4 10 134 https://mail.slaverymonuments.org/files/original/73ca10f703ac89f7fa5ce0a297adbe65.jpeg d90ba7847b56e82a38ed989b560a8630 https://mail.slaverymonuments.org/files/original/1e8a87f1369061ce67a96b516fcca9fd.jpeg cd4ed5b1d0321bdb4ed770968c3dea0e https://mail.slaverymonuments.org/files/original/0826a728cd442f8f627122c714b9ca56.jpg a9f3f348baed83770e7ae0d6ee8ccc18 https://mail.slaverymonuments.org/files/original/04da948604d58e22497f323ecb4e0a90.jpg af10d4a20ef420a5ba84f3996e4713b4 https://mail.slaverymonuments.org/files/original/472543f63b394b1b0fd7c4fbce2a5fa2.jpg ee17c7b9c27d0f3e83b0be2cc49cfd31 https://mail.slaverymonuments.org/files/original/0306e44e50db2f2b16a03cacf814fe05.jpg 5bd14231c040f5cd7202cf8413f34e79 https://mail.slaverymonuments.org/files/original/e2e8bbab502224b051ba23c894716da0.jpg ce0aa641e80a32d80382c881e4857a2c https://mail.slaverymonuments.org/files/original/c1f4e46957f61e0e126cb750a894a61c.jpg 1b6b6f41198f7b18e0d96a9960f9b3a5 https://mail.slaverymonuments.org/files/original/cad2c3e70ec715a551444fce2571add6.jpg c9f98c0d6cdbf78d381e20a1b6e6cb42 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 Sites of Slavery Creator An entity primarily responsible for making the resource Written by Renée Ater Description An account of the resource For this thematic grouping, sites of slavery are designated as historic places (including plantations, wharves, archaeological sites) where "slavery happened" and that commemorate enslaved Africans, their lives, and their labor. We include sites that act as memorials and often have sculpture, public art, or monuments located on their grounds.  Founded in 2014 as a museum, the <a href="https://www.slaverymonuments.org/items/show/1218" target="_blank" rel="noopener">Whitney Plantation</a> educates the public about the history of slavery in Louisiana and the brutal production of sugar along the Mississippi River, between New Orleans and Baton Rouge. The historic plantation complex comprises twelve historic structures including slave cabins, a kitchen, a jail, and the main house. This site of slavery includes four memorials: The Wall of Honor, Allées Gwendolyn Midlo Hall, The Field of Angels, and the 1811 German Coast Uprising Memorials. Other sites of slavery include the <a href="https://www.slaverymonuments.org/items/show/1144" target="_blank" rel="noopener">ACTe Mémorial </a>in Pointe-à-Pitre, Guadaloupe, a memorial building and museum on the site of a former sugar plantation; the <a href="https://www.slaverymonuments.org/items/show/1164" target="_blank" rel="noopener">Valongo Wharf</a>, an archaeology site in Rio de Janeiro, Brazil, that was the debarkation point of an estimated 900,000 enslaved Africans; and the <a href="https://www.slaverymonuments.org/items/show/1152" target="_blank" rel="noopener">Mémorial de l'abolition de l'esclavage</a> in Nantes, France, on the Quai de la Fosse along the Loire River, the symbolic departure point of slave ships that sailed from France to Africa. Additional sites to be added include the Freedom Monument Sculpture Park along the Alabama River in Montgomery, Alabama, and the African Ancestors Memorial Garden at the International African American Museum located on Gadsden’s Wharf in Charleston, South Carolina. Note: All sites of slavery in West Africa can be found under the theme of the <a href="https://www.slaverymonuments.org/collections/show/14" target="_blank" rel="noopener">Transatlantic Slave Trade/Middle Passage.</a> Updated January 26, 2026 Contributor An entity responsible for making contributions to the resource Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Buildings and Structures 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 Whitney Plantation Museum (Edgard, Louisiana) Creator An entity primarily responsible for making the resource Cummings, John, 1938- (museum founder) Subject The topic of the resource Subject (Topic) Enslaved persons Louisiana--Edgard Louisiana--St. John the Baptist Parish Plantations--Louisiana Slavery--Louisiana Sugar--Social Aspects--History Subject (Object Type) History Museums Commemorative sculpture Description An account of the resource Dedicated to the history of enslavement in the Louisiana, the Whitney Plantation is sited on the grounds where enslaved people labored in bondage for over 100 years. The historical site, museum, and memorials are located in St. John the Baptist Parish in Edgard, Louisiana. The museum is comprised of twelve historic structures including restored slave cabins, a kitchen, and the main house. Four memorials are