Information Stand); Patricia Fisher McHold (Story Wall & Information Stand); Wiley A. Hall (Story Wall: Narrative); Joe Baker (construction); City of Annapolis (construction); Fort Meyer Construction Company (construction); Pagliaro Brothers Stone Company (construction); Signcraft, Inc. (construction) Rights Information about rights held in and over the resource City of Annapolis, 160 Duke of Gloucester, Annapolis, Maryland, 21401, 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 City Dock, Compromise and Main Streets, Annapolis, Maryland, 21401, United States 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 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Kunta Kinte-Alex Haley Foundation, Inc., “The Memorial.” Accessed October 9, 2024. https://kintehaley.org/the-memorial/. Has Part A related resource that is included either physically or logically in the described resource. Inscription on bronze plaque on granite triangle: Alex Haley, Family and Heritage Alex Haley, in his family’s story, Roots, shows how the strength of the human spirit to overcome challenges comes from maintaining strong family connections and pride in one's heritage. Here Alex shares heritage stories with children of diverse ethnic groups. Take time to share heritage stories with children so they can pass on their proud heritage and learn respect for the heritage of others. Inscription on bronze plaque on granite triangle: Kunte Kinte-Alex Haley Memorial. An educational, inspirational, and healing place revealing universal messages of Alex Haley’s Roots saga. Components of this site were dedicated in three stages: September 1997; December 1999; and June 2002. Participants in the dedications included the Kunte Kinte-Alex Haley Foundation; notable officials from the Federal, Maryland State, Anne Arundel County, and City of Annapolis Governments; the United States Naval Academy; the Haley and Ridout families; and Roots film star John Amos. Thousands of people from across the USA and other countries attended the dedications thereby reflecting the universal appeal of Haley's messages. Interpretive Architect: Gary S. Schwerzler Sculptor: Ed Dwight Writer: Wiley A. Hall, III Designer: Peter D. Tasi Kunte Kinte-Alex Haley Foundation President and Founder: Leonard A. Blackshear Inscription of original “arrival” bronze plaque (1981): To commemorate the arrival in this harbor of Kunte Kinte, immortalized by Alex Haley in Roots, and all others who came to these shores in bondage and who by their toil, character and ceaseless struggle for freedom have helped to make these United States. A luta continua! Sponsors: V.O.T.E., Anne Arundel Coalition of Tenants Dedicated September 21, 1981 Inscription of Story Wall plaque, Dedication: You must hear me now with more than your ears! Omoro Kente, Roots This Story Wall is dedicated to those nameless Africans, brought to the New World against their will, who struggled against terrible odds to maintain family, culture, identity and above all, hope. • DEDICATION • Inscription of Story Wall plaque, Heritage: The farthest-black person they ever talked about was a man they called the "African." Alex Haley, Roots Alex Haley's Pulitzer Prize-winning book Roots inspires all peoples to embrace their heritage. As we discover our personal history, we realize that all members of the human family share a universal bond. • HERITAGE • Inscription of Story Wall plaque, Servitude: Share his pain! Mandinka Elder, Roots Millions of Africans were stolen from their families and forced to endure the horrors of the Middle Passage and slavery. The New World was built largely on their labor, on the subjugation of Native Americans, and on the indentured servitude of Europeans and Asians. • SERVITUDE • Inscriptions of Story Wall plaque, Perseverance: We all suffer. If a man's wise, he learns from it. Boteng Bediako (Uncle Pompey), Roots The strength and perseverance of our ancestors, such as Kunta Kinte, teach universal lessons including survival through faith, strength through family, and wisdom through forgiveness. • PERSEVERANCE • Inscriptions of Story Wall plaque, Faith: Behold! The only thing greater than yourself! Omoro Kinte, Roots Faith allows us to endure even the most bitter trials and tribulations. Through belief and faith, people are empowered to accomplish great things, if not for themselves, then for their children. • FAITH • Inscriptions of Story Wall plaque, Family: Your sweet grandma and all of them-they are up there watching you. Cousin Georgia, Roots Knowing our family is knowing ourselves. Our values and traditions are forged through the struggles, heartache, pain, hopes and dreams of our ancestors. • FAMILY • Inscriptions of Story Wall plaque, Forgiveness: When you clench your fist, no one can put anything in your hand, nor can your hand pick up anything. Omoro Kinte, Roots Knowledge of history can be the first step away from anger