6 10 134 https://mail.slaverymonuments.org/files/original/58c3326ac2e8cf96565e44e97deeed96.jpg 6f907100d66257cf1e759e29a9b2365b 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 Burial Grounds Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection is just a fraction of the burial grounds dedicated to enslaved persons, "contrabands," and freed persons. Many of these cemeteries and memorial parks have suffered greatly over the years--some have been desecrated and destroyed while others have been long ignored and fallen into disrepair. The monuments and memorials in this collection are part of local efforts to restore and recognize the importance of black life in death, including the <a href="https://www.slaverymonuments.org/items/show/1130" target="_blank" rel="noopener">Freedman's Cemetery Memorial</a> in Dallas, Texas; <a href="https://www.slaverymonuments.org/items/show/1136" target="_blank" rel="noopener">African Burial Ground National Memorial </a>in New York City; <a href="https://www.slaverymonuments.org/items/show/1128" target="_blank" rel="noopener">African Burying Ground Memorial</a> in Portsmouth, New Hampshire; and <a href="https://www.slaverymonuments.org/items/show/2" target="_blank" rel="noopener">Contrabands and Freedmen Cemetery Memorial</a> in Alexandria, Virginia. As of 2026, the Black Cemetery Network (blackcemeterynetwork.org) has documented 201 Black cemeteries in New England, the Middle Atlantic, the South, and the Midwest. Some of these cemeteries are dedicated to enslaved persons such as the Enslaved Cemetery in Mahwah, New Jersey; Betton Hills Plantation Cemetery in Tallahassee, Florida; and the Enslaved Burial Ground in Old Round Rock Cemetery in Round Rock, Texas. In 2022, the African American Burial Grounds Preservation Program authorized the National Park Service to administer an annual grant program to assist in the preservation of historic Black burial grounds. See Congress.gov. "Text - H.R.6805 - 117th Congress (2021-2022): African-American Burial Grounds Preservation Act." April 28, 2022. https://www.congress.gov/bill/117th-congress/house-bill/6805/text. 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 250 feet (76.2 meters) 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 African Burial Ground National Monument (New York, New York) Subject The topic of the resource Subject (Topic) African Americans--History African American cemeteries New York (State)--New York  Public art Public sculpture Slavery--New York (State) Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial sits on .35 acres and includes seven distinct design features: Wall of Remembrance, Ancestral Re-Internment Grove, Memorial Wall, The Ancestral Chamber, Circle of the Diaspora, Spiral Processional Ramp, and The Ancestral Libation Court. The visitor is invited to walk through the monumental triangular structure known as “The Ancestral Chamber,” which represents the Middle Passage across the Atlantic Ocean. After passing through the chamber, the visitor encounters a spiral memorial wall featuring twenty religious symbols including a number of Adinkra symbols (Akan peoples, Ghana). The floor of the monument includes a world map centered on the West African coast with sun rays radiating towards North America, Brazil, Europe, and the Caribbean Islands. Creator An entity primarily responsible for making the resource Leon, Rodney, 1972- Hollant-Denis, Nicole, 1965- Date A point or period of time associated with an event in the lifecycle of the resource October 5, 2007 Contributor An entity responsible for making contributions to the resource Monica Aliaga-Robles (project architect); Robert Silman Associates (structural engineer); Langan Engineering (civil engineer); Elizabeth Kennedy Landscape Architects; Domingo Gonzales Associates (lighting design); Dr. Gerald Palevsky (fountain); General Services Administration; Federal Steering Committee; African-American descendant community; and the National Park Service. 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 290 Broadway, New York, New York, 10007, United States Has Part A related resource that is included either physically or logically in the described resource. Description of the seven elements from Rodney Leon, “The Ancestral Libation Chamber: Memorial on the African Burial Ground National Memorial,” National Park Service, https://www.nps.gov/afbg/learn/historyculture/upload/Rodney-Leon-Memorial.pdf. Wall of Remembrance: As one happens by the north wall facing Duane Street you are immediately struck by the scale and detail of a highly polished wall of granite inscribed with following libation text. For all those who were lost For all those who were stolen For all those who were left behind For all those who were not forgotten The Wall of Remembrance is intended to draw a person in, and thus begin the process of enlightenment and education. Ancestral Re-interment Grove:  A path extends itself north to south from Duane Street. Along this path are seven burial mounds marking the locations of the seven large sarcophagi containing the remains of the 419 African descendants that were re-interred in October of 2003. In addition, a grove of seven trees create a natural buffer and shelter between the re-interment zone and adjacent building. The burial mounds serve as markers and the trees as