also located on the grounds. The Wall of Honor is dedicated to all of the people who were enslaved at the Whitney Plantation including their names, places of origin, their skill, and dates of birth. The Allées Gwendolyn Midlo Hall memorial is is named for the histoiran Gwendolyn Midlo Hall (1929-2022). Hall created the Louisiana Slave Database to document the enslaved persons who lived in Louisiana from 1719-1820. She "rescued the identies" of thousands who were enslaved in the territory, and then, state. The memorial is made up of eighteen black granite walls engraved with the names of the 107,000 enslaved persons from the Louisiana Slave Database. The Field of Angels is dedicated to the 2,200 enslaved children who died in St. John the Baptist Parish (Louisiana) from 1823-1863, documented in the Sacramental Records of the Archdiocese of New Orleans. It includes a bronze statue of Black angel carrying a child to heaven and a low black granite, circular wall with the children's names engraved on it. The 1811 German Coast Uprising Memorial commemorates the largest slave revolt in U.S. history that took place on January 8-10, 1811. Enslaved persons from St. Charles and St. John the Baptist parishes rose up and planned to walk to New Orleans. They were stopped after a battle with local white militia. Dozens of enslaved persons were condemned to death and beheaded. Artist Woodrow Nash (b. 1948) created the 63 ceramic heads mounted on steel rods that make up the memorial. 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 December 7, 2014 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 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 5099 Louisiana Highway 19, Edgard, Louisiana, 70449, United States Rights Information about rights held in and over the resource The Whitney Plantation, 5099 Louisiana Highway 19, Edgard, Louisiana, 70449, 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. Armstrong, Kalim. "Telling the Story of Slavery." The New Yorker, February 17, 2016. Accessed May 1, 2021. https://www.newyorker.com/culture/culture-desk/telling-the-story-of-slavery. Johnson, Jessica Marie. "Time, Space, Memory at Whitney Plantation." Black Perspectives, AAIHS, March 14, 2015. Accessed on February 17, 2025. https://www.aaihs.org/time-space-and-memory-at-the-whitney-plantation/. Whitney Plantation. Teaching and Learning About American Slavery: Educational Resources for All. Accessed February 6, 2026. https://whitneyplantation.org/wp-content/uploads/2025/03/Educational-Resources-About-American-Slavery-3.pdf. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Medium The material or physical carrier of the resource. Black granite; Bronze; Ceramic; Brick; Wood bronze historic architecture marble memorial wall names sugar https://mail.slaverymonuments.org/files/original/ab2d5df36313d85e1137403652d9c170.jpg e71a03b401ff36f0c54ae2f24d71ca5b https://mail.slaverymonuments.org/files/original/ca3489a40ea3a913e909099eff0449e7.JPG c5cfc7fcf5f8ff8de16cdeb0c778584a https://mail.slaverymonuments.org/files/original/8926566edc9ffe5e5ba5a7e394ffb18e.JPG 2a4a26854b32fc3b8e68997b52e63034 https://mail.slaverymonuments.org/files/original/e2cc00fe11c5e5cc04d8d4dc14cd5796.JPG ed8ed862efa6c0a692586363be85c99c https://mail.slaverymonuments.org/files/original/d302ddf7287cd6da5f91aefeeebf6012.JPG 826ce17761087a656e2c08b98b7f4b56 https://mail.slaverymonuments.org/files/original/fb28f5578601ce44b8fbfc519239627c.JPG 763602f25f9b96cd0bdce827cf6cbb4d https://mail.slaverymonuments.org/files/original/664dfa7d6c1bd1b780ccfbb2b97748ed.jpg cbae47b117c51f27260d5c12c86315b5 https://mail.slaverymonuments.org/files/original/e4e48f920dc7db59e3d9f5a75781d557.jpg 46232514347a9e5264e789577e5f35ee https://mail.slaverymonuments.org/files/original/30e6ae7d7274935d4afa6f242a1155bf.JPG a7425e4c4c2cd28f837702b3bba75c05 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 120 x 84 in. (304.8 x 213.36 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Step on Board (Boston, Massachusetts) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Fugitive slaves Massachusetts--Boston Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource A high relief sculpture with Harriet Tubman and six figures: three women, two men, and a baby. All figures are clothed in nineteenth-century dress. Wearing a dress, shawl, and head wrap, Tubman strides forward, gesturing with her left hand and holding a Bible under her right arm. The figures are backed by a vertical slab of pink granite. On the reverse of statue is a diagram of the route Tubman