6 10 134 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/951ece6f02e080e45df0fb538940f529.jpg c182a12d25cf93fdd853322c4d2f5169 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Harriet Tubman Monument (Beaufort, South Carolina) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Public art Public sculpture  South Carolina--Beaufort Slavery--South Carolina United States--History--Civil War, 1861-1865 United States Colored Troops Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource The monument depicts Harriet Tubman, co-leader of the military operation now known as the Combahee River Raid (also called the Combahee Ferry Raid), which took place in South Carolina on June 1, 1863. During the raid, more than 700 enslaved people liberated themselves using riverboats under Tubman’s command. Harriet Tubman stands as a central figure atop a large pedestal, her right hand grasping a walking stick and her left hand extended backward toward the people. She wears a head wrap, a shawl tied at the waist, and a long, pleated skirt. Tubman is flanked by bas-relief wings that depict two Union soldiers and fifteen people seeking freedom. The Union soldiers, positioned on either side, stand in uniform with rifles held upright, their butts resting on the ground. The people seeking freedom—eight on one side and seven on the other—emerge from the textured bronze and are shown walking. Some carry bundles of belongings at their sides or on their heads; others hold the hands of children. A relief of a nineteenth-century steamboat and plaques with inscriptions are located on the front of the monument. Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Date A point or period of time associated with an event in the lifecycle of the resource June 1, 2024 Contributor An entity responsible for making contributions to the resource Tabernacle Baptist Church (owner and funder); Private donations Rights Information about rights held in and over the resource Tabernacle Baptist Church, 901 Craven Street, Beaufort, South Carolina, 29902, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Tabernacle Baptist Church, 907 Craven St, Beaufort, South Carolina, 29902, United States Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Makin, Ken. “A Civil War Hero Got a New Statue. Her Name Is Harriet Tubman.” The Christian Science Monitor, June 14, 2024. Accessed August 21, 2024. https://www.csmonitor.com/The-Culture/Arts/2024/0613/civil-war-statue-harriet-tubman-ed-dwight." Nelson, Kara. “Harriet Tubman Led a Raid That Freed More Than 700 Enslaved People. A South Carolina Church Has Built a Statue in Her Honor.” CNN, June 18, 2024. Accessed August 21, 2024. https://www.cnn.com/2024/06/18/us/tubman-combahee-river-south-carolina-reaj/index.html. Extent The size or duration of the resource. 168 in. (426.72 cm) Has Part A related resource that is included either physically or logically in the described resource. Inscription on a plaque on the front of the base: HARRIET TUBMAN CO-LEADER OF THE RAID AT COMBAHEE RIVER June 1, 1863 Inscription on a plaque below the previous plaque on the front of the base: ED DWIGHT Sculptor Text on a plaque near the monument: Boston Commonwealth - Boston July 10, 1863 HARRIET TUBMAN Col. Montgomery and his gallant band of 300 black soldiers, under the guidance of a black woman, dashed into the enemy's country, struck a bold and effective blow, destroying millions of dollars worth of commissary stores, cotton and lordly dwellings, and striking terror to the heart of rebeldom, brought off near 800 slaves and thousands of dollars worth of property, without losing a man or receiving a scratch! It was a glorious consummation. After they were fairly disposed of in the Beaufort church, they were addressed in strains of thrilling eloquence by their gallant deliverer; to which they responded in a song. "There is a white robe for thee." A song so appropriate and so heartfelt and cordial as to bring unbidden tears. The colonel was followed by a speech from the black woman who led the raid, and under whose inspiration it was originated and conducted. For sound sense and real native eloquence, her address would do honor to any man, and it created a great sensation. Source A related resource from which the described resource is derived Photograph: <a href="https://www.csmonitor.com/The-Culture/Arts/2024/0613/civil-war-statue-harriet-tubman-ed-dwight" target="_blank" rel="noopener">Ken Makin</a>, Christian Science Monitor bas-relief bronze Civil War figurative portrait https://mail.slaverymonuments.org/files/original/f1dd3ed93d76a41f46ba02f3afa1bdce.jpg a9034ffec18e1f56973c927675727c72 https://mail.slaverymonuments.org/files/original/2077d879ebe4586dc736751d7215a3b9.jpg 64966657d49082b096d7a41f8ec3a8cf https://mail.slaverymonuments.org/files/original/bbd7a92b139cc80d18a4625d2b16e179.jpg 0369d6758f7604a026f2c401ba7e10c5 https://mail.slaverymonuments.org/files/original/a96704597ae086ab52a2869e31d67aea.jpg a64debf9ecbd467a1724dd72d3bc2c7e https://mail.slaverymonuments.org/files/original/7fc5a5a2ff406d7be2e03f02e0c0e5e2.jpg 90557dc466f80235ebdde70ad38093ec https://mail.slaverymonuments.org/files/original/8c8c541e2665c16734e8aeb81ba53a68.jpg 