guardians for the entrance to the Libation Chamber. It is appropriate to place flowers and other offerings along the path in front of the burial mounds. Memorial Wall:  The Southern wall of the Libation Chamber shall be engraved with a map containing images and text describing the components of the African Burial Ground National Monument site in context of the burial ground's actual boundaries in lower Manhattan. This map will allow people to understand the extent and scope of the burial ground's actual size which extends significantly beyond the boundaries of the memorial site. The Ancestral Chamber:  The Ancestral Chamber is intended to reflect African cultural, spiritual and ancestral essence. This spiritual form rises out of the ground like an ancestral pillar and represents the soaring African spirit embracing and comforting all those who enter. The Ancestral Chamber is oriented towards the east and open to the sky above, allowing natural light to penetrate and illuminate the interior space. The interior of The Ancestral Chamber provides a sacred space for individual contemplation, reflection, meditation and prayer. Circle of the Diaspora:  Signs, symbols and images of the African Diaspora are engraved around the perimeter wall encircling the Libation Court. These symbols come from different areas and cultures throughout the Diaspora, especially Africa, Latin America and the Caribbean. Symbolic meaning is described below the image. As one circumambulates around the perimeter of the court and spirals down the processional ramp, these symbols present themselves as a reminder of the complexity and diversity of African culture's manifestation. They all come together to form a communal place and a reminder of the Burial Ground being an international center of gathering. For a complete list of the symbols, see https://www.nps.gov/afbg/learn/historyculture/adinkra-symbols.htm. Spiral Processional Ramp:  The Spiral Processional Ramp descends down 4’ below street level thereby bringing the visitor physically, psychologically and spiritually closer to the ancestors and original interment level. The ramp and stairs serve as bridges between the living and the spiritual realm. They symbolize the process of transcendence from physical to spiritual and passage from profane to sacred. The process will evolve from the public “secular” space of the city to the spiritual space of the Libation Court and culminate in the sacred space of The Ancestral Chamber. Ancestral Libation Court: The Ancestral Libation Court is situated on axis with The Ancestral Chamber. It is located 4’ below street level, providing a physical and psychological separation from the public activity of the surrounding urban environment. The Libation Court is a communal gathering place where small to medium-scale public cultural ceremonies may occur. This spiritual space is where re- consecration of the African Burial Ground National Monument will continually take place during the libation or other ceremonial rituals. The sacred ceremonial ritual of “libation” is the act which will serve as an offering and an acknowledgement linking past, present and future generations in the spirit of Sankofa (an Adinkra symbol of West Africa meaning ‘learn from the past’). Extent The size or duration of the resource. 250 feet (76.2 meters) Medium The material or physical carrier of the resource. 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. Frohne, Andrea E. The African Burial Ground in New York City: Memory, Spirituality, Space. New York: Syracuse University Press, 2015. "African Burial Ground: African Burial Ground National Monument, New York." Tourist Map, National Park Service, 2011. Accessed May 24, 2020. https://www.loc.gov/item/2011587283/. Ater, Renée and Steven Zucker. "African Burial Ground, New York City." Smarthistory, August 1, 2020. Accessed January 23, 2026. https://smarthistory.org/african-burial-ground-new-york/. 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.loc.gov/pictures/item/2010719190/" title="African Burial Ground National Monument" target="_blank" rel="noopener">Carol Highsmith, Library of Congress</a> Date Created Date of creation of the resource. Groundbreaking: September 28, 2005 Rights Information about rights held in and over the resource National Park Service, U.S. Department of the Interior, 1849 C Street, NW, Washington, DC, 20240, United States abstract Adinkra symbols archaeology black granite map https://mail.slaverymonuments.org/files/original/5a14bf1c4fb322d5a79e1943bc6f3a63.jpeg aed3724c500b80e10331cb43aeae141e https://mail.slaverymonuments.org/files/original/392579615eff3a0228de7ff255db2a91.jpg e58a726a373c86b6233bcf5fd0c5b783 https://mail.slaverymonuments.org/files/original/ed675b1e473f5d948996efb71b893937.jpg 913cefc47957c47fd23963db69b7a3a3 https://mail.slaverymonuments.org/files/original/d33588e827d6890c872bc05790d50fed.jpg 13e97615236a7505766fc7ff791d20e7 https://mail.slaverymonuments.org/files/original/c4a6631ebce6e7e35cdc4e26f4c94db3.jpg f4d334fbe59334eedd14e670b33ea82e https://mail.slaverymonuments.org/files/original/caa5cab2b3be3f7fba1fe05333b6e4e9.jpg e88755680c48104100daa189442a6380 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. 