took when accompanying passengers on the Underground Railroad (Maryland, Delaware, Philadelphia, New York City, Albany, Syracuse, Rochester, Canada). The reverse of the memorial also includes quotations from Harriet Tubman, Frederick Douglass, and Sarah Bradford. Creator An entity primarily responsible for making the resource Cunningham, Fern, 1949-2020 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 June 20, 1999 Contributor An entity responsible for making contributions to the resource CBA Landscape Architects, Boston, Massachusetts; United South End Settlements, Boston, Massachusetts; New England Foundation for the Arts, Boston, Massachusetts; The George B. Henderson Foundation and The Edgar Ingersoll Browne Fund, Boston, Massachusetts; and Boston Parks and Recreation Rights Information about rights held in and over the resource Boston Art Commission, Mayor’s Office of Arts and Culture, Boston City Hall, Room 802, Boston, Massachusetts, 02201, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Harriet Tubman Park, Columbus Avenue and Pembrook Street, Boston, Massachusetts, 02116, United States Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Harriet Tubman Memorial Has Part A related resource that is included either physically or logically in the described resource. Inscriptions on back of relief: Step On Board, Harriet Ross Tubman, 1820 – 1913, Go Down Moses, Way Down in Egypt’s Land, Tell Old Pharoah — Let My People Go. “There are two things I’ve got a right to, and these are death or liberty. One or another I mean to have. No one will take me back alive.”—Harriet Tubman “The midnight sky and the silent stars have been the witnesses of your devotion to freedom and of your heroism.” —Frederick Douglass “Tell my brothers to be always watching unto prayer, and when the good old ship of Zion comes along, to be ready to step aboard.”—Harriet Tubman “She expected deliverance when she prayed, unless the Lord had ordered otherwise.” —Sarah Bradford Inscription on bronze plaque: For the Adornment and Benefit of Boston. The design, fabrication, and installation of the memorials at Harriet Tubman park were made possible through the efforts of the United South End Settlements with funding support from the New England Foundation for the Arts, George B. Henderson Foundation, the Edward Ingersoll Browne Fund, a public charitable trust administered by the Trust Office of the City of Boston. The art piece ’Step on Board’ was designed by artist Fern Cunningham in 1999, and ’Emancipation’ was designed by artist Meta Vaux Warrick Fuller in 1913. The park is maintained by the Boston Parks and Recreation Department in partnership with the friends of Harriet Tubman Park, 2000. Extent The size or duration of the resource. 120 x 84 in. (304.8 x 213.36 cm) Medium The material or physical carrier of the resource. Bronze; Pink granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. George B. Henderson Foundation. “Special Projects: Harriet Tubman Sculpture & Park.” Accessed March 19, 2018. http://thehendersonfoundation.com/harriet_tubman_sculpture_park.htm. Friend's of the Harriet Tubman Park. "Harriet Tubman Park." Accessed January 29, 2026. https://tubmanboston.org/#visit">https://tubmanboston.org/#visit. Ater, Renée. Remaking Race and History: The Sculpture of Meta Warrick Fuller. University of California Press, 2010. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater 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 bas-relief Bible bronze figurative granite inscription map portrait https://mail.slaverymonuments.org/files/original/d17eedd1cef2ebb69b85644859142dc4.jpg 62fdf503218aa25488aa6e68e0b1dcbb 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 Physical Dimensions The actual physical size of the original image 354.331 x 196.85 in. (900 x 500 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 Clave/Monument to Slavery (Rotterdam, The Netherlands) Subject The topic of the resource Subject (Topic) Abolition of slavery Public art Public sculpture Slave ships The Netherlands--Rotterdam Transatlantic slave trade Subject (Object Type) Commemorative sculpture Creator An entity primarily responsible for making the resource da Silva, Alex, 1974-2019 Date A point or period of time associated with an event in the lifecycle of the resource June 16, 2013 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Lloydstraat, 45-59, 3024 Rotterdam, The Netherlands Extent The size or duration of the resource. 