7 10 134 https://mail.slaverymonuments.org/files/original/c3754f52151df1b7e183477511f1e542.jpg d1c808b9bdeacba36fa3a26aff328434 https://mail.slaverymonuments.org/files/original/442c0a8e4de3fd456c8f3f6f1f808f4a.jpg 83f383f12e97eaeed991ca119477fd64 https://mail.slaverymonuments.org/files/original/d49f585894b0071825b5e53553fbfa48.jpg e36765a8b585f8375a2d2cfa4041080b https://mail.slaverymonuments.org/files/original/c0c3fb8db4b943a8e7cfeb06f890dc82.jpeg d4ee31936535e6acc5a601b81f36ba50 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Underground Railroad Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The memorial and monuments in this collection are dedicated to the Underground Railroad, an organized network of routes and safe houses that assisted freedom seekers [enslaved people] on their journeys northward. The Underground Railroad was part of the larger movement for the abolition of slavery in the United States. The movement to abolish slavery was a complicated political movement that, at its core, was driven by the resistance and activism of enslaved Black people and freedmen and women abolitionists. Historian Manisha Sinha explores the history of American abolition, including the Underground Railroad in The Slave's Cause: A History of Abolition (2016).  Although Harriet Tubman is the most famous conductor in the Underground Railroad, she is not the subject of the memorials featured in this collection (see the collection on this site, <a href="https://www.slaverymonuments.org/collections/show/1" target="_blank" rel="noopener">Black Abolitionists</a>, to view works specifically dedicated to her life and work). Rather the monuments and memorials featured here, such as Ed Dwight's <a href="https://www.slaverymonuments.org/items/show/1170" target="_blank" rel="noopener">Gateway to Freedom: International Memorial to the Underground Railroad</a>, highlight other prominent conductors, as well as celebrate the fortitude and bravery of the freedom seekers as they made the perilous journey north. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Everdure bronze with patina; Brick; Granite Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jerry Rescue Monument (Syracuse, New York) Creator An entity primarily responsible for making the resource BuMann, Sharon, 1953- Subject The topic of the resource Subject (Topic) Abolition of slavery Public art Public sculpture New York (State)--Syracuse Resistance Slavery--New York (State) Subject (Name) Henry, William "Jerry", 1811-1853(?) Loguen, Jermain Wesley, 1813-1872 May, Samuel Joseph, 1797-1871 Subject (Object Type) Commemorative sculpture Date A point or period of time associated with an event in the lifecycle of the resource August 10, 1990 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Clinton Square, 2 S Clinton Street, Syracuse, New York, 13202, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on the central bronze plaque (back wall): The Jerry Rescue In 1827, The State of New York was among the first in the Union to abolish slavery. By the mid-1800’s, Syracuse was known nationally as a hub of ant-slavery activity. Harriet Tubman, Gerrit Smith, the Rev. Samuel J. May, and the Rev. Jermain W. Loguen lived in the area and played historic roles helping escaped slaves reach freedom and safety in the northern United States and Canada. They organized and maintained the secret routes and hiding places known as the Underground Railroad. Their Abolitionist sentiments were shared by many men and women in the community. When Congress passed the Fugitive Slave law in 1850, a local Vigilance Committee publicly called on people everywhere to oppose it. Then-Mayor Alfred H. Honey was one of the community leaders who denounced the law as 'a most flagrant outrage upon the inalienable rights of man.'  