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 Ark of Return": The Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade (New York, New York) Subject The topic of the resource Subject (Topic) Enslaved persons New York (State)--New York Public art Public sculpture Slave ships Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource The Ark of Return serves as a memorial to honor the victims of slavery and the transatlantic slave trade. Constructed from white marble, the memorial is a triangular structure with clean geometric lines and faceted surfaces, giving it a modern yet solemn appearance. A triangular portal in the structure allows visitors to walk through the interior. At the entryway, a reflecting pool engraved with the words "Lest we forget" invites visitors to offer prayers and libations. Inside, a map highlighting the African continent is inscribed on the wall, with the words, "Acknowledge the Tragedy." Nearby, a robed statue of a human figure—sculpted from black Zimbabwean granite—lies horizontally within a triangular space carved into the wall. This figure symbolizes the millions of enslaved individuals, their suffering, and the triangular slave route. Beneath the figure, another  inscription reads: "Consider the legacy." On the opposite wall, diagrams carved in low relief depict hundreds of enslaved people crammed inside a typical English slave ship, further emphasizing the brutal conditions endured during the Middle Passage. Creator An entity primarily responsible for making the resource Leon, Rodney, 1972- Date A point or period of time associated with an event in the lifecycle of the resource March 25, 2015 Contributor An entity responsible for making contributions to the resource UNESCO; Permanent Memorial Committee of the United Nations; Member States of the United Nations 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 United Nations Visitors Plaza, 1st Avenue and 46th Street, New York, New York, 10017, United States Medium The material or physical carrier of the resource. Marble; Black Zimbabwe 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. United Nations. "The Ark of Return": The Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade. Outreach Programme on the Transatlantic Slave Trade and Slavery. Accessed April 11, 2019. https://www.un.org/en/rememberslavery/memorial. Leon, Rodney. "The Ark of Return." Rodney Leon Architects. Accessed April 11, 2019. http://www.rodneyleon.com/the-ark-of-return. Leon, Rodney. "Reflections on the Tenth Anniversary of the Art of Return." UN Chronicle, March 24, 2025. Accessed January 26, 2026. https://www.un.org/en/un-chronicle/reflections-tenth-anniversary-ark-return. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photographs by Renée Ater Has Part A related resource that is included either physically or logically in the described resource. Inscription on interior wall below the map: "Acknowledge the tragedy" Inscription on interior wall below the human figure: "Consider the legacy" Inscription on the reflecting pool: "Lest we forget" Bronze plaque embedded on ground in front of memorial: Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade Ark of Return The United Nations General Assembly welcomed the initiative of Member States of the Caribbean Community and the African Union to erect this Permanent Memorial to honour the victims of Slavery and the Transatlantic Slave Trade and to educate and inform current and future generations about the causes, consequences, and lessons of slavery and the transatlantic slave trade. The Permanent Memorial Committee, comprising Brazil, Ghana, Jamaica (Chair), Kenya, Netherlands, Portugal, Qatar, Senegal, Suriname, and the United Kingdom of Great Britain and Ireland, with Member States from the Caribbean Communituy and the African Union playing a primary role in collaboration with the United Nations Educatinoal, Scientific and Cultural Organization, the United Nations Office for Partnerships, the United Nations Department for Public Information and the Sub-Committee for the Elimination of Racism of the NGO Committee on Human Rights, completed this Permanent Memorial on 25 March 2015. "Acknowlege the Tragedy, Consider the Legacy, Lest We Forget" These three distinct phrases form the inspiration for the design of this Permanent Memorial. "The Art of Return" memorial is a sacred space that is designed to psychologically and spiritually transport visitors to a place where acknowledgment, education, reflection and healing can take place. The Memorial's exterior form is constructed to reflect the image of a vessel or ship in acknowledgment of the millions of African people transported on slave ships to different parts of the world during the "Middle Passage." Images of map depicting the "Triangular Slave Trade" influenced the use of the triangle as a primary element in designing the Memorial's shape. The Memorial is also conceptually organized to allow visitors to pass through "The Ark of Return" to intimately experience three primary elements on the interior space. The first element is a three dimensional map inscribed on the interior of the Memorial. This map graphically depicts the global scale, complexity and impact of the triangular slave trade in "acknowledgment of the tragedy." The second element is a full scale human figure lying horizontally in front of a wall inscribed with images of the interior of a slave ship. This is meant to