09144059968314fe6f29af3d45f2d29a https://mail.slaverymonuments.org/files/original/3a32fcf8c8ed0db44cd0c45406f7f99a.jpg 42ee920f32a589ec5ac21fdcaecf4534 https://mail.slaverymonuments.org/files/original/69957d987e59cde468c6b0750ec6cb4e.jpg 83935ea6f9193c6c402a153bbd2bde21 https://mail.slaverymonuments.org/files/original/3eaec6097ce1eea36f1fffd50ae8f3e7.jpg 94412c76e18181956aaad728c606b80a https://mail.slaverymonuments.org/files/original/bb3a3e608a2f9c1ae9b16de265dd7077.jpg 91374fbcec15daf0fdd31f40f2de60e8 https://mail.slaverymonuments.org/files/original/c474c5c93b4a82f82345a08715a34ac9.jpg a1b91fe16b1d17025fafc547f6c0965f Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kunta Kinte-Alex Haley Memorial (Annapolis, Maryland) Subject The topic of the resource Subject (Topic) African Americans--History Enslaved persons Maryland--Annapolis Slavery--Maryland Transatlantic slave trade Subject (Name) Haley, Alex, 1921-1992 Subject (Object) Commemorative sculpture Description An account of the resource The Kunta Kinte-Alex Haley Memorial is located at the City Dock in Annapolis, Maryland. The bronze sculpture group includes a life-size statue of Alex Haley who sits on a stone bench. He is shown reading with one hand on an open book and his other hand resting in his lap. Three children, two girls and a young boy, sit or lay on the brick plaza in front of Haley, looking and listening to him with rapt attention. On Leonard A. Blackshear Walkway, parallel to the memorial, a “Story Wall” consists of ten markers with bronze plaques containing text from Alex Haley’s Roots; each plaque is framed with bas-reliefs that relate to the message of the text. Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Source A related resource from which the described resource is derived Photograph: <a href="https://www.flickr.com/photos/presmd/21601264555/in/photolist-yUQ8nM-8zLSUt-2ocuZ7N-8zLSVX-8zQ1Ay-2ocuKS6-8zQ1Dh-8zLT5x-8zLSSr-38yRfV-2ocqXfC-2octzGW-2ocvQ1F-2ocv2oX-3QDVJ-2octyh6-2octHDn-2ocuMwi-3QEin-2ocw5La-2ocqSg9-dWLNjV-2octoHM-2octorV-2ocuPrq-2ocvQTR-2ocvQx5-2octoEW-dMSsgM-2ocqKt1-2ocuR6n-2ocqJNy-2ocw9MG-yEjCYa-2ocqLEu-2ocw9xJ-2ocvQTs-2octo1u-2ocvDs6-2ocqJ8F-2ocuPN7-2octpYY-2ocqUq4-2ocvH1J-2ocvT6G-2ocuUJz-2ocvUeU-2octyty-2ocqJjc-2octFqV/" target="_blank" rel="noopener">Preservation Maryland, Flickr, CC BY-SA 2.0</a> Story Wall Photographs by Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource June 12, 2002 Contributor An entity responsible for making contributions to the resource Kunta Kinte-Alex Haley Foundation; Gary S. Schwerzler (site design); Peter D. Tasi (Story Wall & Information Stand); Patricia Fisher McHold (Story Wall & Information Stand); Wiley A. Hall (Story Wall: Narrative); Joe Baker (construction); City of Annapolis (construction); Fort Meyer Construction Company (construction); Pagliaro Brothers Stone Company (construction); Signcraft, Inc. (construction) Rights Information about rights held in and over the resource City of Annapolis, 160 Duke of Gloucester, Annapolis, Maryland, 21401, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant City Dock, Compromise and Main Streets, Annapolis, Maryland, 21401, United States Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Kunta Kinte-Alex Haley Foundation, Inc., “The Memorial.” Accessed October 9, 2024. https://kintehaley.org/the-memorial/. Has Part A related resource that is included either physically or logically in the described resource. Inscription on bronze plaque on granite triangle: Alex Haley, Family and Heritage Alex Haley, in his family’s story, Roots, shows how the strength of the human spirit to overcome challenges comes from maintaining strong family connections and pride in one's heritage. Here Alex shares heritage stories with children of diverse ethnic groups. Take time to share heritage stories with children so they can pass on their proud heritage and learn respect for the heritage of others. Inscription on bronze plaque on granite triangle: Kunte Kinte-Alex Haley Memorial. An educational, inspirational, and healing place revealing universal messages of Alex Haley’s Roots saga. Components of this site were dedicated in three stages: September 1997; December 1999; and June 2002. Participants in the dedications included the Kunte Kinte-Alex Haley Foundation; notable officials from the Federal, Maryland State, Anne Arundel County, and City of Annapolis Governments; the United States Naval Academy; the Haley and Ridout families; and Roots film star John Amos. Thousands of people from across the USA and other countries attended the dedications thereby reflecting the universal appeal of Haley's messages. Interpretive Architect: Gary S. Schwerzler Sculptor: Ed Dwight Writer: Wiley A. Hall, III Designer: Peter D. Tasi Kunte Kinte-Alex Haley Foundation President and Founder: Leonard A. Blackshear Inscription of original “arrival” bronze plaque (1981): To commemorate the arrival in this harbor of Kunte Kinte, immortalized by Alex Haley in Roots, and all others who came to these shores in bondage and who by their toil, character and ceaseless struggle for freedom have helped to make these United States. A luta continua! Sponsors: V.O.T.E., Anne Arundel