and bitterness. Truth leads to understanding. Understanding and forgiveness lead to reconciliation and healing. • FORGIVENESS • Inscriptions of Story Wall plaque, Love: We must be in this place as one village! Mandinka Elder, Roots Love ties us to the past, connects us in the present, and links us to the future. It is not enough that we learn to live together. We must learn to respect and love each other. • LOVE • Inscriptions of Story Wall plaque, Challenge: Things don't ever get better unless you make them better. Tom Murray, Roots In Roots, Alex Haley reminds us that only through individual efforts will this country overcome racial and ethnic anger, guilt, hatred and fear, and remain a beacon of opportunity and hope for oppressed people around the world. • CHALLENGE • Inscriptions of Story Wall plaque, Diversity: Hear me! Though we are different tribes and tongues, remember we are the same people! African Elder, Roots America’s strength is diversity. People come here from all over the world, bringing new energy and new dreams. Each person has a story to tell, and every story enriches and invigorates us. • Diversity • bas-relief bench book bronze figurative inscription https://mail.slaverymonuments.org/files/original/9b907a31a383b1fcf85ff2275c69d3cb.jpg ee68d658b77170a5cfabbde88db2af56 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 The Bench by the Road (Sullivan’s Island, South Carolina) Subject The topic of the resource Subject (Topic) African Americans--History Enslaved persons Middle Passage Slavery--South Carolina South Carolina--Sullivan’s Island Transatlantic slave trade Subject (Name) Morrison, Toni, 1931-2019 Subject (Object) Commemorative sculpture Description An account of the resource The Toni Morrison Society launched the Benches by the Road project on February 18, 2006, in honor of Toni Morrison’s 75th birthday. On July 28, 2008, the Toni Morrison Society dedicated the first Bench by the Road on Sullivan’s Island, South Carolina, as part of their memorial history and community outreach initiative to honor the lives of enslaved Africans. The bench is made of black steel and features a sturdy frame with curved elements along the slatted backrest and seat. A small bronze plaque is mounted at the center of the backrest, displaying the site’s name, the sponsoring organization, and the installation date. Nearby, a bronze marker embedded in the pavement includes a quotation from Morrison, and a description of the project. Since 2008, the Society have installed 32 benches throughout the United States, one in Martinique, and another in France. Creator An entity primarily responsible for making the resource Toni Morrison Society Source A related resource from which the described resource is derived Photograph: <a href="https://www.flickr.com/photos/ronc-photography/7759485844/in/photolist-cQG3kw-9Sffcv-cPFoNG-cPFpp5-74tQZH-74xKqU-6pgxJY-6pcpak-74tQWc-2hoavZi-6pgwNS-6pcoPZ-6pcpy4-cPhJ6A-cPjBE5-4gvb6F-WMKEh4-WMKDQ2-cQG3zQ-WMKE8B-WMKE12-2ho8Hgs-74xKkG-6pcpj6-74tQQZ-2hoaBrR-74xKjw-9SfeX2-9SfeGv-9S4qTu-2ho8NoX-74tR5K-74yJoU-6pcpFi-cSENK5-74tQGP-2hoawum-2ho8KVL-2ho8JKV-6pcpHF-2ho8JuQ-7DkPhs-6pcpKk-74tRhV-74tRcH-2iuRveD-74tR8Z-2iuU2VN" target="_blank" rel="noopener">Ron Cogswell, Flickr, CC BY 2.0</a> Date A point or period of time associated with an event in the lifecycle of the resource July 28, 2008 Contributor An entity responsible for making contributions to the resource Toni Morrison Society; National Park Service Rights Information about rights held in and over the resource Toni Morrison Society, Inc., P.O. Box 54346, Atlanta, 30308, Georgia, 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 Fort Moultrie Visitor Center, 1214 Middle Street, Sullivan's Island, South Carolina, 29482-9717, United States Has Version A related resource that is a version, edition, or adaptation of the described resource. The thirty-four benches are in the following locations in order of installation: Sullivan’s Island, South Carolina (July 26, 2008); Site on the Underground Railroad in Oberlin, Ohio (April 23, 2009); Mississippi Freedom School in Hattiesburg, Mississippi (October 9, 2009); Paris, France (November 6, 2010); Caesar Robbins House in Concord, Massachusetts (May 21, 2011); George Washington University in Washington, D.C. (September 21, 2011); First Congregational Church in Atlanta, Georgia (May 27, 2012); Mitchellville Freedom Park in Hilton Head, South Carolina (April 16, 2016); Walden Woods in Lincoln, Massachusetts (May 22, 2013); Fort-de France, Martinique (June 26, 2013); Eden Cemetery in Collingdale, Pennsylvania (April 24, 2014); Margaret Walker Center in Jackson, Mississippi (April 10, 2015); Middleton, Delaware (April 17, 2015); Middleton, Delaware (April 17, 2015); Nyack, New York (May 18, 2015); Hosana AUMP Church in Lincoln University, Pennsylvania (September 18, 2015); Baton Rouge, Louisiana (February 6, 2016); Woodruff