communicate and educate visitors on the physical conditions endured by the millions of African people transported under extreme conditions during the middle passage. Visitors are provided the opportunity to seriously "consider the legacy" of Slavery's impact upon humanity. The third element is a triangular reflecting pool which introduces water in a meditative, ritualistic and spiritual manner. Visitors are invited to pour libations or say a prayer in memory of the millions of souls that were lost "lest we forget" this monumental and historic tragedy. Bronze plaque embedded on ground in front of memorial: Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade Ark of Return On this day, 25 March 2015 at the United Nations in New York City, the President of the Sixty-ninth Session of the General Assembly and the Secretary-General of the United Nations unveiled this Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave, in the presence of the Prime Minister of Jamaica, the Director-General of UNESCO, the Permanent Representative of Jamaica and Chair of the Permanent Memorial Committee, the Permanent Observer of the African Union, the Permanent Representative of India, and the Architect and Designer of the Permanent Memorial. The Permanent Memorial Committee expresses it deep appreciation to all Member States, institutions, foundations, organizations and individuals who have contributed to this Memorial.(*) New York, 25 March 2015 (*)Non-exhaustive list of Member States and organizations that have contributed funds to the construction of the Permanent Memorial to Honour Victims of Slavery and the Transatlantic Slave Trade: Afghanistan; Algeria; Antigua and Barbuda; Argentina; Bahamas; Barbados; Belgium; Belize; Bhutan; Botswana; Brazil; Burkino Faso; Cameroon; Canada; Chile; China; Congo; Costa Rica; Cyprus; Denmark; Ecuador; Egypt; Equatorial Guinea; Estonia; Finland; Georgia; Germany; Ghana; Greece; Grenada; Guyana; Haiti; Honduras; Iceland; India; Indonesia; Ireland; Israel; Italy; Jamaica; Japan; Kazakhstan; Kenya; Kuwait; Libya; Liechtenstein; Lithuania; Luxembourg; Malaysia;  Malta; Mauritius; Mexico; Monaco; Montenegro; Mozambique (on behalf of Southern African Development Community Group of Ambassadors); Namibia; Netherlands; New Zealand; Nicaragua; Norway; Oman; Pakistan; Phillipines; Portugal; Qatar; Republic of Korea; Saint Kitts and Nevis; Saint Lucia; Saint Vincent and the Grenandines; Saudia Arabia; Senegal; Singapore; Slovenia; South Africa; Spain; Sri Lanka; Sudan; Suriname; Sweden; Syrian Arab Republic; the former Yugoslav Republic Macedonia; Togo; Trindad and Tobago; Turkey; Uganda; United Arab Emirates; United Kingdom of Great Britain and Northern Ireland; United Republic of Tanzania; United States of America; Uruguay; Martinique; The Alexander Cheritable Trust (San Marino); Boris and Inara Teterev Foundation (Latvia); Ford Foundation; Rush Communications; United Nations Federal Credit Union and individuals around the world. Rights Information about rights held in and over the resource United Nations Gifts, Department of Global Communications, United Nations Headquarters, Room GA-1B-31, New York, New York, 10017, United States abstract bas-relief black granite figurative inscription map marble slave ship https://mail.slaverymonuments.org/files/original/e974f5d022df99f923e02afd03bc94a4.jpg b3f706bc362fc1a2e0e3e0e9a4c958fe Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 144 in. (365.76 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reconciliation Memorial (Liverpool, England) Description An account of the resource The iron torsos of two abstracted figures, engaged in a tight embrace, emerge from a rectangular iron base. Two other identical sculptures were erected in 1989 in Belfast, Northern Ireland, and Glasgow, Scotland. According to the artist, Stephen Broadbent, the works were meant to be “powerful symbol[s] of the way in which sectarianism can be overcome through solidarity.” Broadbent reappropriated the form to serve as a memorial to the transatlantic slave trade. Creator An entity primarily responsible for making the resource Broadbent, Stephen, 1961- Date A point or period of time associated with an event in the lifecycle of the resource September 19, 1990 Contributor An entity responsible for making contributions to the resource John Varley (Iron Founders) Ltd; Merseyside Council for Voluntary Service; Liverpool City Council Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Concert Square, Concert and Wood Streets, Liverpool, L1 4DS, England Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Reconciliation Triangle Date Created Date of creation of the resource. 1989 Has Version A related resource that is a version, edition, or adaptation of the described resource. Two identical versions of this work exist in Belfast, Northern Ireland, and Glasgow, Scotland Extent The size or duration of the resource. 144 in. (365.76 cm) Medium The material or physical carrier of the resource. Cast iron Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Broadbent, Stephen. "Reconciliation." Broadbent Studio. Accessed April 11th, 2019. https://broadbent.studio/reconciliation. Hatch, John B. Race and Reconciliation: Redressing Wounds of Injustice. Lexington Books, 2008. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Subject The topic of the resource Subject (Topic) England--Liverpool Public art Public sculpture Slavery--England Transatlantic slave trade Subject (Object Type) Commemorative sculpture Source A related resource from which the described resource is derived Photograph: <a href="https://artuk.org/discover/artworks/reconciliation-330986" target="_blank" rel="noopener">Martin Henderson, Art UK</a> Rights Information about rights held in and over the resource Culture and Arts Investment Programme, Liverpool City Council, Cunard Building, Water Street, Liverpool, L3 1AH, England abstract figurative iron https://mail.slaverymonuments.org/files/original/ffec1056e474e75fd61f9ae23989e67f.jpg f450b9a059d304e784a417bef5e844b5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 144'' (365.76 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reconciliation Memorial (Ouidah, Republic of Benin) Subject The topic of the resource Subject (Topic) Public art Public sculpture Republic of Benin--Cotonou Republic of Benin--Ouidah Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Originally placed in Cotonou, Republic of Benin, the bronze torsos of two abstracted figures, engaged in a tight embrace, emerge from a rectangular bronze base. Unlike the version in Liverpool, this work includes the addition of bronze bas-relief designs, reflecting images related to the transatlantic slave trade, including cotton plants, chains, and industrial factories. In 2021, the statue was moved to Centre Culturel de Rencontre International John Smith in Ouidah, République du Bénin. See "Création du CCR International John Smith à Ouidah", 2020, /https://www.accr-europe.org/fr/creation-du-centre-culturel-de-rencontre-international-john-smith-a-ouidah-benin and "Inauguration du CCR international John Smith à Ouidah," 2021, https://www.accr-europe.org/fr/les-actualites/actualites-professionnelles/inauguration-du-ccri-john-smith-au-benin. Creator An entity primarily responsible for making the resource Broadbent, Stephen, 1961 Contributor An entity responsible for making contributions to the resource Republic of Benin Government; Faith Bebbington (sculptor); Garry Morris (curator, Liverpool Maritime Museum); Liverpool school students; Richmond, VIrginia, school students Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Reconciliation Triangle Date Created Date of creation of the resource. 2005 Has Part A related resource that is included either physically or logically in the described resource. Inscription on side: Reconnaissons et pardonnons le passé Célébrons le présent Construisons l'avenir dans la réconciliation et la justice. Acknowledge and forgive the past Embrace the present Shape a future of reconciliation and justice. Has Version A related resource that is a version, edition, or adaptation of the described resource. An identical version of the <a href="https://www.slaverymonuments.org/items/show/1140" target="_blank" rel="noopener">Reconciliation Memorial</a> exists in Richmond, Virginia. Extent The size or duration of the resource. 144 in. (365.76 cm) Medium The material or physical carrier of the resource. Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Broadbent, Stephen. "Reconciliation Triangle." Broadbent Studio. Accessed April 11th, 2019. https://broadbent.studio/reconciliation-triangle-casestudy. Hatch, John B. Race and Reconciliation: Redressing Wounds of Injustice. Lexington Books, 2008. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/w/index.php?search=Statut_de_la_réconciliation&title=Special%3AMediaSearch&type=image" target="_blank" rel="noopener">Wikimedia Commons</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Centre Culturel de Rencontre International John Smith, Palais de justice – Ouidah, BP 56 Ouidah, République du Bénin Rights Information about rights held in and over the resource Centre Culturel de Rencontre International John Smith, Palais de justice – Ouidah, BP 56 Ouidah, République du Bénin abstract bird bronze figurative inscription map slave ship https://mail.slaverymonuments.org/files/original/f54bab69a154a38515ba8d3b509ee6af.JPG c590c83e3d1da53f8acc00ad22d5060b https://mail.slaverymonuments.org/files/original/c085a7bea1e9d8663f985cc7eb26816d.JPG b0a1f045e90a54b8bcd85fd71570173a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 144 in. (365.76 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reconciliation Memorial (Richmond, Virginia) Subject The topic of the resource Subject (Topic) Public art Public sculpture Slavery--Virginia Transatlantic slave trade Virginia--Richmond Subject (Object Type) Commemorative sculpture Description An account of the resource The bronze torsos of two abstracted figures, engaged in a tight embrace, emerge from a rectangular bronze base. This work includes the addition of bronze low-relief designs, reflecting images related to the slave trade, including a topographic map of the James River, birds following slave ships, chains with manacles, and a port with lifts pulling up cotton bales. The work was erected close to Richmond’s former slave market in Shockoe Bottom. Creator An entity primarily responsible for making the resource Broadbent, Stephen, 1961- Date A point or period of time associated with an event in the lifecycle of the resource March 31, 2007 Contributor An entity responsible for making contributions