Coalition of Tenants Dedicated September 21, 1981 Inscription of Story Wall plaque, Dedication: You must hear me now with more than your ears! Omoro Kente, Roots This Story Wall is dedicated to those nameless Africans, brought to the New World against their will, who struggled against terrible odds to maintain family, culture, identity and above all, hope. • DEDICATION • Inscription of Story Wall plaque, Heritage: The farthest-black person they ever talked about was a man they called the "African." Alex Haley, Roots Alex Haley's Pulitzer Prize-winning book Roots inspires all peoples to embrace their heritage. As we discover our personal history, we realize that all members of the human family share a universal bond. • HERITAGE • Inscription of Story Wall plaque, Servitude: Share his pain! Mandinka Elder, Roots Millions of Africans were stolen from their families and forced to endure the horrors of the Middle Passage and slavery. The New World was built largely on their labor, on the subjugation of Native Americans, and on the indentured servitude of Europeans and Asians. • SERVITUDE • Inscriptions of Story Wall plaque, Perseverance: We all suffer. If a man's wise, he learns from it. Boteng Bediako (Uncle Pompey), Roots The strength and perseverance of our ancestors, such as Kunta Kinte, teach universal lessons including survival through faith, strength through family, and wisdom through forgiveness. • PERSEVERANCE • Inscriptions of Story Wall plaque, Faith: Behold! The only thing greater than yourself! Omoro Kinte, Roots Faith allows us to endure even the most bitter trials and tribulations. Through belief and faith, people are empowered to accomplish great things, if not for themselves, then for their children. • FAITH • Inscriptions of Story Wall plaque, Family: Your sweet grandma and all of them-they are up there watching you. Cousin Georgia, Roots Knowing our family is knowing ourselves. Our values and traditions are forged through the struggles, heartache, pain, hopes and dreams of our ancestors. • FAMILY • Inscriptions of Story Wall plaque, Forgiveness: When you clench your fist, no one can put anything in your hand, nor can your hand pick up anything. Omoro Kinte, Roots Knowledge of history can be the first step away from anger and bitterness. Truth leads to understanding. Understanding and forgiveness lead to reconciliation and healing. • FORGIVENESS • Inscriptions of Story Wall plaque, Love: We must be in this place as one village! Mandinka Elder, Roots Love ties us to the past, connects us in the present, and links us to the future. It is not enough that we learn to live together. We must learn to respect and love each other. • LOVE • Inscriptions of Story Wall plaque, Challenge: Things don't ever get better unless you make them better. Tom Murray, Roots In Roots, Alex Haley reminds us that only through individual efforts will this country overcome racial and ethnic anger, guilt, hatred and fear, and remain a beacon of opportunity and hope for oppressed people around the world. • CHALLENGE • Inscriptions of Story Wall plaque, Diversity: Hear me! Though we are different tribes and tongues, remember we are the same people! African Elder, Roots America’s strength is diversity. People come here from all over the world, bringing new energy and new dreams. Each person has a story to tell, and every story enriches and invigorates us. • Diversity • bas-relief bench book bronze figurative inscription https://mail.slaverymonuments.org/files/original/4c818df56de3958c2efb58f832ae3263.jpg 46043fc5d103f7d890448b2e8c3f109e https://mail.slaverymonuments.org/files/original/3efbf2c69ed97c51d7f4d9c31ecd46c3.jpg dfeb425e51e0461dce01d729b40d226b https://mail.slaverymonuments.org/files/original/2aa8d9472f27aa6945c4183770e01691.jpg ba6f54ff17978c4f16a5d191a2b3dfcd https://mail.slaverymonuments.org/files/original/2cb8bf349ef011caea4df18a7071be92.jpg 9005930f8ae9e820db05bdf7f64810a4 https://mail.slaverymonuments.org/files/original/7ce09bc59a267e2c045e4bf1aeb4d82c.jpg a91b5002a7e57350ac1e0c9d55e4eb32 https://mail.slaverymonuments.org/files/original/52b734ac31b629802f292c586a2b6274.jpg cadc084d82d82906abc76e292420af2f https://mail.slaverymonuments.org/files/original/5d168a4b3cf868f2906e26939011b273.jpg 93d941224cb2e529215bf99e47f9066a https://mail.slaverymonuments.org/files/original/39b38c3dbac4f38075c322aeeafea579.jpg b38b4dd0103ef18733246c770f2c631a https://mail.slaverymonuments.org/files/original/53f0f360b62bffdcc2b58dce59380ea4.jpg 9bf986aced81d6ea48634c671cac3b1a 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 Statue: 90 in. (228.6 cm) Base: 36 in. (91.44 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 Frederick Douglass Monument (College Park, Maryland) Creator An entity primarily responsible for making the resource Edwards, Andrew, 1965- Date A point or period of time associated with an event in the lifecycle of the resource November 18, 2015 Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Maryland--College Park Public art Public sculpture Slavery--Maryland Subject (Name) Douglass, Frederick, 1818-1895 Subject (Object Type) Commemorative sculpture Description An account of the resource Located on the large brick