354.331 x 196.85 in. (900 x 500 cm) Medium The material or physical carrier of the resource. Corten steel; Hot-dip galvanized (HDG) steel Description An account of the resource Four nude figures dance across the abstracted bow of a ship. Each figure strikes a distinct, rhythmic pose even as they are shackled together at the ankle by iron chains. The outer most figure appears to have broken free from this rhythmic chain-gang. Iron chains dangle freely from his right ankle. Unveiled on the 150th anniversary of the abolition of slavery in Surinam and the Dutch Antilles, the memorial is located along the Maas River in Lloydkwartier, a newly designed neighborhood built in the old port area of Delfshaven. The work’s location and title evoke the Dutch slave trade. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Alex da Silva. clave. Monument to Slavery (2013)." BKOR-CBK Rotterdam. Accessed February 15, 2025. https://www.bkor.nl/en/beeld/clave-monument-voor-de-slavernij/. Thissen, Siebe. "In Memoriam Alex da Silva (1974-2019)." BKOR-CBK Rotterdam. Accessed February 15, 2025. https://www.bkor.nl/en/documentatie/in-memoriam-alex-da-silva-1974-2019/. Art@Site. "Alex da Silva." Accessed May 28, 2019. http://www.artatsite.com/Rotterdam/details/Silva-Alex-da-Slavernijmonument-Clave-sculpture-statue-Art-At-Site-Rotterdam.html. Has Part A related resource that is included either physically or logically in the described resource. Inscription in Dutch: Het lichaam is dat slaaf is vertrekt de ziel die vrij is blijft English translation: The body, which is a slave, departs, but the soul, which is free, remains. Source A related resource from which the described resource is derived Photograph by Emily Hirsch, 2024 Contributor An entity responsible for making contributions to the resource Surinam Working Group; STC Group; Municipality of Rotterdam; and CBK Rotterdam Rights Information about rights held in and over the resource Municipality of Rotterdam, City Hall, Coolsingel 40, 3011 AD Rotterdam, The Netherlands Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Slavernijmonument Rights Holder A person or organization owning or managing rights over the resource. Renée Ater abstract chains Corten steel figurative galvanized steel shackles slave ship 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/0aa704c3d4871292fe24003a6c3de47e.JPG 7b9d6a0d859ac1d837eb411e3ea81d44 https://mail.slaverymonuments.org/files/original/4a05e37313c4a921d6b63b856b5cae74.jpg 8cfbf2a8a823ab3afd104b902b217217 https://mail.slaverymonuments.org/files/original/e930604c02b40413abe4b83bc5c5e9ed.JPG 29c92d366e48efe88b4a85822444a1d3 https://mail.slaverymonuments.org/files/original/e0932e517d6e3816b58345ec6a687c25.jpg c9febadb59758bb06c9344960848692e https://mail.slaverymonuments.org/files/original/42b8db159e6d0dd36878602eed70c2f5.JPG 0caf289ad9d1162db57c98dcd2984c55 https://mail.slaverymonuments.org/files/original/e91f08b2f3719d41011345cd405c05f8.JPG 581ccc98a61925a60094a32ce8864c71 https://mail.slaverymonuments.org/files/original/507c5710cd945c8cf2853493ae046830.JPG d26987c6387f6d9bf796364dd2163d6a 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 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 Captured Africans-Transatlantic Slave Trade Monument (Lancaster, England) Subject The topic of the resource Subject (Topic) England--Lancaster Enslaved persons Public art Public sculpture Slavery--England Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Six rectangular Perspex blocks (acrylic), suspended between a rectangular, stainless-steel column and an oblong, stone column, rests on a circular base embellished with a mosaic and small metal sculptures. The work is meant to recall the decks of the transatlantic slave ships that carried enslaved Africans to the Americas. The Perspex blocks are inscribed with the names of the different commodity objects these ships transported to and from the Americas: wealth, cotton, rum, mahogany, sugar, and slaves. The stainless-steel column lists many of the slave ships that departed from Lancaster and the number of enslaved Africans these vessels forcibly seized in Africa. Underscoring the history of these horrific nautical journeys, the mosaic depicts a map detailing the routes of the Transatlantic Slave Trade, while the iron figures personify the trauma and violence of the Middle Passage. Creator An entity primarily responsible for making the resource Dalton-Johnson, Kevin, 1965- Date A point or period of time associated with an event in the lifecycle of the resource October 10, 2005 Contributor An entity responsible for making contributions to the resource Slave Trade Art Memorial Project (STAMP); Ann McArdle, (mosaics); High school students from Lancaster and Richmond (iron figures); Millennium Fund ; Arts Council England; Lancaster City Council; Lancashire County Council; Cumbrian Industrials Ltd. 