to the resource City of Richmond, Virginia; Faith Bebbington (sculptor); Garry Morris (curator, Liverpool Maritime Museum); Liverpool school students; Richmond, VIrginia, school students Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant East Main Street and North 15th Street, Richmond, Virginia, 23219, United States Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Reconciliation Triangle Has Part A related resource that is included either physically or logically in the described resource. Inscription on side: Reconnaissons et pardonnons le passé Célébrons le présent Construisons l'avenir dans la réconciliation et la justice. Acknowledge and forgive the past Embrace the present Shape a future of reconciliation and justice. Information plaque: The Triangle Liverpool, England The Benin Region of West Africa Richmond, Virginia During the 18th Century, these three places reflected one of the well-known triangles in the trade of enslaved Africans. Men, women, and children were captured in West and Central Africa and transported from Benin and other countries. They were chained, herded, loaded on ships built in England and transported through the unspeakable horrors of the Middle Passage. They were imported and exported in Richmond, Virginia and sold in other American cities. Their forced labor laid the economic foundation of this nation." Has Version A related resource that is a version, edition, or adaptation of the described resource. An identical version of the <a href="https://www.slaverymonuments.org/items/show/1139" target="_blank" rel="noopener">Reconciliation Memorial</a> exists in Ouidah, Republic of Benin. Extent The size or duration of the resource. 144 in. (365.76 cm) Medium The material or physical carrier of the resource. Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Broadbent, Stephen. "Reconciliation Triangle." Broadbent Studio. Accessed April 11, 2019. https://broadbent.studio/reconciliation-triangle-casestudy. Hatch, John B. Race and Reconciliation: Redressing Wounds of Injustice. Lexington Books, 2008. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photographs by Rénee Ater Rights Information about rights held in and over the resource Public Art Commission, City of Richmond, 900 East Broad Street, Room 511, Richmond, Virginia, 23219, United States abstract bronze figurative inscription map slave ship https://mail.slaverymonuments.org/files/original/e38d6d8f89221bc31ab977f86a3ba023.jpg 735278269f7006c9c22002d0c593bc56 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 141.72 x 94.44 in. (359.9688 cm x 239.8776 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 Le Marron Inconnu (Port-au-Prince, Haiti) Subject The topic of the resource Subject (Topic) Abolition of slavery Enslaved persons--Emancipation--Haiti Haiti--Port-au-Prince Maroons--Haiti Public art Public sculpture Slavery--Haiti Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource The bronze sculpture depicts a man, clad only in torn shorts, kneeling on his right leg. His left leg is outstretched behind him; a broken iron chain lays on the ground around his left foot. He arches his torso back as he holds a conch shell to his lips with his left hand, tilting his head upward. His right hand holds a machete at the ground. The statue was created to commemorate the abolition of slavery in Haiti. In 1989, the United Nations used the image on postage stamps to commemorate Article 4 of the Universal Declaration of Human Rights: "No one shall be held in slavery or servitude; slavery and the slave trade shall be prohibited in all their forms." Creator An entity primarily responsible for making the resource Mangonès, Albert, 1917–2002 Date A point or period of time associated with an event in the lifecycle of the resource September 22, 1967 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 du Marron Inconnu, Champ de Mars, HT6110 Port-au-Prince, Haiti Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Neg Marron; Nèg Mawon Extent The size or duration of the resource. 141.72 x 94.44 in. (359.97 x 239.88 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://en.wikipedia.org/wiki/Le_Marron_Inconnu#/media/File:Le_Marron_Inconnu_-_April_2018_side.jpg" target="_blank" rel="noopener">Wikipedia</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. Payton, Claire Antone. "The Political Lives of Haiti's Marron Inconnu." Radical History Review, issue 152, (May 2025): 70-90.  Bell, Beverly. "Chapter 4: Maroon Man: Social Movements Throughout History." In Fault Lines: Views Across Haiti's Divide, 32-40. Cornell University Press, 2013. Conduru, Roberto. "Transnational Counter-monuments: Anti-Slavery and Pro-Freedom Memorials." ReVista: Harvard Review of Latin America, July 30, 2021. Accessed January 28, 2025. https://revista.drclas.harvard.edu/transnational-counter-monuments/. Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque on front of statue: Text derives from a passage from Book of Maccabees (3:3–9). Ce fut lui qui accrut la grandeur de son peuple. Lui, qui s’arma du glaive et de la torche, tel un géant ; Lui, qui fit de ses armes un abri pour les siens. Semblable au lion, par ses grandes actions ; Il harcela partout ceux qui le tourmentaient ; brûla leurs champs, détruisit leurs demeures ; Ses exploits irritèrent des rois ; mais firent, cependant, la joie de tout un peuple ; Sa mémoire sera éternellement en bénédiction… Dr. François Duvalier Président a Vie de la République 22 September 1967 English translation: It was he who increased the greatness of his people. He who armed himself with sword and torch, like a giant; he who made his weapons a shelter for his people. Like a lion in his great deeds, he harassed those who tormented him everywhere, burned their fields, destroyed their homes. His exploits angered kings, but brought joy to an entire people. His memory will be blessed forever... (L'histoire controversée du Marron inconnu, https://ayibopost.com/lhistoire-controversee-du-marron-inconnu/) Contributor An entity responsible for making contributions to the resource François Duvalier (patron); Amerigo Marco Montagutelli and art students at the Académie des Beaux-Arts; Andrisson Fils-Aimé (model) Rights Information about rights held in and over the resource Ministry of Culture and Communication, Haitian Copyright Office (BHDA), 31, rue Cheriez, Canape-Vert, Port-au-Prince, Haiti (West Indies) bronze chains figurative seashell shackles https://mail.slaverymonuments.org/files/original/a1cc6e7b96ad566f941d0ab0d0f8a615.jpg 78a9a600a6f799146035bc4448c2ac1a 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 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 Statue (Bridgetown, Barbados) Subject The topic of the resource Subject (Topic) Barbados--Bridgetown Enslaved persons--Emancipation--Barbados Freedom Public art Public sculpture Resistance Slave insurrections--Barbados Slavery--Bardados Slavery--England Transatlantic slave trade Subject (Name) Bussa (dates unknown) Subject (Object Type) Commemorative sculpture Description An account of the resource The monumental bronze statue depicts a semi-nude figure, dressed only in shorts. He raises his arms in a triumphant gesture, which accentuates the broken chains around his wrists. The identity of the figure is thought to be the leader of the April 1816 slave revolt, General Bussa. Although ultimately unsuccessful, it was the largest revolt in Barbadian history, General Bussa commanded nearly 400 freedom fighters. Creator An entity primarily responsible for making the resource Broodhagen, Karl, 1909–2002 Date A point or period of time associated with an event in the lifecycle of the resource March 28, 1985 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 J. T. C. Ramsey Roundabout, ABC Highway and Highway 5, Bridgetown, Barbados Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Bussa Has Part A related resource that is included either physically or logically in the described resource. Inscription on front of monument,an excerpt from the Abolition Act of 1833: ...Be therefore enacted…that from and after the first day of August one thousand eight hundred and thirty-four all persons who in conformity with the laws now in forces in the said colonies respectively shall on or before (August 1, 1834) have been duly registered as slaves in and such colony and who on (August 1, 1834) shall be actually within any such colony and who shall by such registries appear to be (August 1, 1834) of the full age of six years and upwards shall by force and virtue of this act...become and be apprenticed laborers...' The Abolition Slavery Act (1883) This statue was erected by the government and people of Barbados to commemorate the 150th anniversary of the abolition of slavery and the emancipation of Barbadians from the institution of slavery This statue was unveiled by the Prime Minster The Hon. H. B. St. John O. C. M. P. on 28 March 1984 Inscription on side of monument: "De Ting Come from England To Set We Free Now Lick And Lock-Up Done Wid Hurrah Fuh Jin-Jin. . ." Barbados Folk Song 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: Daniel Berek, <a href="https://www.flickr.com/photos/dlberek/12711319014/in/photolist-knjstT-21ogW3e-2jEVqzG-knfQhE-2oiPipb-2h5Be8V-oVhsgN" target="_blank" rel="noopener">Flickr</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. 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/ Rights Information about rights held in and over the resource Division of Culture, Prime Minister's Office, Turners Hall, Saint Andrew, Barbados Contributor An entity responsible for making contributions to the resource Government of Barbados https://mail.slaverymonuments.org/files/original/d41857e1a7f0604f95ccd2dd96405304.jpg 55406df3e19380b1498d93c6fda0c845 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. 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 Desenkadená/Unchained (Willemstad, Curaçao) Subject The topic of the resource Subject (Topic) Curaçao--Willemstad Public art Public sculpture Resistance Slave insurrections--Curaçao Slavery--Curaçao Slavery--The Netherlands Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource The over life-size bronze sculptural group depicts three figures, two men and one woman. As the title of the work, Desenkadená (Unchained) suggests, the figures are breaking free from the chains that bind their wrists. The central figure is flanked by a man and woman, both of whom gaze at him as he breaks their chains. The “chain breaker,” a muscular, semi-nude man, stands in front of an anvil. Simon captures the figure mid-swing as he raises a hammer over his head with his right hand. In his left hand he holds iron chains in place with a chisel. The work commemorates the 1795 slave rebellion led by an enslaved person called Tula. Creator An entity primarily responsible for making the resource Simon, Nel, 1938- Date A point or period of time associated with an event in the lifecycle of the resource October 17, 1998 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 Parke Lucha pa Libertat, John F. Kennedy Boulevard, Willemstad, Curaçao Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Tula Monument 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:Nationaal_monument_Desenkandená,_Parke_di_Lucha_pa_Libertat.