plaza outside Hornbake Library at the University of Maryalnd, the full-size sculpture of Frederick Douglass portrays him in the middle of a speech with his mouth open and his brown deeply furrowed. His right arm is outstretched, and he grasps a copy of his autobiography in his left hand. His coat/cape billows out behind him in a swath of bronze, suggesting vigorous action as he steps foward. Douglass's name is inscribed on the black granite base. Source A related resource from which the described resource is derived Photographs by Renée Ater Contributor An entity responsible for making contributions to the resource Ira Berlin and the North Stars; Facilities Management-UMD; Private donors; UMD Foundation; Maryland Commission on African American History and Culture; Maryland Historical Trust Rights Information about rights held in and over the resource University of Maryland, College Park, Maryland, 20742, 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 Frederick Douglass Square, University of Maryland, 4130 Campus Drive, College Park, Maryland, 20742, United States Has Part A related resource that is included either physically or logically in the described resource. Quotations on plaza bricks: "I was born in Tuckahoe, near Hillsborough, and about twelve miles from Easton, in Talbot County, Maryland." "I am a Marylander, and love Maryland and her people." "Once you learn to read, you will be forever free." "The blow we strike is not merely to free a country or continent--but the whole world from Slavery--for when Slavery falls here it will fall everywhere." "Until it shall be safe to leave the lamb in the hold of the lion, the laborer in power of the capitalist, the poor in the hands of the rich, it will not be safe to leave a newly emancipated people completely in the power of their former masters, especially when such masters have not ceased to be such from enlightened moral convictions but by irresistible force." "Education means . . . emancipation." "This right of speech is very dear to the hearts of intelligent lovers of liberty." "It is easier to build strong children than to repair broken men." "All that distinguishes man as an intelligent and accountable being, is equally true of woman . . . there can be no reason in the world for denying a woman the exercise of the elective franchise or a hand in the making and administering the laws of the land." "In a composite nation like ours, as before the law, there should be no rich, no poor, no high, no low, no white, no black, but common country, common citizenship, equal rights, and a common destiny." Inscription on black granite base: Frederick Douglass 1818-1895 Abolitionist, Suffragist, Labor Leader Stateman, Diplomat, Founding Father of the Second American Republic Orator, Scholar, Journalist Quotations on Corten steel panels: "The struggle may be a moral one, or it may be a physical one, and it may be both moral and physical, but [it] must be a struggle. Power concedes nothing without a demand. It never did and never will." "No man can put a chain about the ankle of his fellow man without at last finding the other end fastened about his own neck." "He who does not love Justice and Liberty for all, does not love Justice and Liberty." "Right is of no sex--Truth is of no color." Inscription on bronze plaque: The University of Maryland is grateful to the many individuals and organizations, particularly the Maryland Commission on African American History and Culture as well as the Maryland Historic Trust, part of the Maryland Department of Planning, who generously supported the creation of Frederick Douglass Square. Medium The material or physical carrier of the resource. Bronze; Black granite; Brick; Corten steel Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Arnett, Autumn A. “At UMD, New Frederick Douglass Square Illustrates State’s Racial Duality." Diverse Issues in Higher Education, November 24, 2015. Accessed November 23, 2018. https://diverseeducation.com/article/79147/. Frederick Douglass Remembered. Ireland's Great Hunger Institute, Quinnipiac University. Accessed November 26, 2018. https://www.qu.edu/academics/centers-and-institutes/irelands-great-hunger-institute/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Frederick Douglass Ireland Monument Extent The size or duration of the resource. Statue: 90 in. (228.6 cm) Base: 36 in. (91.44 cm) Has Version A related resource that is a version, edition, or adaptation of the described resource. Frederick Douglass Monument, Quinnipiac University School of Law, 2018 black granite bronze Corten steel figurative inscription portrait https://mail.slaverymonuments.org/files/original/eea496a3fdd42ff58e68eb813e78e559.jpeg 146cc25e830dd16574f5e8670e20f4f7 https://mail.slaverymonuments.org/files/original/8f3441212d5803a72fc1cf1cbaa3acbf.jpeg 3b0ae7e0c5c663d97aba05af9a530b2a https://mail.slaverymonuments.org/files/original/ec0c5ed1189b1d467efca11f9fcb764e.jpeg 9ad6892766f7548d5cb177c1a0c00e2c https://mail.slaverymonuments.org/files/original/f86324513a3356610dccb124e8070b6b.jpeg 1fec6269394e54847ad57f006e131152 https://mail.slaverymonuments.org/files/original/d11da656c9a9f22d2ed46ffe433ab251.jpeg 