Library at Atlanta University Center in Atlanta, Georgia (February 28, 2016); Cozad-Bates House in Cleveland, Ohio (April 24, 2016); Schomburg Library in Harlem, New York (July 24, 2016); Library of Congress in Washington, D.C. (April 28, 2017); Adrian, Michigan (October 20, 2017); Southview Cemetery in Atlanta, Georgia (April 7, 2018); Home of Frederick Douglass in New Bedford, Massachusetts (September 16, 2018); Howard University in Washington, D.C. (April 5, 2019); Lincoln University in Lincoln University, Pennsylvania (November 14, 2019); Cartersville Train Depot in Cartersville, Georgia (October 10, 2020); Tulsa, Oklahoma (April 17, 2020); Mabel Little Heritage House in Tulsa, Oklahoma (April 17, 2020); Old 8th Ward in Harrisburg, Pennsylvania (April 27, 2021); Booker T. Washington High School in Tulsa, Oklahoma (July 29, 2021); Prudence Crandall Museum in Canterbury Connecticut (September 19, 2021); A&M University in Prairie View, Texas (March 19, 2024); and, Marietta, Georgia (June 19, 2024). Medium The material or physical carrier of the resource. Black steel 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. Toni Morrison Society. “The Official Website of the Toni Morrison Society | Bench by the Road.” Accessed November 18, 2024. https://www.tonimorrisonsociety.org/bench.html. Lee, Felicia R. “Toni Morrison’s on Sullivan’s Island: A Bench of Memory at Slavery’s Gateway.” The New York Times, July 29, 2008. Accessed November 18, 2024. https://www.nytimes.com/2008/07/28/arts/design/28benc.html?st=cse&oref=slogin&scp=2&pagewanted=all&oref=slogin. Extent The size or duration of the resource. 72 in. (182.88 cm) Has Part A related resource that is included either physically or logically in the described resource. Inscription on the naming plate of first bench in South Carolina: A BENCH BY THE ROAD Placed by the Toni Morrison Society Sullivan’s Island, South Carolina July 26, 2008 Inscription on a plaque near the monument contextualizing the project: A BENCH BY THE ROAD There is no place you or I can go, to think about or not think about, to summon the presences of, or recollect the absences of slaves; nothing that reminds me of the ones who made the journey and of those who did not make it. There is no suitable memorial or plaque or wreath or well or park or skyscraper lobby. There’s no 300-foot tower. There’s no small bench by the road. Toni Morrison 1989 The bench by the Road Project was launched by the Toni Morrison Society in honor of Nobel Laureate Toni Morrison. The first bench is placed in memory of the enslaved Africans who perished during the Middle Passage and those who arrived on Sullivan’s Island, a major point of entry for Africans who entered the U.S. during the Transatlantic Slave Trade. Nearly half of all African Americans have ancestors who passed through Sullivan’s Island. July 26, 2008 Toni Morrison Society, Inc. bench inscription https://mail.slaverymonuments.org/files/original/1da4af73f64d430d673c799eea793338.jpeg 2c89316a1c15f54cb0d5500fbcb39885 https://mail.slaverymonuments.org/files/original/dadbed17e1b9aa8d6cfd43521ea52c89.jpeg ba2f6b65d2c1f778251268d4f470ebfb https://mail.slaverymonuments.org/files/original/dae99574dbb8f525f6470c09fd926cc4.jpeg f0637698787987ee82b2a45bd8acf708 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 Black Brigade Monument (Cincinnati, Ohio) Subject The topic of the resource Subject (Topic) African Americans--History Black Brigade of Cincinnati Ohio--Cincinnati United States--History--Civil War, 1861-1865 Subject (Name) Dickson, William Martin, 1827-1889 Jones, Marshall P. H., 1826-1891 Subject (Object) Commemorative sculpture Description An account of the resource This monument consists of three life-size bronze sculptural groupings, relief panels detailing the history of the Black Brigade of Cincinnati, and the 718 names of the soldiers of the Black Brigade etched in the pink granite beneath the bas-reliefs. The first sculptural group consists of a bronze wooden desk with an accompanying chair. Atop the desk is a copy of the Cincinnati Daily Gazette from September 2, 1862. The headline reads: “TO ARMS! Mayor George Hatch Calls for the Defense of Cincinnati!” Engraved on the wall behind this sculptural group are the words: “THE BLACK BRIGADE OF CINCINNATI.” The second bronze sculptural group, Mothers and Children Anxiously Awaited Return of Their Loved Ones by Carolyn Manto, depicts a mother sitting on the ground with her left arm resting on her propped leg. She holds a young Black boy in her right arm. The boy looks at his mother as he points his right finger forward. The third bronze sculptural group features two men—Black Brigade member Marshall P.H. Jones in uniform and Colonel William M. Dickson. As they face each other, the two men’s hands overlap as Jones presents a ceremonial sword to the Colonel. Creator An entity primarily responsible for making the resource