With the attention of the nation focused on the acts of civil disobedience this position might spark, the great American orator Daniel Webster, came to Syracuse and delivered a dramatic address from the balcony overlooking City Hall. He warned the supporters of the Vigilance Committee of the dire legal consequences they faced in opposing the Fugitive Slave Law. Meanwhile, William 'Jerry' Henry had escaped from slavery in Missouri, and was working as a cabinet maker and cooper in Syracuse. At noon on October 1st, 1851, he was apprehended, taken before the local U.S. Commissioner, and charged as a fugitive slave. Alerted, the Vigilance Committee sprang into action. At first, disorganized attempt to free Jerry that afternoon failed. But, later that evening, a mob of outraged citizens, both black and white, stormed the jail across Clinton Street from this site, and rescued him. Jerry was hidden in the city for a few days, then spirited north along the Underground Railroad to Kingston, Ontario. Twenty-seven people, including Loguen and eleven other black citizens, were indicted for their involvement. Enoch Reed, a black man, was the only person convicted of any crime related to the rescue; it was a minor offense, and he died before his case could be heard on appeal. For many years afterwards, Abolitionists from all over the north gathered in Syracuse on October 1st, to celebrate Jerry's rescue. Inscription on left bronze plaque (back wall): Monument Symbolism The STAR, as a light in the darkness, represents hope. Its four points are oriented to the actual points of the compass, important in fixing direction for a journey. Its elevation conveys the importance of Jerry’s recuse in the history of civil rights. The BRICK WALLS symbolize buildings or barriers, which can include or exclude. The spaces provoke interest and concern for who or what lies beyond. The FOREGROUND FIGURES aiding Jerry represent the Rev. Samuel J. May and the Rev. Jermain W. Loguen, who did not physically take part in the event but were instrumental in arranging the rescue. They and the crowd behind them are larger-than-life to suggest that, when courage and compassion combine to influence public opinion, human life is enlarged. The BROKEN SHACKLES Jerry wears emphasize the failure of legal authority to impose unjust restraints upon human rights or to limit human dignity. Monument design: BuMann Studio Central Square, New York Sharon BuMann/Sculptor Copyright 1990 Inscription on right bronze plaque (back wall): This project was made possible by the support of the  City of Syracuse Mayor Thomas G. Young State of New York Governor Mario M. Cuomo Senator Tarky Lombardi, Jr. Benefactors New York State Natural Heritage Trust New York State Bicenntienal Commission Central New York Community Foundation Rosamond Gifford Foundation Updowntowners of Syracuse Anheuser-Busch, Inc. Atlas Fence, Inc. Barnes & Cone, Inc. Bartran & Associates Bock Brick, Inc. Chappell's Donald W. Clark Suzanne M. Congel The Edgewater Companies Lora S. Flanagan IBEW Local 43 Key Bank of Central New York Lenweaver Design Mayor's Minority Affairs Council McConnell Constrution Corp. Edward McNeil OBG Technical Services, Inc. O'Brien and Gere Engineering, Inc. O'Conner Memorial, Inc. Omega Psi Phi Fraternity Inc.--Chi Phi Chapter Paragon Supply, Inc. Parratt-Wolfe, Inc. Randall Electric. Inc. James Ross & Son Construction Santaro Industries, Inc. Syracuse Teachers Association  Taylor Rental Center Andrew Von Deak Richard N. Wright, II Jerry Rescue Memorial Committee Chester Whiteside, Founder/Co-Chairperson Roger Mac, Co-Chairperson Linda Joanne Clark Thomas R. Kennedy David Kreitor David E. Lenweaver Cheryl Wilkins-Mitchell Vicki B. Quigley Henry Schramm A project of the Syracuse Urban Arts Commission Unveiled August 10, 1990 Medium The material or physical carrier of the resource. Everdure bronze with patina; Brick; Granite Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Description An account of the resource A concrete four-pointed star serves as the sculpture’s plinth. Three brick and concrete walls form a niche, which viewers are invited to physically occupy. Affixed to the brick walls, the niche contains bronze plaques explaining the history of William "Jerry" Henry’s rescue and the symbolism of the sculpture. Emerging from the central brick wall, on the side that faces outward, away from the architectural niche, are three life-size bronze figures. Rendered in high relief, the artist, BuMann, depicts an imagined scene of Henry’s rescue. A shirtless Henry, with broken shackles on his wrists, is helped to safety with the assistance of Rev. Samuel J. May and the Rev. Jermain W. Loguen (who was himself a formerly enslaved person), men who were not actually present during the escape. Source A related resource from which the described resource is derived