20c57c7fb0106edcd2383a0d17f5cbe0 https://mail.slaverymonuments.org/files/original/9c323e540c0d83c5406eb67398ae6617.jpeg d3ac279c1275065713f0dc417670a212 https://mail.slaverymonuments.org/files/original/227a8c62e2a555855d24c67c7c8d4d5c.jpeg 908b18e53cc0a470c159ac01c6b3fa4b https://mail.slaverymonuments.org/files/original/230e816f33c2c47bf39f4c1ac821745d.jpg d2cb16828b70e2bde6c9235d46197f39 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 Statue: 96 in. (243.84 cm) Pededstal: 108 in. (274.32 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 Frederick Douglass Monument (Rochester, New York) Creator An entity primarily responsible for making the resource Edwards, Stanley W. Subject The topic of the resource Subject (Topic) Antislavery movements--United States Enslaved persons--Emancipation Freedom New York (State)--Rochester Public art Public sculpture Subject (Name) Douglass, Frederick, 1818-1895 Subject (Object Type) Commemorative sculpture Description An account of the resource Sculptor Stanley W. Edwards modeled Douglass with his shoulders back, feet planted squarely forward, and his arms outstretched with his palms open as if he were addressing an audience. Mounted on the statue's pedestal are four bronze plaques, three of which are inscribed with quotes from Frederick Douglass. This monument was originally located in front of the old New York Central Train Station (St. Paul Street and Central Avenue) in Rochester, New York. In 1941, the work was moved to Highland Bowl, a part of Highland Park, close to the location of Douglass' farm (no longer extant) on South Avenue. Photos of the monument were taken in Highland Bowl, Highland Park, Rochester, New York in 2018. In October 2019, the City of Rochester moved the monument to a newly designated Frederick Douglass Memorial Plaza at South Avenue and Robinson Drive. 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 9, 1899 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 Frederick Douglass Memorial Plaza, South Avenue and Robinson Drive, Rochester, New York, 14620, United States Extent The size or duration of the resource. Statue: 96 in. (243.84 cm) Pededstal: 108 in. (274.32 cm) Medium The material or physical carrier of the resource. Bronze; Westerly blue granite Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Haight, R. J. "Among the Sculptors." The Monumental News, vol. 10, no. 9 (1898): 516. Accessed May 25, 2020. https://books.google.com/books?id=qMQ4soroX0cC&pg=PA33&source=gbs_selected_pages&cad=2#v=onepage&q&f=false. Thompson, James W. An Authentic History of the Frederick Douglass Monument. Rochester, NY: Rochester Herald Press, 1903. Accessed May 25, 2020. https://www.libraryweb.org/~digitized/books/History_Douglass_Monument.pdf. Greenwood, Marcia. "Original Frederick Douglass Statue Is on the Move." Democrat & Chronicle, October 21, 2019. Accessed May 25, 2020. https://www.democratandchronicle.com/story/news/2019/10/21/frederick-douglass-statue-being-moved-out-highland-park-bowl-rochester-ny/4054831002/. Contributor An entity responsible for making contributions to the resource George A. Benton; Charles R. Douglass; Hester C. Jeffrey; Benjamin Myers; Nathan P. Pond; Governor Theodore Roosevelt; Enoch R. Spalding; William A. Sutherland; Gertrude A. Thompson; John W. Thompson; John Van Voorhis Rights Information about rights held in and over the resource City of Rochester, Department of Environmental Services, 30 Church Street, Rochester, New York, 14614, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque (north): Frederick Douglass Bronze plaque (west): “I know no soil better adapted to the growth of reform than American soil. I know of no country, where the conditions for effecting great changes in the settled order of things, for the development of right ideas of liberty and humanity are more favorable than here in these United States.” Extract from speech on Dred Scott Decision, delivered in New York, May 1857. Bronze plaque (south): “The best defense of free American institutions is the hearts of the American people themselves”. “One with God is a majority.” “I know no rights of race superior to the rights of humanity.” Bronze plaque (east): “Men do not live by bread alone; so with nations, they are not saved by art, but by honesty; not by the gilded splendors of wealth, but by the hidden treasures of manly virtue; not by the multitudinous gratification of the flesh, but by the celestial guidance of the spirit.” Extract from speech on The West India Emancipation, delivered at Canandaigua, N.Y., August 4, 1857 19th-century sculpture bronze figurative granite inscription portrait https://mail.slaverymonuments.org/files/original/cbfb7838072ef94e49ac8e0711275620.jpg db38e36309ba9b82e726ee748c3ea4f4 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 276 in. (701.04 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 I Am Queen Mary (Copenhagen, Denmark) Subject The topic of the resource Subject (Topic) Denmark--Copenhagen Public art Public sculpture Resistance Transatlantic slave trade Slave insurrections--St. Croix (USVI) Slavery--Denmark Slavery--St. Croix (USVI) Subject (Name) Thomas, Mary (Queen Mary), ca. 1848–1905 Subject (Object