Hebenstreit, John, 1972- Manto, Carolyn, 1979- Source A related resource from which the described resource is derived Photographs: <a href="https://www.hmdb.org/m.asp?m=244949" target="_blank" rel="noopener">Historical Marker Database</a> Date A point or period of time associated with an event in the lifecycle of the resource September 9, 2012 Contributor An entity responsible for making contributions to the resource Design and Art: Jan Brown Checco, Erik Brown, Tyrone Williams, and Sasaki Associates. Sponsors: Honorable Mr. William Mallory Sr. and Cincinnati Park Board. Funding: Carol Ann and Ralph V. Haile, Jr., US Bank Foundation, City of Cincinnati, Cincinnati Parks Foundation, and U.S. Department of Housing and Urban Development. Foundry: Casting Arts Technology Rights Information about rights held in and over the resource Cincinnati Parks Foundation, 421 Oak Street, Cincinnati, Ohio, 45219, 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 Smale Riverfront Park, 8 West Mehring Way, Cincinnati, Ohio, 45202, United States 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 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Cincinnati Parks Foundation. “Art in Your Parks: Black Brigade Monument- Cincinnati Parks Foundation.” April 6, 2021. Accessed October 10, 2024. https://cincinnatiparksfoundation.org/art-in-your-parks-black-brigade-monument/. National Underground Railroad Freedom Center. “The Black Brigade of Cincinnati. Accessed October 10, 2024. https://freedomcenter.org/black-brigade/. Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque for Carolyn Manto statue: Mothers and Children Anxiously Awaited the Return of Their Loved Ones Sculpture by Carolyn Manto Bronze plaque for John Hebenstreit statues: Colonel William Dickson Receives a Sword from the Black Brigade Sculpture by John Hebenstreit Inscription on dedication plaque: This monument to the Black Brigade of Cincinnati was conceived and realized by the following team: Sponsors Honorable William Mallory Sr. Cincinnati Park Board Design & Art Team Jan Brown Checco, Erik Brown, John Hebenstreit, Carolyn Manto, Tyrone Williams and Sasaki Associates Funding Carol Ann and Ralph V. Haile, Jr. and US Bank Foundation, City of Cincinnati, Cincinnati Parks Foundation, U.S. Department of Housing and Urban Development "Cincinnati educator Peter Clark was commissioned by the Black Brigade to document their story. This made it clear to me that the Brigade wished for future generations to know about their contribution to the Defense of Cincinnati. I am pleased that this monument was created by the Cincinnati Park Board and the Cincinnati Parks Foundation." --William L. Mallory Sr., Former Majority Floor Leader Ohio House of Representatives Inscriptions on eleven bronze plaques along the relief wall: White Volunteers Enlist to Defend Cincinnati Thousands of local men report to volunteer to help build and defend fortifications in Cincinnati and Northern Kentucky. They are joined by twelve thousand volunteer militia from all over the state of Ohio. Asking if they can serve, Cincinnati's African American residents are told they are not welcome to participate in home defense. The word on the street: "Stay away! This is a white man's war." Black Men are Taken from Their Homes The locally organized Provost Guard decides to forcibly press black men into service by whatever means necessary. Hundreds of Cincinnati's black residents are dragged from their homes and marched off like felons, but to where and for what, none can tell. Families are left to wait and worry. Hundreds of Black Men Await Their Fate on the Banks of the Ohio Herded into mule pens, the prisoners seat themselves on the shaded side of the yard on blocks of wood and piled up bricks. William Homer, captain of the conscription squads, orders all to rise, marches them to the Ohio River northern banks, and orders them to squat. He tells the guard, “Shoot the first one who rises.” Cincinnati Daily Gazette Wednesday Morning, September 3, 1862 The Press Reports the Abuse of Black Men Reading about the abuse of black men in the morning paper, Judge William M. Dickson goes to see General Wallace who made at the same moment, "…the order commanding him to take charge of the colored people in Cincinnati, Covington and Newport, directing all officers to obey him accordingly." The Gazette alone protests these warrantless arrests of free black men, denied the dignity of voluntary service in defense of freedom. Union General Lew Wallace Sends Dickson to Reverse the Action Colonel Dickson rides directly to Fort Mitchel to organize the black laborers, and brutality gives way to fair treatment. The men are immediately returned to their homes to allay the fears of their families and to prepare themselves for voluntary service. Those who are willing are asked to report at five o'clock the next morning to return to work on the fortifications. Black