6 10 134 https://mail.slaverymonuments.org/files/original/c3754f52151df1b7e183477511f1e542.jpg d1c808b9bdeacba36fa3a26aff328434 https://mail.slaverymonuments.org/files/original/442c0a8e4de3fd456c8f3f6f1f808f4a.jpg 83f383f12e97eaeed991ca119477fd64 https://mail.slaverymonuments.org/files/original/d49f585894b0071825b5e53553fbfa48.jpg e36765a8b585f8375a2d2cfa4041080b https://mail.slaverymonuments.org/files/original/c0c3fb8db4b943a8e7cfeb06f890dc82.jpeg d4ee31936535e6acc5a601b81f36ba50 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 Everdure bronze with patina; Brick; Granite 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 Jerry Rescue Monument (Syracuse, New York) Creator An entity primarily responsible for making the resource BuMann, Sharon, 1953- Subject The topic of the resource Subject (Topic) Abolition of slavery Public art Public sculpture New York (State)--Syracuse Resistance Slavery--New York (State) Subject (Name) Henry, William "Jerry", 1811-1853(?) Loguen, Jermain Wesley, 1813-1872 May, Samuel Joseph, 1797-1871 Subject (Object Type) Commemorative sculpture Date A point or period of time associated with an event in the lifecycle of the resource August 10, 1990 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 Clinton Square, 2 S Clinton Street, Syracuse, New York, 13202, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on the central bronze plaque (back wall): The Jerry Rescue In 1827, The State of New York was among the first in the Union to abolish slavery. By the mid-1800’s, Syracuse was known nationally as a hub of ant-slavery activity. Harriet Tubman, Gerrit Smith, the Rev. Samuel J. May, and the Rev. Jermain W. Loguen lived in the area and played historic roles helping escaped slaves reach freedom and safety in the northern United States and Canada. They organized and maintained the secret routes and hiding places known as the Underground Railroad. Their Abolitionist sentiments were shared by many men and women in the community. When Congress passed the Fugitive Slave law in 1850, a local Vigilance Committee publicly called on people everywhere to oppose it. Then-Mayor Alfred H. Honey was one of the community leaders who denounced the law as 'a most flagrant outrage upon the inalienable rights of man.'  With the attention of the nation focused on the acts of civil disobedience this position might spark, the great American orator Daniel Webster, came to Syracuse and delivered a dramatic address from the balcony overlooking City Hall. He warned the supporters of the Vigilance Committee of the dire legal consequences they faced in opposing the Fugitive Slave Law. Meanwhile, William 'Jerry' Henry had escaped from slavery in Missouri, and was working as a cabinet maker and cooper in Syracuse. At noon on October 1st, 1851, he was apprehended, taken before the local U.S. Commissioner, and charged as a fugitive slave. Alerted, the Vigilance Committee sprang into action. At first, disorganized attempt to free Jerry that afternoon failed. But, later that evening, a mob of outraged citizens, both black and white, stormed the jail across Clinton Street from this site, and rescued him. Jerry was hidden in the city for a few days, then spirited north along the Underground Railroad to Kingston, Ontario. Twenty-seven people, including Loguen and eleven other black citizens, were indicted for their involvement. Enoch Reed, a black man, was the only person convicted of any crime related to the rescue; it was a minor offense, and he died before his case could be heard on appeal. For many years afterwards, Abolitionists from all over the north gathered in Syracuse on October 1st, to celebrate Jerry's rescue. Inscription on left bronze plaque (back wall): Monument Symbolism The STAR, as a light in the darkness, represents hope. Its four points are oriented to the actual points of the compass, important in fixing direction for a journey. Its elevation conveys the importance of Jerry’s recuse in the history of civil rights. The BRICK WALLS symbolize buildings or barriers, which can include or exclude. The spaces provoke interest and concern for who or what lies beyond. The FOREGROUND FIGURES aiding Jerry represent the Rev. Samuel J. May and the Rev. Jermain W. Loguen, who did not physically take part in the event but were instrumental in arranging the rescue. They and the crowd behind them are larger-than-life to suggest that, when courage and compassion combine to influence public opinion, human life is enlarged. The BROKEN SHACKLES Jerry wears emphasize the failure of legal authority to impose unjust restraints upon human rights or to limit human dignity. Monument design: BuMann Studio Central Square, New York Sharon BuMann/Sculptor Copyright 1990 Inscription on right bronze plaque (back wall): This project was made possible by the support of the  City of Syracuse Mayor Thomas G. Young State of New York Governor Mario M. Cuomo Senator Tarky Lombardi, Jr. Benefactors New York State Natural Heritage Trust New York State Bicenntienal Commission Central New York Community Foundation Rosamond Gifford Foundation Updowntowners of Syracuse Anheuser-Busch, Inc. Atlas Fence, Inc. Barnes & Cone, Inc. Bartran & Associates Bock Brick, Inc. Chappell's Donald W. Clark Suzanne M. Congel The Edgewater Companies Lora S. Flanagan IBEW Local 43 Key Bank of Central New York Lenweaver Design Mayor's Minority Affairs Council McConnell Constrution Corp. Edward McNeil OBG Technical Services, Inc. O'Brien and Gere Engineering, Inc. O'Conner Memorial, Inc. Omega Psi Phi Fraternity Inc.