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 19 Waterside, Lancaster, LA1 1AY, England Medium The material or physical carrier of the resource. Perspex; Stainless steel; Iron; Ceramic tile Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Collins, Paul. "Slave Memorial is Labour of Love." Lancaster Guardian. Accessed April 29, 2019. https://www.lancasterguardian.co.uk/news/slave-memorial-is-labour-of-love-1-1165642. Rice, Alan. "Discovering Traces of Slavery in a City Fraught with Amnesia: Creating Memorials and Building New Identities in Lancaster." In Creating Memorials, Building Identities: The Politics of Memory in the Black Atlantic, 32-54. Liverpool University Press, 2010. Facing the Past. "Enslaved Africans Memorial." Map, Facing the Past. Accessed February 8, 2026. https://www.facingthepast.org/map/records/slavery-memorial. 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: <a href="https://waymarking.com/waymarks/wm3FZC_Captured_Africans_Lancaster_UK" target="_blank" rel="noopener">Waymarking.com</a> Rights Information about rights held in and over the resource Lancaster City Council, Town Hall, Dalton Square, Lancaster, Lancashire, LA1 1PJ United Kingdom Has Part A related resource that is included either physically or logically in the described resource. Stainless-steel information plaque: Captured Africans Created by Kevin R. I. Dalton-Johnson "Captured Africans" was developed as part of the Slave Trade Arts Memorial Project (STAMP), an extensive arts education outreach programme led by SuAndi O.B.E. and delivered by artists Sue Flowers, Max Alder, Anthony Watt, Evadney Clarke, Anita Franklin, Faith Bebbington, Steve Papaye Richards and Janet Griffiths. Creative support from Ann McArdle, Alan Ward, Boydell Pipework and Fabrications Ltd., Northern Cast Acrylics, Merseyside Castings & Engineering Co., Thermoplastics Ltd., Trade Engravers Ltd. Funded by The Millillenium Fund, Arts Council England, Lancaster City Council, Lancanshire County Council, Cumbrian Industrial Ltd. abstract figurative inscription iron map Perspex slave ship stainless steel https://mail.slaverymonuments.org/files/original/9e4cc6954979aab1cc45d922dbdc2617.jpeg 17bb24e2d4e596dcbf18637ef648587a https://mail.slaverymonuments.org/files/original/b81719231814722d53b55fb7ba1cb0aa.jpeg 4536c388440a243093d488d2ff3383db https://mail.slaverymonuments.org/files/original/7577a96663b89c2a20033aef9b3ae2b3.jpeg 358c871940d9aaf70cc86cde544908a8 https://mail.slaverymonuments.org/files/original/743539c435917638fa9316f90a175a67.jpg d819b4c4b1ce1d86767be866327ef746 https://mail.slaverymonuments.org/files/original/78dabc5f52d4bc88031f23e5d2296969.jpg d5d9800c9f5b9984a1fb1d00e79a7e7e 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 Underground Railroad Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The memorial and monuments in this collection are dedicated to the Underground Railroad, an organized network of routes and safe houses that assisted freedom seekers [enslaved people] on their journeys northward. The Underground Railroad was part of the larger movement for the abolition of slavery in the United States. The movement to abolish slavery was a complicated political movement that, at its core, was driven by the resistance and activism of enslaved Black people and freedmen and women abolitionists. Historian Manisha Sinha explores the history of American abolition, including the Underground Railroad in The Slave's Cause: A History of Abolition (2016).  Although Harriet Tubman is the most famous conductor in the Underground Railroad, she is not the subject of the memorials featured in this collection (see the collection on this site, <a href="https://www.slaverymonuments.org/collections/show/1" target="_blank" rel="noopener">Black Abolitionists</a>, to view works specifically dedicated to her life and work). Rather the monuments and memorials featured here, such as Ed Dwight's <a href="https://www.slaverymonuments.org/items/show/1170" target="_blank" rel="noopener">Gateway to Freedom: International Memorial to the Underground Railroad</a>, highlight other prominent conductors, as well as celebrate the fortitude and bravery of the freedom seekers as they made the perilous journey north. 