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. 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/ CIPDH-UNESCO. "Desenkadená." Memorias Situadas: Sites of Memory Related to Serious Human Rights Violations. Accessed February 4, 2026. https://www.cipdh.gob.ar/memorias-situadas/en/lugar-de-memoria/desenkadena/ "The Making of the Tula Monument Curaçao by Nel Simon, 1996-1997." YouTube. Accessed February 26, 2026. https://youtu.be/R5TIUbo6aag. Contributor An entity responsible for making contributions to the resource Government of Curaçao Rights Information about rights held in and over the resource Cultural Affairs Department, Ministry of Education, Science, Culture, and Sport, 24-26 Schouwburgweg, Willemstad, Curaçao bronze chains figurative manacles https://mail.slaverymonuments.org/files/original/8b5340ee5a4a6fecf588f15370c45d82.jpg 7b9623646024f316ab6fecb68be56212 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 Building Physical Dimensions The actual physical size of the original image Building: 83,958 sq. ft (7,800m²) Gardens surrounding the museum: 5 acres (20,234m²) 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 Mémorial ACTe (Pointe-à-Pitre, Guadeloupe) Subject The topic of the resource Subject (Topic) Abolition of slavery Enslaved persons Guadeloupe--Pointe-à-Pitre Plantations Transatlantic slave trade Slavery--France Slavery--Guadeloupe Sugar--Social Aspects--History Subject (Object Type) Building and Structures Description An account of the resource Mémorial ACTe is located on the the site of the former Darboussier sugar refinery on the waterfront in Pointe-à-Pitre, Guadeloupe. "The memorial consists of an imposing elongated building that measures 240 meters and is covered with silver grids that represent the roots of the fig trees that grow on the abandoned buildings. At the entrance is the central patio where a metal monument stands representing a giant tree, which symbolizes the roots of Guadeloupean society. The museum, located inside the building, narrates the history of slavery in the Antilles and in America since the beginning of the 17th century through works of art, heritage pieces, video projections, sound environments and interactive tables that testify to the atrocities produced by slavery and human trafficking." ACTe Memorial-CIPDH-UNESCO, https://www.cipdh.gob.ar/memorias-situadas/en/lugar-de-memoria/memorial-acte/. Creator An entity primarily responsible for making the resource Guadeloupean Architectural Workshop: Pascal Berthelot (BMC) Jean-Michel Mocka-Célestine (BMC) Mikael Marton (Atelier Doré/Marton) Fabien Doré (Atelier Doré/Marton) Date A point or period of time associated with an event in the lifecycle of the resource July 7, 2015 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 Darboussier, 97110, Rue Raspail, Pointe-à-Pitre, Guadeloupe Extent The size or duration of the resource. Building: 83,958 sq. ft (7,800m²) Gardens surrounding the museum: 5 acres (20,234m²) 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:Pointe-%C3%A0-pitre_ACTe_Memorial.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. CIPDH-UNESCO. "ACTe Memorial." Memorias Situadas: Sites of Memory Related to Serious Human Rights Violations. Accessed July 17, 2024. https://www.cipdh.gob.ar/memorias-situadas/en/lugar-de-memoria/memorial-acte/. Reffin, Alice. "Mémorial ACTe (Pointe-à-Pitre, Guadeloupe)" Contested Histories Occasional Paper XV (June 2025). Accessed February 8, 2026. https://contestedhistories.org/wp-content/uploads/OPXV_Memorial-Acte-Guadeloupe.pdf Viala, Fabienne. "The Memorial ACTe." In Postcolonial Realms of Memory: Sites and Symbols in Modern France, eds. Etienne Achille, Charles Forsdick, and Lydie Moudileno, 186-194. Liverpool University Press, 2020. Gosson, Renée. "Breaking Museal Tradition: Guadeloupe's Mémorial ACTe and the Scenography of Slavery." Histoire Sociale/Social History 53, no. 107 (May 2020): 179-194. Medium The material or physical carrier of the resource. Black granite; Aluminum; Stainless steel Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Centre Caribéen d’Expressions et de Mémoire de la Traite et de l’Esclavage (Caribbean Centre for Expressions and Memory of the Slave Trade and Slavery) Contributor An entity responsible for making contributions to the resource Luc Reinette, Comité International des Peuples Noirs (CIPN, International Committee of Black People); Victorin Lurel, Regional Council of Guadeloupe; Professor Jacques Adelaid–Merlande; Chambre Régionale des Comptes: Guadeloupe; François Confino and Véronique Rozen (interior); Etanco Group (building envelope) aluminum black granite stainless steel sugar trees 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