--Chi Phi Chapter Paragon Supply, Inc. Parratt-Wolfe, Inc. Randall Electric. Inc. James Ross & Son Construction Santaro Industries, Inc. Syracuse Teachers Association  Taylor Rental Center Andrew Von Deak Richard N. Wright, II Jerry Rescue Memorial Committee Chester Whiteside, Founder/Co-Chairperson Roger Mac, Co-Chairperson Linda Joanne Clark Thomas R. Kennedy David Kreitor David E. Lenweaver Cheryl Wilkins-Mitchell Vicki B. Quigley Henry Schramm A project of the Syracuse Urban Arts Commission Unveiled August 10, 1990 Medium The material or physical carrier of the resource. Everdure bronze with patina; Brick; Granite Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Description An account of the resource A concrete four-pointed star serves as the sculpture’s plinth. Three brick and concrete walls form a niche, which viewers are invited to physically occupy. Affixed to the brick walls, the niche contains bronze plaques explaining the history of William "Jerry" Henry’s rescue and the symbolism of the sculpture. Emerging from the central brick wall, on the side that faces outward, away from the architectural niche, are three life-size bronze figures. Rendered in high relief, the artist, BuMann, depicts an imagined scene of Henry’s rescue. A shirtless Henry, with broken shackles on his wrists, is helped to safety with the assistance of Rev. Samuel J. May and the Rev. Jermain W. Loguen (who was himself a formerly enslaved person), men who were not actually present during the escape. Source A related resource from which the described resource is derived Photographs by 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. Syracuse University Libraries. "'That laboratory of abolitionism, libel, and treason': Syracuse and the Underground Railroad." Special Collections Exhibits. Accessed February 9, 2025. https://library.syracuse.edu/extsites/undergroundrr/case3.php. Contributor An entity responsible for making contributions to the resource City of Syracuse; State of New York; Syracuse Urban Arts Commission; Jerry Rescue Memorial Committee; New York State Natural Heritage Trust; New York State Bicenntienal Commission; Central New York Community Foundation; Rosamond Gifford Foundation; Updowntowners of Syracuse Rights Information about rights held in and over the resource Syracuse Public Arts Commission, City Hall, 233 East Washington Street, Syracuse, New York, 13202, United States bas-relief bronze chains figurative granite manacles https://mail.slaverymonuments.org/files/original/8c6ffefb82885fe1cf6733f740146bc6.jpeg 0206afab2634ec4de8d93e3d5f6f2e8a 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 120 x 120 x 144 in. (304.8 x 304.8 x 365.76 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gateway to Freedom: International Memorial to the Underground Railroad (Detroit, Michigan) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Fugitive slaves--United States Michigan--Detroit Public art Public sculpture Underground Railroad Subject (Object Type) Commemorative sculpture Description An account of the resource Two gateway pillars (approximately fifteen feet tall), topped with candles symbolizing the “Flame of Freedom,” flank Ed Dwight's memorial to the Underground Railroad. The work, which overlooks the Detroit River, includes a ten-by-twelve-foot sculptural group: eight freedom seekers and an Underground Railroad conductor, who gazes and points towards Canada. Dwight modeled the conductor after George DeBaptiste, a freeman from Virginia who migrated to Detroit in 1846. DeBaptiste was an active abolitionist, Underground Railroad operative, and leader of the Vigilant Committee of Detroit, a watchdog and legal advocacy group for the black community. Panels with engravings of quilt squares appear on either side of the figural group. Here, Dwight appears to be referencing one of the most popular myths surrounding the Underground Railroad: “Freedom Quilts,” objects said to have been created by passengers of the Underground Railroad and hung in windows as coded maps or guideposts for escapees on the run. The base of the sculpture is adorned with an engraving of a lantern set inside a windowsill. 