Photographs by Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Syracuse University Libraries. "'That laboratory of abolitionism, libel, and treason': Syracuse and the Underground Railroad." Special Collections Exhibits. Accessed February 9, 2025. https://library.syracuse.edu/extsites/undergroundrr/case3.php. Contributor An entity responsible for making contributions to the resource City of Syracuse; State of New York; Syracuse Urban Arts Commission; Jerry Rescue Memorial Committee; New York State Natural Heritage Trust; New York State Bicenntienal Commission; Central New York Community Foundation; Rosamond Gifford Foundation; Updowntowners of Syracuse Rights Information about rights held in and over the resource Syracuse Public Arts Commission, City Hall, 233 East Washington Street, Syracuse, New York, 13202, United States bas-relief bronze chains figurative granite manacles https://mail.slaverymonuments.org/files/original/4d067b13954a799018a97269857061ad.jpg c70e1807c8422f73c9e9a83ac08dc9b0 https://mail.slaverymonuments.org/files/original/4b5c91b408741aa89b5670428cbe0762.jpg f69336ea0a8289b7d5238a7c0f59d61f https://mail.slaverymonuments.org/files/original/8f7b5278533b2eeeaf3cb7473361bf71.jpg 721797c2285f1b69ee5c53d0c45e50e1 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 360 in. (914.4 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 Knockin’ On Freedom’s Door (Peoria, Illinois) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Fugitive slaves--United States Illinois--Peoria Public art Public sculpture Underground Railroad Subject (Name) Pettengill, Moses, 1802-1883 Pettengill, Lucy, 1802-1864 Lincoln, Abraham, 1809-1865 Subject (Object Type) Commemorative sculpture Description An account of the resource Preston Jackson‘s monumental bronze and stainless steel Knockin’ on Freedom’s Door is located on the site of the former Pettengill House in Peoria, an important station on the Underground Railroad. The work features multiple bronze sculptural groups within a stainless-steel frame. The sculptural grouping includes a male and female freedom seeker, climbing out of a small rowboat as two white members of the Underground Railroad look down upon the pair. The pair of Underground Railroad conductors are presumably Moses and Lucy Pettengill. Moses holds a bucket of water in one hand and a ladle in the other, while Lucy clutches at her chest. At the very top of the sculpture, looking down over the scene is a portrait of Abraham Lincoln in profile. Creator An entity primarily responsible for making the resource Jackson, Preston, 1944- Date A point or period of time associated with an event in the lifecycle of the resource October 24, 2008 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 Peoria Civic Center, 201 SW Jefferson Ave, Peoria, Illinois, 61602, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque with dedication: “Knocking on Freedom's Door” Preston Jackson, Sculptor Dedicated October 24, 2008 From the 1840s to 1860s, the Moses and Lucy Pettengill House at the corner of Liberty and Jefferson was a safe house for hunted slaves escaping north along the Underground Railroad to freedom. In 2003, the Peoria Civic Center Authority voted to develop the Pettengill housing location as Peoria's newest historic site. In Dec. 2005, the National Park Service officially named Peoria as the 11th Illinois Underground Railway Network to Freedom Historic Site. Preston Jackson, internationally known African American sculptor and a resident of Peoria, was commissioned to create a public artwork that expressed the drama and raw emotions of slaves’ flight to the north along with the generosity of Pettengills, close friends of Abraham Lincoln. Generous support made this project possible, particularly from: Dr. Norman & Barbara Meyn Caterpillar Foundation National Park Service Turner Construction Company Oberlander Electric Advanced Technology Services AmerenCilco//Bill & Helen Barrick Ken & Jody Baum Brewer’s Distrubuting CEFCU Commerce Bancshares Foundation Dr. Peter & Barbara Court PSA Dewberry Harvey & Stuckel, Chartered HOK Sports Facilities Group Illinois Mutual Micro-Pavers, Inc. Selma E. Neumiller OSF Saint Francis Medical Center Tom & Debbie Ritschel Ransburg Foundation RLI Insurance Company Gene & Harriet Swager West Central IL Building & Construction