Type) Commemorative sculpture Description An account of the resource The statue is an allegorical portrait of Mary Thomas, known as Queen Mary, an enslaved woman who worked on a sugar cane planation in the Danish West Indies (now Saint Croix, U.S. Virgin Islands). She led the largest labor revolt in Danish colonial history, the "Fireburn" Uprising in 1878. Mary is shown seated in a wicker throne; she holds a cane knife in one hand and a torch in the other. Dressed in a simple cotton shift and wearing a head wrap, Mary sits atop a plinth made of coral stones cut out of the sea at Saint Croix by enslaved Africans. "In December 2020 a winter storm severely damaged the monument. The figure was removed and an Augmented Reality version of the sculpture was developed to hold space for the work and activate new dialogues. The artists are currently working towards raising the funds to ensure that this towering monument stays at the entrance to Copenhagen's port for generations to come. Acknowledging the imbalances between colonial powers and their former colonies, the fundraising campaign will leverage the visibility and resources generated by the existing monument in Copenhagen to secure the funds to make a companion one possible in St. Croix." (https://www.iamqueenmary.com) Creator An entity primarily responsible for making the resource Ehlers, Jeannette, 1973- Belle, La Vaughn, 1974- Date A point or period of time associated with an event in the lifecycle of the resource March 31, 2018 Contributor An entity responsible for making contributions to the resource The Municipality of Copenhagen; Wow Factory; 3D Printhuset; SMK; The National Gallery of Denmark; ActionAid, Denmark; Beckett-Fonden; the Danish Agency for Culture and Palaces 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 Vestindisk Pakhus, Toldbodgade 40, 1253 Copenhagen, Denmark Extent The size or duration of the resource. 276 in. (701.04 cm) Medium The material or physical carrier of the resource. Polystyrene; Sealants; Paint; Coral stones from St. Croix, Virgin Islands 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://barnard.edu/news/break-down-i-am-queen-mary-barnard" target="_blank" rel="noopener">Barnard College</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. Barnard University. "Break This Down: I Am Queen Mary at Barnard." October 15, 2019. Accessed February 16, 2025. https://barnard.edu/news/break-down-i-am-queen-mary-barnard. I Am Queen Mary. Accessed February 16, 2025. https://www.iamqueenmary.com/. Has Part A related resource that is included either physically or logically in the described resource. Stone plaque on front of plinth: I Am Queen Mary A Hybrid of Bodies, Nations & Narratives By La Vaughn Belle and Jeannette Ehlers 2018 Rights Information about rights held in and over the resource Jeannette Ehlers and La Vaughn Belle, https://www.iamqueenmary.com/press-images-for-download. allegory figurative machete (knife) Polystyrene portrait https://mail.slaverymonuments.org/files/original/c22f72d80c5c59d017647c1ea5ac2a07.jpeg cde78b61608852be0d3617f33eb517fc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 168 in. (426.72 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Redemption Song (Kingston, Jamaica) Subject The topic of the resource Subject (Topic) Enslaved persons--Emancipation--Jamaica Jamaica--Kingston Public art Public sculpture Slavery--England Slavery--Jamaica Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Redemption Song centers two bronze nude figures, a Black female and a Black male. Laura Facey modeled the figures from the knees up, standing in a cast-iron domed fountain and with water flowing at their knees. They face one another as they tip their heads upward and gaze at the sky to freedom/emancipation. The artist was inspired by Bob Marley iconic song "Redemption Song" on his Uprising album. Creator An entity primarily responsible for making the resource Facey, Laura, 1954- Date A point or period of time associated with an event in the lifecycle of the resource July 31, 2003 Contributor An entity responsible for making contributions to the resource National Gallery of Jamaica; Jamaica National Heritage Trust; National Government of Jamaica Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Emancipation Park, Oxford Road and Knutsford Boulevard, Kingston, Jamaica Extent The size or duration of the resource. 168 in. (426.72 cm) Medium The material or physical carrier of the resource. Bronze; Cast iron Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://www.laurafacey.com/freedom-road/redemption-song/" target="_blank" rel="noopener">Laura Facey</a> Rights Information about rights held in and over the resource Kingston and Saint Andrew Municipal Corporation, 24 Church Street, Kingston, Jamaica Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Dacres, Petrina. "Monument and Meaning." Small Axe 8, no. 2 (2004): 137-153. Cooper, Carolyn. "Enslaved in Stereotype: Race and Representation in Post-Independence Jamaica." Small Axe 8, no. 2 (2004): 154-169. Grahman, Narda. "Whose Monument: The Battle to Define, Interpret, and Claim Emanciaption." Small Axe 8, no. 2 (2004): 170-178. Mains, Susan. "Monumentatlity