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 October 20, 2001 Contributor An entity responsible for making contributions to the resource Detroit 300; International Underground Railroad Monument Collaborative (now the Michigan Underground Railroad Exploratory Collective) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Hart Plaza, 1 Hart Plaza, Detroit, Michigan, 48226, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on base: Until Emancipation, Detroit and the Detroit River community served as the gateway to freedom for thousands of African American people escaping enslavement. Detroit was one of the largest terminals of the Underground Railroad, a network of abolitionists aiding enslaved people seeking freedom. Detroit's Underground Railroad code name was Midnight. At first, Michigan was a destination for freedom seekers, but Canada became a safer sanctuary after slavery was abolished there in 1834. With passage of the Fugitive Slave Act in 1850, many runaways left their homes in Detroit and crossed the river to Canada to remain free. Some returned after Emancipation in 1863. The successful operation of Detroit's Underground Railroad was due to the effort and cooperation of diverse groups of people, including people of African descent, Whites, and North American Indians. This legacy of freedom is a vital part of Detroit and its history. Plaque on the back of the memorial: International Memorial to the Underground Railroad The Gateway to Freedom Ed Dwight- Sculptor Dedicated October 20, 2001 With companion work Tower of Freedom in the Civic Esplande, Windsor, Ontario, Canada A project of the Detroit 300 and the International Underground Railroad Monument Collaborative. Extent The size or duration of the resource. 120 x 120 x 144 in. (304.8 x 304.8 x 365.76 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. Faires, Nora. "Across the Border to Freedom: The International Underground Railroad Memorial and the Meanings of Migration." Journal of American Ethnic History 32, no. 2 (2013): 38-67. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater 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 Source A related resource from which the described resource is derived Photograph: <a href="https://www.waymarking.com/waymarks/WMHC02_Gateway_to_Freedom_Detroit_Michigan_USA" target="_blank" rel="noopener">Waymaking</a> Rights Information about rights held in and over the resource City of Detroit, 2 Woodward Avenue, Detroit, Michigan, 48226, United States bronze figurative granite lantern quilt squares 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/79dbb3250a9613ab576f7b6c91f18367.jpeg 7c64c9087e25f85e2726b5ca979690ed Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 84 in. (213.36 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Neg Mawon Emancipation Monument (Roseau, Dominica) Subject The topic of the resource Subject (Topic) Dominica--Roseau Enslaved persons--Emancipation--Dominica Freedoom Maroons--Dominica Public art Public sculpture Slavery--Dominica Slavery--England Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Standing resolutely forward, the muscular figure of a shirtless self-emancipated man ('neg mawon'), with broken shackles and chains around his wrists and neck, holds a conch shell to his lips. The bronze figure, located in the center of a traffic circle, celebrates the self-emancipated (maroon) societies that engaged in a sustained struggle against slavery and French colonialism. The work was unveiled during Dominica’s 2013 Emancipation Celebrations. Creator An entity primarily responsible for making the resource Zamora, Franklyn Date A point or period of time associated with an event in the lifecycle of the resource August 1, 2013 Contributor An entity responsible for making contributions to the resource Government of the Commonwealth of Dominica; Ministry of Culture; National Cultural Council. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Turkey Lane and Victoria Street, Roseau, Dominica Has Part A related resource that is included either physically or logically in the described resource. Plaque next to monument: This monument is a symbol of freedom and emancipation. It is a tribute to all the enslaved Africans who suffered and were executed in the history of Dominica. It honours the Maroons who risked their lives to fight for the emancipation of all. It pays homage to those who were sold and executed at the Old Roseau Market and who were held at the Barracoon Building in Roseau before being sold and sent to the plantations. This monument salutes the memory of our African ancestors and the immense contribution of their skills to our early infrastructure and the development of agriculture in Dominica through the shedding of their blood, sweat and tears. It celebrates the powerful and lasting influence which our which our African ancestors had on Dominica's present day culture, especially in our forms of music, language, costumes and cuisine. This memorial is a reminder to all Dominicans that we should continue to sustain our African heritage and its many cultural expressions. Extent The size or duration of the resource. 84 in. (213.36 cm) Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: Ariane Colenbrander, <a href="https://www.flickr.com/photos/arianec/49267300456/in/album-72157712340816712/" target="_blank" rel="noopener">Flickr</a> Medium The material or physical carrier of the resource. Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dominica News Online. "Emancipation Statue Unveiled." August 2, 2013. Accessed February 15, 2025. https://dominicanewsonline.com/news/homepage/news/culture/emancipation-statue-unveiled/. Government Information Service. "Emancipation Monument Officially Unveiled." Government of the Commonwealth Dominica. August 6, 2013. Accessed February 15, 2025. https://news.gov.dm/news/news-items/emancipation-monument-officially-unveiled. Rights Information about rights held in and over the resource Government of the Commonwealth of Dominica, Government Headquarters, Kennedy Avenue, Roseau, Commonwealth of Dominica. bronze figurative inscription manacles seashell https://mail.slaverymonuments.org/files/original/69b984947b3732c2834c69dcdd9e11bd.jpg 5e307ca5a1f1c59eb06987d3514eef9f 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 Atorkor Slave Trade Memorial (Atorkor, Ghana) Subject The topic of the resource Subject (Topic) Enslaved persons Ghana--Atorkor Slave market Slavery--Ghana Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial is located in the coastal Ghanaian district of Anlo, once known for its substantial involvement in the slave trade. A high-walled circular enclosure with a small wooden door, which serves as a narrow entrance, leads the viewer to the central feature of the memorial: a life-size sculptural group of a tall European slave-trader brandishing a whip over two kneeling African figures. The African figures, dressed in traditional garb, are chained at the neck. The interior walls of the monument are embellished with a narrative frieze illustrating a well-known local legend about a white trader who lived in Atorkor and the young men and women from the village who were deceived by the cunning trader and sold into slavery. Date A point or period of time associated with an event in the lifecycle of the resource 1999 Contributor An entity responsible for making contributions to the resource Keta District Tourism Development Committee; Keta Municipal Assembly; Anlo Traditional Council; Atorkor Development Foundation (ADF); National Tourism Development Committee Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Okudzeto, Senam. "Emotive Histories: The Politics of Remembering Slavery in Contemporary Ghana." Atlantic Studies 9, no. 3 (2012): 337-61. Akyeampong, Emmanuel. "History, Memory, Slave-Trade and Slavery in Anlo (Ghana)." Slavery and Abolition 22, no. 2 (2010): 1-24. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://www.flickr.com/photos/atorkor/5569821868/in/photolist-9ubMZw-d2ykwh-9uaUwM-9uaYde-9udZaN-9udYEE-9udZjS-9uaU18-9uaRSF-9udWk1-9udN8A-9uaQKT-9ubNwC-9udXKY-9u8RvV-9u9bMP-9uc74G-9uaSYB-9uaRgc-9uaUH8-9uaUkR-9udUdf-9uaKe2-9uaJHc-9ubQVL-9ucdFL-9u8QYt-9u99ZT-9ubT6Q-9uaYog-9uc7BG-9FHCYT-9FHDet-9FHDi6-9FLzp9-9FHCUM-9FHCSP-9FHDbZ-9FHD8T-9FLzvs-9FHDma-9FLz8u-9FHD22-9FLze5-9FHD5t-9uc9SA-9u82Dt-9dqvhU-94gqXu-9dnjNn" target="_blank" rel="noopener">Flickr, Atorkor Village</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Atorkor Vocational Technical Institute, Alonga District, Atorkor, Ghana Medium The material or physical carrier of the resource. Concrete (?); Pigment Creator An entity primarily responsible for making the resource Unknown Rights Information about rights held in and over the resource Keta Municipal Assembly, WX2Q+5QJ, Keta, Ghana figurative manacles https://mail.slaverymonuments.org/files/original/37d22a59412fe26ba8bb488e0ef28b16.jpg 63c069dfa373297b6ce926c2191f8498 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 Gilt of Cain (London, England) Subject The topic of the resource Subject (Topic) Abolition of slavery England--London Public art Public sculpture Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Located near St. Mary Woolnoth Church, where the abolitionist William Wilberforce heard the anti-slavery sermons of the Rev. John Newton, the monument consists of seventeen carved granite columns clustered around a granite podium. The curvilinear forms of the columns recall the growing stems of sugarcane. According to the artists, the position of the columns and podium are meant to suggest a group of people “gathered to listen to a speaker – perhaps the Rev. Newton preaching against slavery, perhaps a trader auctioning his slaves, perhaps William Wilberforce campaigning in front of an audience.” Excerpts from Lemn Sissay's poem, The Gilt of Cain, are etched on the columns. The words are inscribed in the same typography used in early abolitionist literature printed near the site. Creator An entity primarily responsible for making the resource Visocchi, Michael (sculptor), 1977- Sissay, Lemn (poet), 1967- Contributor An entity responsible for making contributions to the resource Black British Heritage; Parish of St Mary Woolnoth; City of London Corporation; British Land Company 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 120 Fenchurch Street, London, EC3M 5BA, England Has Part A related resource that is included either physically or logically in the described resource. Plaque: Gilt of Cain by Michael Visocchi & Lemn Sissay This powerful sculpture was unveiled by the Archbishop Emeritus Desmond Mpilo