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 Unknown 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 Lorain Station 100 Ohio Underground Railroad Monument (Lorain, Ohio) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Fugitive slaves--United States Ohio--Lorain Public art Public sculpture Underground Railroad Subject (Object Type) Commemorative 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 Black River Landing, 421 Black River Lane, Lorain, Ohio, 44052, United States Contributor An entity responsible for making contributions to the resource The Giardini Family; African Heritage Underground Railroad Project Committee: Sylvia Duvall, Chairperson, Kathy Fritsch, Marlene Duffy, Bessie Eva Nelson, Elizabeth Nicholson, Barbara Aldridge, Fred Wright; National Council of Negro Women, Lorain County Section; Lorain Club of the National Association of Negro Business & Professional Women's Clubs, Inc.; Lorain County Urban League; The Ohio Historical Society. Description An account of the resource A low relief depicts three freedom seekers against the map of Ohio: a father, mother, and young boy. The male figure is show in profile wearing a soft brimmed hat, holding a walking cane, and dressed in simple shirt and pants with worn shoes ( a hole is visible). The woman is between the man and young boy, holding both of their hands. She is wearing a head wrap, simple top and skirt, and a shawl on around her shoulders. Like the young boy, she is barefoot. With short hair, the young boy wears a button shirt with rolled up pants. Over his shoulder is a small sack. The artist signature, Danhires, is located near the bare feet of the young boy. The Lorain Underground Station 100 Monument  was damaged by heavy storms in August. 2024. It is currently being repaired and is not on view. Source A related resource from which the described resource is derived Photographs by Geoffrey Jacobson 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 Creator An entity primarily responsible for making the resource Danhires, George Date A point or period of time associated with an event in the lifecycle of the resource June 16, 2007 Rights Information about rights held in and over the resource Lorain County Government, 226 Middle Avenue, Elyria, Ohio 44035, United States Has Part A related resource that is included either physically or logically in the described resource. Historic marker: Prior to the Civil War, Ohio was a leading state for enslaved Americans of African descent traveling the Underground Railroad to freedom in Canada. For these fugitives, their final stop in Ohio was a Lake Erie port community in the north. One such port was at the mouth of the Black River in Lorain that came to be identified as Lorain Station 100, named because it was thought to be one of the last stops or stations before the fugitive slaves reached freedom in Canada. Many arrived here in a wagon driven by Robbins Burrell who owned a farm five miles up the Black River. Concealed by vegetables, grains, or hay, the slaves were smuggled into schooners, some of which belonged to Burrell’s cousin Captain Aaron Root. From Lorain Station 100, the determined travelers were transported across Lake Erie, completing the final leg of their long journey to freedom. Inscription on granite at base of monument: Lorain Station 100 Ohio Underground Railroad Inscription on granite back: The Giardini Family Supporting Commitment, Creativity and Community In Memory of Those Who Risked Their Lives and Property in the Name of Freedom June 16, 2007 Lorain, Ohio "Both the Persecuted and Their Protectors Have Hallowed This Ground. Our Lives and Our Memories are Richer Because of Their Courage." Toni Wofford Morrison, Nobel Laureate in Literature African Heritage Underground Railroad Project Committee Sylvia Duvall, Chairperson Kathy Fritsch Marlene Duffy Bessie Eva Nelson Elizabeth Nicholson Barbara Aldridge Fred Wright National Council of Negro Women, Lorain County Section Marlene Duffy, President Lorain Club of the National Association of Negro Business & Professional Women's Clubs, Inc. Sylvia Duvall, President Lorain County Urban League Fred Wright, President & CEO Extent The size or duration of the resource. Unknown Medium The material or physical carrier of the resource. Bronze; Granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The Historical Marker Database. "Lorain Station 100." Accessed April 30, 2021. https://www.hmdb.org/m.asp?m=143281. "Fundraising Begins to Replace Fallen Historical Marker at Black River Landing." Morning Journal, August 15, 2024. Accessed February 10, 