Caribbean: Borders, Bodies, and Redemptive City Spaces." Small Axe 8, no. 2 (2004): 179-198. bronze figurative iron https://mail.slaverymonuments.org/files/original/ca34513954f239187d5717cdec4b3079.jpg d0a0350b6d1defbe3d412f76c78aa098 https://mail.slaverymonuments.org/files/original/6afff488e8952d6cd7b1232648a7ccf1.jpeg eb911e16a01fa7e1a7c8e15e08e5e723 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Building Physical Dimensions The actual physical size of the original image 240 x 240 in. (609.6 x 609.6 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Menokin Remembrance Structure (Warsaw, Virginia) Subject The topic of the resource Subject (Topic) Enslaved persons Plantations Slavery--Virginia Virginia—Warsaw Subject (Object) Buildings and Structures Description An account of the resource The Menokin Remembrance Structure is a memorial that honors the enslaved persons who once worked at Menokin, as well as their modern descendants. Built on a former plantation, the wooden structure replicates an enslaved person’s eighteenth-century dwelling. The structure is sited directly above the archaeological remains of the dwelling. The wooden framing of the gable-roofed structure is covered with sheer translucent building fabric. At night, solar lighting illuminates the entire pavilion, creating a soft, luminous effect. Creator An entity primarily responsible for making the resource Freeman, Joseph Reid, 1966- REID Architecture Source A related resource from which the described resource is derived Photograph: <a href="https://reidarc.com/remembrance-structure" target="_blank" rel="noopener">Reid Architecture</a> Date A point or period of time associated with an event in the lifecycle of the resource July 10, 1905 Contributor An entity responsible for making contributions to the resource The Menokin Foundation Rights Information about rights held in and over the resource The Menokin Foundation, 4037 Menokin Road, Warsaw, Virginia, 22572, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Building and Structures Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Menokin Foundation, 4037 Menokin Road, Warsaw, Virginia, 22572, United States Medium The material or physical carrier of the resource. Sawn pine; Hewn pine; Hewn white oak; Translucent building fabric; Solar panels Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. REID Architecture. “Menokin Remembrance Structure, The Menokin Foundation, Warsaw, Virginia.” Accessed October 22, 2024. https://reidarc.com/remembrance-structure. Menokin Foundation. "The Remembrance Structure." Accessed October 22, 2024. https://www.menokin.org/remembrance-structure. Extent The size or duration of the resource. 186 x 300 in. (472.44 x 762 cm) archaeology historic architecture wood https://mail.slaverymonuments.org/files/original/47810cfb0e2a79246063789ed6d08cb0.jpg c42a1cf65cbbfff3004d0a32118b307f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 84 in. (213.36 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation (Boston, Massachusetts) Creator An entity primarily responsible for making the resource Fuller, Meta Warrick, 1877-1968 Subject The topic of the resource Subject (Topic) Allegory (art) Emancipation Proclamation--United States Enslaved persons--Emancipation Freedom Massachusetts--Boston Public art Public sculpture Subject (Object Type) Commemorative sculpture Description An account of the resource Originally created in 1913 for the National Emancipation Exposition in New York City, the multi-figure sculpture is anchored around a truncated tree that reaches over the heads of the three human figures. The tree is roughly realized, and Fuller’s hand is evident in the surface treatment. At the center of the composition, a young woman and man stand upright and are seminude. The couple emerge from the “Tree of Knowledge.” Behind the male figure, the female figure of “Humanity,” clothed in a gown, bows her head and rests it on her raised left arm. She gently rests her right hand on the young man’s shoulder. The bronze cast was made in 1999. Two inscriptions were added to granite base of the monument in 2013. Source A related resource from which the described resource is derived Photograph by Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource June 20, 1999 Contributor An entity responsible for making contributions to the resource CBA Landscape Architects, Boston, Massachusetts; United South End Settlements, Boston, Massachusetts; New England Foundation for the Arts, Boston, Massachusetts; The George B. Henderson Foundation and The Edgar Ingersoll Browne Fund, Boston, Massachusetts; and Boston Parks and Recreation Rights Information about rights held in and over the resource National Center of Afro-American Artists, 300 Walnut Street, Roxbury, Massachusetts, United States and The Museum of Afro-American History, 46 Joy Street, Boston, Massachusetts, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Harriet Tubman Park, Columbus Avenue and Pembrook Street, Boston, Massachusetts, 02116, United States Date Created Date of creation of the resource. 