Trades Council Ruby K. Warner Family Trust Bronze plaque with a relief of the home of Moses and Lucy Pettengill: "On this site stood the house of Moses and Lucy Pettengill Moses Pettengill [1802-1883] Lucy Pettengill [1802-1864] The house was noted as Peoria's station on the Underground Railway Network from the 1840s to the 1860s. Fleeing slaves were given food and refuge in this home. The Pettengills helped the escaping slaves with their dangerous journey along the Illinois River on their way to Farmington, Lawn Ridge and Princeton. The Pettengills assisted in founding: Illinois State Anti-Slavery Society [Oct 1837] Peoria Anti-Slavery Society [Feb 1844] Illinois State Female Anti-Slavery Society [May 1844] Abraham Lincoln was their intimate friend, and came to the home many times to discuss political affairs with the ardent Whigs. “In my own experience of about fifty years of opposition to intemperance, Secret Societies, and slavery, I have had the blessing of an approving conscience which is far more valuable than gold and silver.” - Moses Pettengill [1879] Extent The size or duration of the resource. 360 in. (914.4 cm) Medium The material or physical carrier of the resource. Stainless steel; 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 Photographs: <a href="https://ordinaryphilosophy.com/2017/10/24/photobook-knockin-on-freedoms-door-at-moses-and-lucy-pettingills-house-site-in-peoria-illinois/" target="_blank" rel="noopener">Amy Cools, Ordinary Philosophy</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. Thompson, Katie. "The Long Road to Freedom: Peoria and the Underground Railroad." Peoria Magazine, January/February 2008. Accessed February 10, 2026. https://ww2.peoriamagazines.com/as/2008/jan-feb/long-road-freedom. "Preston Jackson: Artist, Educator, Storyteller." Peoria Magazine, July 2021. Accessed February 10, 2026. https://ww2.peoriamagazines.com/pm/2021/jul/preston-jackson. Contributor An entity responsible for making contributions to the resource Dr. Norman & Barbara Meyn; Caterpillar Foundation; National Park Service; Turner Construction Company; Oberlander Electric; Advanced Technology Services; AmerenCilco//Bill and Helen Barrick; Ken and Jody Baum; Brewer’s Distributing CEFCU; Commerce Bancshares Foundation; Dr. Peter and Barbara Court; PSA Dewberry; Harvey & Stuckel Chartered; HOK Sports Facilities Group; Illinois Mutual; Micro-Pavers, Inc.; Selma E. Neumiller; OSF Saint Francis Medical Center; Tom and Debbie Ritschel; Ransburg Foundation; RLI Insurance Company; Gene and Harriet Swager; West Central IL Building & Construction Trades Council; Ruby K. Warner Family Trust Rights Information about rights held in and over the resource Peoria Civic Center Authority, 201 SW Jefferson Avenue, Peoria, Illinois, 61602, United States boat bronze figurative https://mail.slaverymonuments.org/files/original/e32a210f39d1e4c462eb8eb7dd520d87.JPG 9debabba74510aec7d964631f5603e7d https://mail.slaverymonuments.org/files/original/6da7d002d202e2ddb9ee6af1cbddd03f.JPG 565efe4ecbd684a276ff5f01115eca0c https://mail.slaverymonuments.org/files/original/26e685e6e420d81f7fa83cd6268ddb4b.JPG c23f6796d9f6756c68907efec9c46e02 https://mail.slaverymonuments.org/files/original/933aa76f1737b289e92fc9fbe96755aa.JPG 49bb2456c67e8a4be14bd14379a6ac28 https://mail.slaverymonuments.org/files/original/96d641e3c8e5857be470fac6e923da4d.JPG 8dc82e7a3ab0501e9a4a0cf536ad0603 https://mail.slaverymonuments.org/files/original/fd1880a8c6ea6e2060453dbc083f73b5.JPG ef6e737e40221a0f30c6984ef2ce1720 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kumbukumbu Ya Historia Ya Watumwa/Memory for the Slaves (Stone Town, Zanzibar, Tanzania) Subject The topic of the resource Subject (Topic) Enslaved persons Slave market--Zanzibar Slave trade--Indian Ocean Slavery--Zanzibar Tanzania--Zanzibar--Stone Town Subject (Object Type) Commemorative sculpture Description An account of the resource Created by the Swedish artist Clara Sörnäs at the Bagamoyo Arts and Cultural Institute, the monument includes five nude torsos of enslaved Africans who emerge from stone pillars. The surface of the pillars is rough and a pebbled texture that resembles the stones that fill the concrete pit that surround the five figures. The five cast concrete figures, all but one of whom are chained around the neck, are