Tutu on 4th September 2008. The sculpture commemorates the abolition of the transatlantic slave trade in 1807, which began the process of the emancipation of slaves throughout the British Empire. Fen Court is the site of a churchyard formerly of St Gabriel’s Fenchurch St and now in the Parish of St Edmund the King and St Mary Woolnoth, Lombard St. The latter has a strong historical connection with the abolitionist movement of the 18th and 19th centuries. The Rev John Newton, a slave-trader turned preacher and abolitionist, was rector of St Mary Woolnoth from 1780 – 1807. Newton worked closely alongside the famous abolitionist William Wilberforce. The granite sculpture is composed of a group of columns surrounding a podium. The podium calls to mind an ecclesiastical pulpit or slave auctioneer’s stance, whilst the columns evoke stems of sugar cane and are positioned to suggest an anonymous crowd or congregation gathered to listen to a speaker. The artwork is the result of a collaboration between sculptor Michael Visocchi and poet Lemn Sissay. Extracts from Lemn Sissay’s poem, ‘Gilt of Cain’, are engraved into the granite. The poem skilfully weaves the coded language of the City’s stock exchange trading floor with biblical Old Testament references. Poem inscribed on work: "The Gilt of Cain By Lemn Sissay, 2007 Here is the ask price on the closed position, History is no inherent acquisition For here the Technical Correction upon the act, A merger of truth and in actual fact On the spot, on the money – the spread. The dealer lied when the dealer said The bull was charging the bear was dead, The market must calculate per capita, not head. And great traders acting in concert, arms rise As the actuals frought on the sea of franchise Thrown overboard into the exchange to drown In distressed brokers disconsolate frown. In accounting liquidity is a mounting morbidity But raising the arms with such rigid rapidity, Oh the reaping the raping rapacious fluidity, The violence the vicious and vexed volatility. The roaring trade floor rises above crashing waves: The traders buy ships, beneath the slaves. Sway machete back, sway machete again Cut back the sugar rush, Cain. The whipsaw it’s all and the whip saw it all The rising market and the cargo fall Who’ll enter “Jerusalem” make the margin call for Abel? Who will kick over the stall and turn the table? Cain gathers cane as gilt-gift to his land But whose sword of truth shall not sleep in hand? Who shall unlock the stocks and share? Break the bond the bind unbound - lay bare The truth. Cash flow runs deep but spirit deeper You ask Am I my brothers keeper? I answer by nature by spirit by rightful laws My name, my brother, Wilberforce. This project was initiated by Black British Heritage and the Parish of St Mary Woolnoth and was commissioned by the City of London Corporation in partnership with the British Land Company. 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 Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:Fen_Court_and_%22Gilt_of_Cain%22_Sculpture_(geograph_3302507).jpg" title="Gilt of Cain" target="_blank" rel="noopener">Wikimedia Commons</a><a href="https://futurecity.co.uk/portfolio/gilt-of-cain/" target="_blank" rel="noopener"></a> Date A point or period of time associated with an event in the lifecycle of the resource September 4, 2008 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. <a href="https://www.londonremembers.com/memorials/gilt-of-cain-slave-trade" target="_blank" rel="noopener"></a>London Remembers. "Gilt of Cain-Slave Trade." Accessed February 15, 2025. https://www.londonremembers.com/memorials/gilt-of-cain-slave-trade. Rice, Alan. "Chapter One, Tracing Slavery's Routes and Looking Inside the Invisible: The Monumental Landscape and the African Atlantic." In Creating Memorials, Building Identities: The Politics of Memory in the Black Atlantic, 1-31. Liverpool University Press, 2010. Rights Information about rights held in and over the resource Art UK, c/o Staffordshire University Incubator Unit, 2nd Floor, Mellor Building, College Road, Stoke-on-Trent, ST4 2DE, England abstract columns granite inscription poetry https://mail.slaverymonuments.org/files/original/405fbbd7e71c57c5cde5f476d3ca458b.jpeg 2cd08776795ac9da4fd6fdbcdc1e135a 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 Archaeological site 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 Cais do Valongo (Rio de Janeiro, Brazil) Subject The topic of the resource Subject (Topic) Brazil--Rio de Janeiro Enslaved persons Slavery--Brazil Slavery--Portugal Transatlantic slave trade Subject (Object Type) Archaeological site Description An account of the resource As the last nation in the Americas to officially abolish slavery in 1888, historians estimate that of the approximately 10.7 million enslaved persons brought to the Americas, as many as 50 percent arrived in Brazil. Valongo was the debarkation point for an estimated 900,000 enslaved Africans. In July 2007 the United Nations Educational, Scientific, and Cultural Organization added the wharf to its World Heritage List. The site consists of a number of archaeological layers, the lowest of which are the remains of the Valongo Wharf’s floor pavings. The bodies of the enslaved who died upon arrival in Brazil were burned, and chopped-up bones were buried in mass graves on a site near the wharf. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Jornal do Comércio Square, Av. Barão de Tefé - Saúde, Rio de Janeiro - RJ, 20220-460, Brazil Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. UNESCO. "Valongo Wharf Archaeological Site." Accessed May 28, 2019. https://whc.unesco.org/en/list/1548. Querin, Camilla. "An Antidote for Social Amnesia: The Memory Space of the Cais do Valongo." Smarthistory. Accessed February 15, 2025. https://smarthistory.org/memory-space-cais-valongo/. Angeleti, Gabriella. "Valongo Wharf--Historic Hub of Brazil's Slave Trade--Opens Following Overdue $400,000 Renovation." Art Newspaper, January 4, 2024. Accessed February 15, 2025. https://www.theartnewspaper.com/2024/01/02/valongo-wharfhistoric-hub-of-brazils-slave-tradeopens-to-the-public-following-overdue-400000-renovation. Chuva, Màrcia, Leila Bianchi Aguiar, and Brenda Coelho Fonseca. "Sensitive Memories at a World Heritage Site: Silencing and Resistance at the Valongo Wharf." In Decolonizing Global Heritage, eds. Britta Timm Knudsen, John Oldfield, Elizabeth Buettner, and Elvan Zabunyan, 175-192. Routledge, 2022. 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: Flickr, <a href="https://www.flickr.com/photos/wagnertamanaha/11381354915/in/photolist-W8RDRL-ikJr3Y-ikJqia-iwRo36-iwR3za-iwRwSk-YbicD9-iwKagt-iwQY5Z-iwRChD-iwRhg7" target="_blank" rel="noopener">"Cais do Valongo -- Rio de Janeiro (Brazil) 2013" by Wagner Tamanaha, CC BY-SA 2.0</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1811-1831 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 Archaeological Site Rights Information about rights held in and over the resource Rio de Janeiro City Hall, Rua Afonso Cavalcanti, 455 - Cidade Nova, 20211-110, Brazil Medium The material or physical carrier of the resource. Paving stone Has Part A related resource that is included either physically or logically in the described resource. Plaque: Patriomonio Cultural Carioca Circuito da Herança Africana Foi construido em 1811 para o desembarque e comércio de africanos escravizados. Remodelado em 1843 como Cais da Imperatriz, foi alerrado em 1911 para dar lugar a Praça do Comércio. Em 2011 foi redescoberto nas obras do Porto Maravilha. English translation: Built in 1811 for the disembarkation and trade of enslaved Africans. Remodeled in 1843 as the 'Cais da Imperatriz,' it was demolished in 1911 to make way for the 'Praça do Comércio.' In 2011, it was rediscovered during the Porto Maravilha works. archaeology https://mail.slaverymonuments.org/files/original/296a8f99f98c7ddfbeba50976948f923.jpg 65d41f36cb58f10dd3adb2c0d0b2fb86 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image 86.61 in. (220 cm) Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Estatua Zumbi dos Palmares (Salvador da Bahia, Brazil) Subject The topic of the resource Subject (Topic) Brazil--Salvador da Bahia Public art Public sculpture Maroons--Brazil Resistance Slavery--Brazil Slavery--Portugal Transatlantic slave trade Subject (Name) Zumbi (Zumbi dos Palmares), 1655-1695 Subject (Object Type)  Commemorative sculpture Creator An entity primarily responsible for making the resource Magno, Márcia Date A point or period of time associated with an event in the lifecycle of the resource May 30, 2008 Contributor An entity responsible for making contributions to the resource Fundação Cultural Palmares (Brasilia); Monument Committee: Mônica Kalile, Raimundo Bujão, Lázaro Duarte, Jorge Conceição, and  Valmir Dois Mundo; João Henrique de Barradas Carneiro, Mayor; Gilberto Passos Gil Moreira, Minister of Culture Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Praça da Sé, 15-23 - Pelourinho, Salvador - BA, 40020-210, Brazil Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque: "Zumbi dos Palmares “É chegada a hora de tirar nossa nação das trevas da injustica racial.” Nasceu livre, em 1655, na Serra da Barriga, união dos Palmares, Alagoas. Neto de Aqualtune, não permitiu a submissão de seu povo ao jugo da corda portuguesa, pois queria a liberdade para todos, dentro ou fora do Quilombo. Persistiu na luta e tornou-se líder do Quilombo, sento ferido em 1694, quando a capital Palmares foi destruída. Em 20 de Novembro de 1695, foi morto e decapitado. Após 300 anos, a data da morte desse líder da resistência negra foi instituída, pelo moviment negro, como o dia nacional da consciência negra." Bronze plaque: “Zumbi” (a Felicidade Guerreira) Letra de Waly Salomâo & música de Gilberto Gil (par o filme Quilombo) 1983  Zumbi, comandante guerreiro Ogunhê, ferreiro-mor capitão Da capitania da minha cabeça Mandai a alforria pro meu coração Minha espada espalha o sol da guerra Rompe mato, varre céus e terra A felicidade do negro é uma felicidade guerreira Do maracatu, do maculelê e do moleque bamba Minha espada espalha o sol da guerra