2026. https://www.morningjournal.com/2024/08/15/fundraising-begins-to-replace-fallen-historical-marker-at-black-river-landing/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater bas-relief bronze granite inscription map 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/e10c796c801262bb4184360a77e032c6.jpg d1ff6caa212e2148ae341c9737a76c87 https://mail.slaverymonuments.org/files/original/707b09bba790b0f2f0e41ad180b18211.jpg d9729b049e5387f67b2fd40d79a2fe83 https://mail.slaverymonuments.org/files/original/044c3b6cc65200d16f2956be7b2f6fba.jpg 06be1b452889f2a601b7803941685e69 https://mail.slaverymonuments.org/files/original/4d38ed4e88c2f879841f19ca6b6758ca.jpg 663b650953797666e78cee7bcbea795f 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 68.4 in. (173.736 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 (first cast) (Mesa, Arizona) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Arizona--Mesa Freedom Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource The monument depicts Harriet Tubman leading a young African American boy by her left hand and holding a long walking stick in her right. She wears a brimmed hat, a long-sleeve shirt with a shawl wrapped around her neck, and a flowing skirt. As they walk, Tubman peers kindly at the boy, who gazes back at her. The boy wears a vest, long-sleeved shirt, trousers, and laced shoes. Both figures are shown in mid-stride. Creator An entity primarily responsible for making the resource DeDecker, Jane, 1961- Source A related resource from which the described resource is derived Photographs: <a href="https://www.waymarking.com/waymarks/WMNZ71_Harriet_Tubman_Mesa_Arizona" target="_blank" rel="noopener">Waymaking</a> Date A point or period of time associated with an event in the lifecycle of the resource 1995 Rights Information about rights held in and over the resource Las Sendas Community Association, 7900 East Eagle Crest Drive, Mesa, Arizona, 85207, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Harriet Tubman Children’s Parke, Las Sendas, E. Saddleback and Eagle Crest Drive, Mesa, Arizona, 85207, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on back: "Children if you are tired, keep going. If you're hungry, keep going. If you're scared, keep going. If you want a taste of freedom, keep going." Harriet Tubman Extent The size or duration of the resource. 68.4 in. (173.736 cm) Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Las Sendas Is Home. “Las Sendas Park Statues.” Accessed March 19, 2018. http://www.lassendasishome.com/statues/. Wander Woman Project. “Harriet Tubman Statues by Jane DeDecker Across the US.” Accessed May 25, 2020. https://wanderwomenproject.com/places/harriet-tubman-statues-by-jane-dedecker-across-the-us/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater 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<a href="https://www.slaverymonuments.org/exhibits/show/commemorating-harriet-tubman" target="_blank" rel="noreferrer noopener"></a> Medium The material or physical carrier of the resource. Bronze Relation A related resource Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad bronze figurative inscription portrait https://mail.slaverymonuments.org/files/original/5c9b800bd6480715ba91e2dea5049961.jpeg e8ca09c38aed8517483a725f3b9b970d 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 68.4 in. (173.736 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 (second cast) (Gainesville, Georgia) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Georgia--Gainsville Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource The monument depicts Harriet Tubman leading a young African American boy by her left hand and holding a long walking stick in her right. She wears a brimmed hat, a long-sleeve shirt with a shawl wrapped around her neck, and a flowing skirt. As they walk, Tubman peers kindly at the boy, who gazes back at her. The boy wears a vest, long-sleeved shirt, trousers, and laced shoes. Both figures are shown in mid-stride. Creator An entity primarily responsible for making the resource DeDecker, Jane, 1961- Source A related resource from which the described resource is derived Photograph: <a href="https://update.brenau.edu/wp-content/uploads/2016/04/IMG_0007.jpg" target="_blank" rel="noopener">Brenau University</a> Date A point or period of time associated with an event in the lifecycle of the resource 1997 Rights Information about rights held in and over the resource Brenau University, 500 Washington St SE, Gainesville, Georgia, 30501, 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 