located on the site of the last slave market in Africa in Stone Town, Zanzibar. Creator An entity primarily responsible for making the resource Sörnäs, Clara, 1966- 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 Christ Church, Stonetown, Zanzibar, Tanzania<a href="https://www.google.com/maps/place/Slave+Chambers/@-6.1645032,39.1926727,18z/data=!4m12!1m6!3m5!1s0x185cd059318257d9:0x73091b66b9d70cd2!2sAnglican+Cathedral!8m2!3d-6.1629403!4d39.1926016!3m4!1s0x185cd05ecaed09bb:0x7840e2a061706433!8m2!3d-6.1634083!4d39.1925146"></a> Medium The material or physical carrier of the resource. Concrete; 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. Rhodes, Daniel T. "History, Materialization, and Presentation of Slavery in Tanzania." Journal of African Diaspora Archaeology and Heritage 7, no. 2 (2018): 165-191. Fouéré, Marie-Aude. "Museumizing the Slave Trade and Slavery in Zanzibar: Truth, Untruth, and Uncertainty at the Old Slave Market." Ethnologie française 50 (2020): 109-124. Accessed February 9, 2024. https://shs.cairn.info/journal-ethnologie-francaise-2020-1-page-109?lang=en. Sansone, Livio and Wilson Profírio Nicaquela. "O Futuro da Mémoria da Escravidão no Índico: Lembrar e Esquecer na Ilha de Moçambique e Zanzibar." Afro-Ásia no. 71 (2025): 1-46. (The Future of the Memory of Slavery in the Indian Ocean: Remembering and Forgetting on the Island of Mozambique and Zanzibar) 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 Adrienne Childs Date A point or period of time associated with an event in the lifecycle of the resource 1998 Has Part A related resource that is included either physically or logically in the described resource. Signage: Kumbukumbu Ya Historia Ya Watumwa Memory for the Slaves Sponsored by Benot Ulin Tanzania Cigarette Company Boliden Contech Adea Brown Boveri Okanska Owed Fund Ericsson Made by Clara Sörnäs at Sculpture Project Bagamoyo: 1997-98 Contributor An entity responsible for making contributions to the resource Benot Ulin; Tanzania Cigarette Company; Boliden Contech; Adea Brown Boveri; Okanska; Owed Fund; Ericsson; Bagamoyo Arts and Cultural Institute Rights Information about rights held in and over the resource Ministry of Tourism and Heritage, The Revolutionary Government of Zanzibar, Mnazi Mmoja, Zanzibar, P. O. Box 2277, Zanzibar chains concrete iron shackles 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/85f2c22f3913882a1462a440e8eddee0.jpg a998be6eb7300f8f288e97e9a90bfc0f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 354.331 x 125.984 in. (900 x 320 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource L'arbre de la liberté (Schoelcher, Martinique) Subject The topic of the resource Subject (Topic) Freedom Martinique--Schoelcher Public art Public sculpture Slavery--Martinique Resistance Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Facing the Caribbean Sea, the memorial consists of eight abstracted forms, some of which are rectilinear and geometric, and others more curvilinear with rounded organic forms. The bronze figures are embellished with symbols, which according to the sculptor, represent "the spirit of the liberated man." Creator An entity primarily responsible for making the resource Guédon, Henri, 1944-2006 Date A point or period of time associated with an event in the lifecycle of the resource 2001 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Place des Arawaks, 97233 Schoelcher, Martinique Extent The size or duration of the resource. 354.331 x 125.984 in. (900 x 320 cm) Medium The material or physical carrier of the resource. Bronze; Concrete Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Les Arbre de la Liberté." Fédération Martiniquaise des Offices de Tourisme et Syndicats d'Initiative. Accessed May 28, 2019. http://www.accueil-martinique.fr/FR/visite-les-arbres-de-la-liberte_10037.html. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://terresducentremartinique.fr/sites-musees/larbre-de-la-liberte/" target="_blank" rel="noopener">Terres du Centre Martinique</a> Rights Information about rights held in and over the resource Mairie de Schoelcher, 3 rue Fessenheim, 97233 Schoelcher, Martinique abstract bronze concrete trees https://mail.slaverymonuments.org/files/original/c96482ed830a994203b6ac631cccce76.jpg 9a9c6e652220fbcbaf689d00a730d78f 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 Building and Structure 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 La Maison des Esclaves (Gorée Island, Senegal) Subject The topic of the resource Subject (Topic) Enslaved persons Senegal--Goree Isand Slave ships Slavery-Senegal Transatlantic slave trade Subject (Type) Building and Structures Description An account of the resource The island of Gorée was the site of one of the earliest European settlements in Western Africa and from the fifteenth to the nineteenth century, served as the largest slave-trading site on the African coast. Built in 1776, La Maison des Esclaves, was a detention center for captured Africans who were destined to be sold as slaves. In 1962 the home was established as a museum dedicated to telling the “personal stories of a private home and the role of its owners in both local business and the slave trade.” Between 2015-2022, La Maison des Esclaves underwent major renovations, funded through the Government of Senegal and the Ford Foundation. 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 Historic Sites Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rue St-Germain, Gorée Island, Senegal Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. International Coalition of Sites of Conscience. "Revitalizing Maison des Esclaves." Accessed April 29, 2019. https://www.sitesofconscience.org/wp-content/uploads/2016/10/Maison-Des-Esclaves-Overview-2019.pdf Araujo, Ana Lucia. "Sites of Deportation." in Shadows of the Slave Past: Memory, Heritage, and Slavery, 45-75. Routledge, 2010. Tillet, Salamishah. "In the Shadow of the Castle: (Trans)Nationalism, African American Tourism, and Gorée Island." Research in African Literatures 40, no. 4 (Winter, 2009): 122-141. Maison des escalaves de l'île de Gorée. Accessed February 27, 2026. https://www.maisondesesclaves.org. 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:La_maison_des_esclaves.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Date A point or period of time associated with an event in the lifecycle of the resource 1776 Creator An entity primarily responsible for making the resource Ndiaye, Boubacar Joseph, 1922-2009 (museum founder/curator) Contributor An entity responsible for making contributions to the resource Léopold Sédar Senghor, Premier Président du Sénégal (1960-1980); La République du Sénégal; Ford Foundation; International Coalition of Sites of Conscience Rights Information about rights held in and over the resource Ministère de la Culture, de l’Artisanat et du Tourisme, Bâtiment C, 1er étage, Sphère Ministérielle Ousmane Tanor Dieng (SMOTD) à Diamniadio, BP: 4049 - Dakar, Sénégal Medium The material or physical carrier of the resource. Timber; Straw; Pulvarized seashells; Local volcano stone historic architecture https://mail.slaverymonuments.org/files/original/79ef8ac94602f4840bc28fa08673092a.jpg b383505d4c9ce4af56b3796fb2334bca https://mail.slaverymonuments.org/files/original/701ccf20c9bca12773a15897953f029e.jpg 6576834d1d12d6b899c8bb6576279297 https://mail.slaverymonuments.org/files/original/c79a5f52ba08d07bf12e1a44682089be.jpg 2f7622f6f8c17f6a194d7dc2a941d9f8 https://mail.slaverymonuments.org/files/original/56564e9cd4b820da54db98f77c8c358b.jpg 7297ce0f98450cf89c7a314be031f213 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; Memorial Arch 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 La Porte du Non Retour (Ouidah, Republic of Benin) Subject The topic of the resource Subject (Topic) Republic of Benin--Ouidah Slave markets Slave ships Slavery--Benin Transatlantic slave trade Subject (Object Type) Commemorative sculpture Memorial Arches Description An account of the resource Located on the sandy shores of Ouidah, Benin, the monumental concrete painted red and yellow and the metal sculptures that flank it, commemorate the horrors of the transatlantic slave trade. The memorial gate, which marks the point where African captives were forced onto transatlantic slave ships, is connected by a path, known as the “Slave Route,” to the market square, where enslaved people were once sold. The memorial arch is embellished with a frieze, depicting two lines of enslaved people bound at their hands and chained together as they walk towards waiting ships. The columns are adorned with sculptures depicting men and women captives, Their