1913 Has Part A related resource that is included either physically or logically in the described resource. Inscription on granite base (1999): Emancipation, 1913. In honor of African American freed persons who by their courage and valor gave meaning to emancipation. Meta Vaux Warrick Fuller, (1877-1968) sculptor. Courtesy of The Museum of the National Center for Afro-American Artists and the Museum of Afro-American History. Inscription on granite base (2013): “Humanity weeping over her suddenly freed children who beneath the gnarled fingers of Fate, step forth into the world, unafraid.” Meta Warrick Fuller Inscription on granite base (2013): “The Negro has been emancipated from slavery but not from the curse of race hatred and prejudice. . . It was not Lincoln alone who wrote the Emancipation but the humane side of the nation . . .” Meta Warrick Fuller Medium The material or physical carrier of the resource. Bronze; Pink granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Ater, Renée. Remaking Race and History: The Sculpture of Meta Warrick Fuller. Berkeley: University of California Press, 2011. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Extent The size or duration of the resource. 84 in. (213.36 cm) allegory bronze figurative granite trees https://mail.slaverymonuments.org/files/original/0f9ba80ef5520e7b9e1f3db9f9a38baf.jpg f19003e37716254fe4272f60c88575c3 https://mail.slaverymonuments.org/files/original/587dab8e7e5d99904291a2a52f97c9de.jpg a7cb96cd83f6668ef6e230c2e80fd1b7 https://mail.slaverymonuments.org/files/original/36375465d7c8a9fde1385e3239cf87f0.jpg d9b2c8bac0dce89ab8f912b29e4dfcb9 https://mail.slaverymonuments.org/files/original/c0041a84844c6aa36e36233998dad586.jpg 17c209c871d4482f3f5977a05d6de54c https://mail.slaverymonuments.org/files/original/354ad2035ee2741fabb8a4a76d5e516d.jpg 822f884bed7fbb8761fc7941faa45dea https://mail.slaverymonuments.org/files/original/2d02639e9b652b709fd150ede95e76c6.jpg 94087040a71eb686bfa981a9229d3fee https://mail.slaverymonuments.org/files/original/080828b934b3a224603eede407034254.jpg 2855abd857d9b9616c40e1dface330fa 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 78 in. (198.12 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 Ross Tubman Memorial (Bristol, Pennsylvania) Subject The topic of the resource <subject topic="" br=""></subject>Subject (Topic) Antislavery movements--United States Freedom Pennsylvania--Bristol Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource The single bronze figure of Harriet Tubman stands atop a black granite plinth. Tubman wears a coat, haversack slung over her right shoulder, and a pistol at her waist. Tubman's right arm is raised to the sky as she points her right hand toward the North Star. The statue of Tubman sits at the center of eleven black granite columns inscribed with edifying phrases including: Hope is Another Form of Freedom; We Choose Inclusion Not Exclusion; Our Town is America the Beautiful; We Stand Together; Liberty and Justice For All; Move Forward; Amalgamate the Community; Freedom Will Prevail; Unity is the Way. Signed by the artist: James L. Gafgen, 2005. Foundry stamp: Art Research Enterprises: The Art Foundry. Creator An entity primarily responsible for making the resource Gafgen, James L., 1939-2019 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 24, 2006 Contributor An entity responsible for making contributions to the resource William H. Smith (Design); Sydney L. Taylor and the African-American Historical and Cultural Society of Bucks County; The Bucks County Committee For Interracial Harmony; State of Pennsylvania; Mayor and Council of the Borough of Bristol. Rights Information about rights held in and over the resource Bristol Township, 2501 Bath Road, Bristol, Pennsylvania, 19007, 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 Bristol Lions Park, 150 Basin Park, Bristol, Pennsylvania, 19007, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on base of sculpture: Harriet Ross Tubman Inscription on bronze plaque: Harriet Ross Tubman. Abolitionist-American Hero. Circa 1820-1913. Harriet Tubman escaped from slavery in 1849. She fled to Philadelphia where, as a conductor on the Underground Railroad, she made 19 sorties into the South, liberating over 300 slaves. Ms. Tubman also served as a spy and nurse for the Union Army during the Civil War. Harriet Tubman—Authentic American Hero Ten granite columns with inscriptions (clockwise from base of sculpture): Hope is Another Form of Freedom; We Choose Inclusion Not Exclusion; Our Town is America the Beautiful; We Stand Together; Liberty and Justice For All; Move Forward; Amalgamate the Community; Freedom Will Prevail; Unity is the Way. Ten stone markers: Names of old African American families in Bristol Extent The size or duration of the resource. 78 in. (198.12 cm) Medium The material or physical carrier of the resource. Bronze; Green 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. Waymarking.com. “Harriet Tubman-Lions Park-Bristol, PA.” Statues of Historic Figures. Accessed, March 21, 2018. http://www.waymarking.com/waymarks/WM3JK9_Harriet_Tubman_Lions_Park_Bristol_PA. 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 Date Created Date of creation of the resource. Signed: 2006 black granite bronze columns figurative pistol portrait