Meu Quilombo incandescendo a serra Tal e qual o leque, o sapateado do mestre – escola de samba Tombo – de – ladeira, rabo – de – arraia, fogo – de – liamba... A felicidade do negro é uma felicidade guerreira" Bronze plaque: Esta escultura em bronze do Zumbi dos Palmares, herói da resistência negra contra a escravidâo, foi criada, projetada e executada pela escultora márcia, magno, resultado, de extensa pesquisa inconográfica, técnica e plástica, possui 2,20m de altura e expressa Altivez, força, dignidade e Beleza plástica. Simboliza “as multiplas faces dos espíritos de África”. Em posição de alerta, apresenta uma perna apoiada a outra, semelhante a um pássaro silvestre, ágil, dia e noite em permanente vigília. O guerreiro Zumbi dos Palmares está portando uma lança de caça e um gládio, cópia fiel do “Mukwale”, peça preciosa, utilizada por grandes guerreiros cuja decoração, do cabo representa o chefe tradicional em pé e atento a qualquer circunstãncia. 30 de Maio de 2008" Bronze plaque: "Homenagem a Zumbi dos Palmares  Projecto Autoria: Lázaro Souza Duarte  Zumbi dos Palmares líder da primeira experiência democrática do país. O Monumento de Zumbi dos Palmares é o símbolo da resistência do povo negro brasileiro e a materializaçâo da memória de lutas e conquistas pelo exercício da liberdade no fortalecimento pela consciência negra. Salvador, 30 de Maio de 2008  Comissâo Gestora  Mönica Kalile, Raimundo Bujâo, Lázaro Duarte, Jorge Conceiçâo e Valmir Dois Mundo  Joâo Henrique de Barradas Carneiro, Prefeito  Gilberto Passos Gil Moreira  Ministro da Cultura" English translations of the plaques can be found at the Historic Markers Database: https://www.hmdb.org/marker.asp?marker=26125. Medium The material or physical carrier of the resource. Bronze, Black granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Araujo, Ana Lucia. "Public Memory of Slavery in Brazil." In Slavery, Memory and Identity: National Representations and Global Legacies, eds. Douglas J. Hamilton, Kate Hodgson, and Joel Quirk, 115-130. London: Pickering & Chatto, 2012. Damasceno, Felipe. "Zumbi dos Palmares." Salvador Escravista. Accessed January 27, 2026. https://www.salvadorescravista.com/homenagens-reparadoras/zumbi-dos-palmares. "Fundação Cultural Palmares lança edital para escolher estátua de Zumbi." Instituto do Patrimônio Histórico e Artístico Nacional (Iphan, January 16, 2008. Accessed February 26, 2026. http://portal.iphan.gov.br/noticias/detalhes/1984/fundacao-cultural-palmares-lanca-edital-para-escolher-estatua-de-zumbi. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Description An account of the resource The work is dedicated to Zumbi dos Palmares, a quilombo leader and one of the principal forces behind the resistance to slavery in Brazil. The muscular, seminude figure of Zumbi dos Palmares, stands with his weight shifted to his right foot. He brings the sole of his left foot to his right shin and holds a spear in his left hand as he turns his head slightly to the left. Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:ZumbiStatue.jpg" target="_blank" rel="noopener">Wikipedia Commons</a> Rights Information about rights held in and over the resource Centro Administrativo da Bahia, Av. Luiz Viana Filho, 435, Salvador, Bahia, 41730-101, Brazil Extent The size or duration of the resource. 86.61 in. (220 cm) black granite bronze figurative machete (knife) https://mail.slaverymonuments.org/files/original/85f2c22f3913882a1462a440e8eddee0.jpg a998be6eb7300f8f288e97e9a90bfc0f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 354.331 x 125.984 in. (900 x 320 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource L'arbre de la liberté (Schoelcher, Martinique) Subject The topic of the resource Subject (Topic) Freedom Martinique--Schoelcher Public art Public sculpture Slavery--Martinique Resistance Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Facing the Caribbean Sea, the memorial consists of eight abstracted forms, some of which are rectilinear and geometric, and others more curvilinear with rounded organic forms. The bronze figures are embellished with symbols, which according to the sculptor, represent "the spirit of the liberated man." Creator An entity primarily responsible for making the resource Guédon, Henri, 1944-2006 Date A point or period of time associated with an event in the lifecycle of the resource 2001 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Place des Arawaks, 97233 Schoelcher, Martinique Extent The size or duration of the resource. 354.331 x 125.984 in. (900 x 320 cm) Medium The material or physical carrier of the resource. Bronze; Concrete Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Les Arbre de la Liberté." Fédération Martiniquaise des Offices de Tourisme et Syndicats d'Initiative. Accessed May 28, 2019. http://www.accueil-martinique.fr/FR/visite-les-arbres-de-la-liberte_10037.html. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://terresducentremartinique.fr/sites-musees/larbre-de-la-liberte/" target="_blank" rel="noopener">Terres du Centre Martinique</a> Rights Information about rights held in and over the resource Mairie de Schoelcher, 3 rue Fessenheim, 97233 Schoelcher, Martinique abstract bronze concrete trees https://mail.slaverymonuments.org/files/original/8ff36956c13b8d36d0cb3581cdc30bfa.jpg ee3201f70f8e829506542f66868b3378 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 180 in. (457.2 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1763 Monument (Georgetown, Guyana) Subject The topic of the resource Subject (Topic) Guyana--Georgetown Public art Public sculpture Resistance Slave insurrections--Canje River (Guyana) Slavery--Guyana Slavery--The Netherlands Transatlantic slave trade Subject (Name) Cuffy (Coffy, Kofi Badu), d. 1763 Subject (Object Type) Commemorative sculpture Description An account of the resource Unveiled three days before the tenth anniversary of Guyanese Independence, the work celebrates the Guyanese anti-colonial struggle, resistance to slavery, and eventual emancipation. It is dedicated to the memory of Cuffy (Kofi Badu), an Akan man sold into slavery who led a revolt in 1763 against the Dutch owners of the Magdalenburg plantation on the Canje River in Berbice (now part of Guyana). Although the uprising was ultimately unsuccessful, Cuffy’s rebellion anticipated the eventual end of slavery in Guyana. The sculpture stands atop a tall, tiered pedestal resembling a staircase. At the summit is a bold and commanding figure of Cuffy standing in a powerful, upright pose, with his feet planted firmly apart. He holds a pig in one hand and a dog in the other— symbols of greed and ignorance. His facial expression is defiant and determined, marked by a pouting mouth. The base of the monument prominently displays the number 1763, along with a bronze plaque bearing stylized bas-relief human figures in dynamic poses. Creator An entity primarily responsible for making the resource Moore, Philip Alphonso, 1921-2012 Date A point or period of time associated with an event in the lifecycle of the resource May 23, 1976 Contributor An entity responsible for making contributions to the resource National Trust of Guyana; Morris Singer Foundry; Dr. David Klautky (structural engineer); Albert Rodrigues (architect) Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant D'Urban Park, Square of the Revolution, Vlissengen Road, Georgetown, Guyana Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Cuffy Monument Extent The size or duration of the resource. 180 in. (457.2 cm) Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:1763_Monument.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Rights Information about rights held in and over the resource National Trust of Guyana, 94 Carmichael Street, North Cummingsburg, Georgetown, Guyana Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. National Trust of Guyana. "1763 Monument." December 17, 2021. Accessed February 16, 2025. https://ntg.gov.gy/monument/1763-monument/. Conduru, Roberto. "Transnational Counter-monuments: Anti-Slavery and Pro-Freedom Memorials." ReVista: Harvard Review of Latin America, July 30, 2021. Accessed January 28, 2026. https://revista.drclas.harvard.edu/transnational-counter-monuments/. Has Part A related resource that is included either physically or logically in the described resource. Signage: 1763 Monument National Trust of Guyana Safeguarding and Promoting Our Heritage Located at the eastern end of Brickdam on Vlissengen Road, D’Urban Park, is the 1763 Monument, a National Monument. This structure was built at a cost of $38,000.00 to commemorate the 1763 rebellion also known as the “Great Rebellion” that occurred on plantation Magdelenenburg in Berbice, Region six. The plantation was located on the upper Canje River and was owned by Madam Vernesobre.  The uprising that started on February 23, 1763, was considered the first true attempt by slaves to fight for their freedom in an organized fashion, started. During the revolt, a household slave named Cuffy from plantation Lilienburg quickly assumed a leading role in the rebellion and organized a number of riots against plantations owners. The uprising lasted for more than a year before the Dutch were able to overcome the slaves.  For Guyana’s 10th Independence anniversary, a call was made to have a monument erected to commemorate the rebellion. Advertisements were placed in the local newspapers calling for designs and Mr. Phillip Alphonso Moore’s concept of the monument was selected. The structure was unveiled by President Linden Forbes Sampson Burnham on May 23, 1976.  The monument was casted in sections at the Morris Singer Foundry in Basingstoke, England, with the assistance of structural engineer Dr. David Klautky and was assembled through welding. On site, it stands 4.6 metres (15 feet) high and weighs 2267 kilograms (2 ½ tons) and rests on a plinth 5.5 metres (18 feet) high which was designed by architect Albert Rodrigues. Some features of the monument include shield like face on the chest that represents a spiritual guard against enemies and map of Guyana carved on the back representing the peoples of Guyana. bronze figurative