Men Muster into Service On Friday morning over seven hundred men report for duty, three hundred more than had been previously abducted by the Provost Guard. Glowing with enthusiasm, they march cheerfully to their duty. Receiving the treatment of men, they are ready for anything. Ready for Departure, the Volunteers Are Given a Flag I have the kind permission of your commandant, Colonel Dickson, to hand you this national flag - to encourage and cheer you on to duty. The duty of the hour is work - hard, severe labor on the fortifications of the city. Let it be cheerfully undertaken. Men of the Black Brigade, rally around your flag! Assert your manhood, be loyal to duty, be obedient, hopeful, patient. Slavery will soon die; There will then be a land of the free - one destiny. - Captain James Lupton The Works of the Black Brigade "Their work has been entirely voluntary. Wherever they appear they are cheered by our troops. One of the companies is officered by white captains, the others by black volunteers. The latter proved so decidedly superior that both regiments will hereafter be commanded by officers of their own race." - from a letter in the Cincinnati Herald The Best Defense: Be Prepared Confederate troops arrived at the line of defense on September 11 They discovered the fortifications, and 70,000-armed defenders. Deciding not to attack, they withdrew on September 13. Returning Home in Glory The men with happy hearts, with the good will of soldier and citizen, returned to the city and were dismissed to their homes. And thus closed, in joy and happiness, a service that had been commenced with violence, in anxiety and gloom. --Colonel William Dickson Presenting a Sword to Colonel Dickson Sir, the members of the Black Brigade deeply thank you for the great interest you have taken in our welfare, for your collecting all of the working parties into one brigade, for the kindness you have manifested to us in these trying times. As a small expression of the high esteem of the members of the Black Brigade, they all, each and every one, present you with this sword, the emblem of protection, knowing that, whenever it is drawn, it will be drawn in favor of freedom. --Marshall P.H. Jones bas-relief bronze figurative inscription poetry 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/ca34513954f239187d5717cdec4b3079.jpg d0a0350b6d1defbe3d412f76c78aa098 https://mail.slaverymonuments.org/files/original/6afff488e8952d6cd7b1232648a7ccf1.jpeg eb911e16a01fa7e1a7c8e15e08e5e723 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 Building Physical Dimensions The actual physical size of the original image 240 x 240 in. (609.6 x 609.6 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 Menokin Remembrance Structure (Warsaw, Virginia) Subject The topic of the resource Subject (Topic) Enslaved persons Plantations Slavery--Virginia Virginia—Warsaw Subject (Object) Buildings and Structures Description An account of the resource The Menokin Remembrance Structure is a memorial that honors the enslaved persons who once worked at Menokin, as well as their modern descendants. Built on a former plantation, the wooden structure replicates an enslaved person’s eighteenth-century dwelling. The structure is sited directly above the archaeological remains of the dwelling. The wooden framing of the gable-roofed structure is covered with sheer translucent building fabric. At night, solar lighting illuminates the entire pavilion, creating a soft, luminous effect. Creator An entity primarily responsible for making the resource Freeman, Joseph Reid, 1966- REID Architecture Source A related resource from which the described resource is derived Photograph: <a href="https://reidarc.com/remembrance-structure" target="_blank" rel="noopener">Reid Architecture</a> Date A point or period of time associated with an event in the lifecycle of the resource July 10, 1905 Contributor An entity responsible for making contributions to the resource The Menokin Foundation Rights Information about rights held in and over the resource The Menokin Foundation, 4037 Menokin Road, Warsaw, Virginia, 22572, 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 Building and Structures Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Menokin Foundation, 4037 Menokin Road, Warsaw, Virginia, 22572, United States Medium The material or physical carrier of the resource. Sawn pine; Hewn pine; Hewn white oak; Translucent building fabric; Solar panels 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. REID Architecture. “Menokin Remembrance Structure, The Menokin Foundation, Warsaw, Virginia.” Accessed October 22, 2024. https://reidarc.com/remembrance-structure. Menokin Foundation. "The Remembrance Structure." Accessed October 22, 2024. https://www.menokin.org/remembrance-structure. Extent The size or duration of the resource. 186 x 300 in. (472.44 x 762 cm) archaeology historic architecture wood