Thurmond McRae Lecture Hall, Brenau University, 625 Academy Street, Gainesville, Georgia, 30501, United States Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Harriet Tubman and Child Has Part A related resource that is included either physically or logically in the described resource. Inscription on back: "Children if you are tired, keep going. If you're hungry, keep going. If you're scared, keep going. If you want a taste of freedom, keep going." Harriet Tubman Has Version A related resource that is a version, edition, or adaptation of the described resource. First cast: <a href="https://www.slaverymonuments.org/items/show/5" target="_blank" rel="noreferrer noopener">Harriet Tubman, Las Sendas, Mesa, Arizona</a> Extent The size or duration of the resource. 68.4 in. (173.736 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. Wander Woman Project. "Harriet Tubman Statues by Jane DeDecker Across the US." Accessed May 25, 2020. https://wanderwomenproject.com/places/harriet-tubman-statues-by-jane-dedecker-across-the-us/. Vision 2020 Public Arts. "Harriet Tubman and Child." Accessed May 25, 2020. https://www.2030art.com/project-02 (site discontinued). Rights Holder A person or organization owning or managing rights over the resource. Renée Ater 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 inscription portrait https://mail.slaverymonuments.org/files/original/2c2977390aefc2e66296e96b2719c5a2.jpeg e720bc4638ac33dbc4ea2660cc5e8d81 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 68.4 in. (173.736 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 (third cast) (Little Rock, Arkansas) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Arkansas--Little Rock Freedom Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource The monument depicts Harriet Tubman leading a young African American boy by her left hand and holding a long walking stick in her right. She wears a brimmed hat, a long-sleeve shirt with a shawl wrapped around her neck, and a flowing skirt. As they walk, Tubman peers kindly at the boy, who gazes back at her. The boy wears a vest, long-sleeved shirt, trousers, and laced shoes. Both figures are shown in mid-stride. Creator An entity primarily responsible for making the resource DeDecker, Jane, 1961- Source A related resource from which the described resource is derived Photograph: <a href="https://locate.publicartarchive.org/art/Harriet-Tubman?ib=ext" target="_blank" rel="noopener">Public Art Archive</a> Date A point or period of time associated with an event in the lifecycle of the resource 2004 Contributor An entity responsible for making contributions to the resource Dr. Dean Kumpuris, Little Rock Board of Directors, City of Little Rock, Little Rock, Arkansas; John Kinkade, National Sculptors’ Guild at Columbine Gallery, Little Rock, Arkansas; and Peggy and Haskell L. Dickinson (donors), Little Rock, Arkansas. Rights Information about rights held in and over the resource City of Little Rock, 500 W. Markham Street, Little Rock, Arkansas, 72201, 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 764 President Clinton Avenue, Little Rock, Arkansas, 72201, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on back: "Children if you are tired, keep going. If you're hungry, keep going. If you're scared, keep going. If you want a taste of freedom, keep going." Harriet Tubman Has Version A related resource that is a version, edition, or adaptation of the described resource. First cast: <a href="https://www.slaverymonuments.org/items/show/5" target="_blank" rel="noreferrer noopener">Harriet Tubman, Las Sendas, Mesa, Arizona</a> Extent The size or duration of the resource. 68.4 in. (173.736 cm) Medium The material or physical carrier of the resource. Bronze; Concrete base Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Public Art Archive. “Harriet Tubman, Little Rock, Arkansas.” Accessed March 19, 2018. https://locate.publicartarchive.org/art/Harriet-Tubman?ib=ext. Peacock, Leslie Newell. “Forever, Sculpture: Artwork and a City Director, Carve Out a Special Place along Little Rock’s Riverfront.” Arkansas Times, June 15, 2017. Accessed March 19, 2018. https://www.arktimes.com/arkansas/forever-sculpture/Content?oid=7409126. Wander Woman Project. “Harriet Tubman Statues by Jane DeDecker Across the US.” Accessed May 25, 2020. https://wanderwomenproject.com/places/harriet-tubman-statues-by-jane-dedecker-across-the-us/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater 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 inscription portrait