extremities bound, as they kneel and await their fate in Portuguese-built forts. The back of the gate is adorned with depictions of their native towns. Yves Ahouangnimon was the architect for the project; Fortuné Bandiera created figures and bas reliefs on the columns; Yves Apollinaire Pèdé created the bas-reliefs on the center arch and two free-standing egungun; and Dominique Kouas created the copper statues. Creator An entity primarily responsible for making the resource Ahouangnimon, Yves Bandiera, Fortuné, 1953- Kouas, Dominique, 1952- Pédé, Yves Apollinaire, 1959-2019 Date A point or period of time associated with an event in the lifecycle of the resource November 30, 1995 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 Route des Pêches, la plage de Ouidah, 8399+69M, Ouidah, Benin Medium The material or physical carrier of the resource. Concrete; Bronze; Copper Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Araujo, Ana Lucia. "Political Uses of Memories of Slavery in the Republic of Benin." History in Focus, no.12 (Spring 2007). Accessed February 27, 2026. https://archives.history.ac.uk/history-in-focus/Slavery/articles/araujo.html. Law, Robin. "Commemoration of the Atlantic Slave Trade in Ouidah." Gradhiva: Revue d'anthropologie et d'histoire des arts (2008): 11-27. Akhtar, Saima and David H. Colmenares. "The Slaving Port of Ouidah and Monumental Discourse around the Atlantic Perimeter." Medium, Art Histories and Aesthetic Practices Blog, January 27, 2016. Accessed May 13, 2019. https://medium.com/from-traditional-to-contemporary-aesthetic/the-slaving-port-of-ouidah-and-monumental-discourse-around-the-atlantic-perimeter-a41968341a57. 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: Flickr: <a href="https://www.flickr.com/photos/dantoujours/33680680066/in/album-72157678589698644/" target="_blank" rel="noopener">"Door of No Return -- Ouidah, Republic of Benin 2017" by Dan Sloan, CC BY-SA-2.0</a>. Photograph of UNESCO commemorative plaque: <a href="https://commons.wikimedia.org/wiki/File:Porte_du_non_retour_11.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Contributor An entity responsible for making contributions to the resource Gouvernement de la République du Bénin and UNESCO Rights Information about rights held in and over the resource Ministère du Tourisme, de la Culture et des Arts, Gouvernement de la République du Bénin, Palais de la Marina, 01 BP 2037 Cotonou, Benin Extent The size or duration of the resource. Unknown Has Part A related resource that is included either physically or logically in the described resource. Inscription on marble plaque on right side of arch: Ce Monument Commemoratif A Ete Inauguree Le 30-11-95 Par Son Excellence Le President Nicephore Dieudonne Soglo Et Le Directeur General De L'UNESCO Monsieur Federico Mayor A L'Occasion De La Celebration De L'Annee 1995 Comme L' Annee Internationale De La Tolerance English translation: This Memorial Was Inaugurated On November 30, 1995 By His Excellency President Nicephore Dieudonne Soglo And The Director-General Of UNESCO Mr. Federico Mayor On The Occasion Of The Celebration Of The Year 1995 As The International Year Of Tolerance Inscription on marble plaque on left side of arch: LA PORTE du NON retour --Ses Figurines et ses bas-relief en colonnes d'esclaves a été conue et réalisée par Fortuné Bandeira --L'agencament ou terrassement par l'Architect Ahouangnimon Yves --Les Statues en cuivre rouge par Gnonnou Dominique Kouass --Les bas-relief du mur de ceinture et les deux Statues répresentant des Egun-Egun (Esprit des esclaves) par Yves Kpede -Sous la présidence du Ministre d'Etat Désiré Vieyra et la coordination de Mr. Noureini Tidjani-Serpos English translation: THE GATE OF NO RETURN --Its figurines and bas-reliefs on columns of slaves were designed and created by Fortuné Bandeira --The layout and earthworks by architect Ahouangnimon Yves --The red copper statues by Gnonnou Dominique Kouass --The bas-reliefs on the surrounding wall and the two statues representing Egun-Egun (spirits of slaves) by Yves Kpede -Under the chairmanship of Minister of State Désiré Vieyra and the coordination of Mr. Noureini Tidjani-Serpos bas-relief bronze concrete figurative https://mail.slaverymonuments.org/files/original/cc2ecd7f47f8773e6b819eb0eb365e88.jpg 6524389357edc4d91786556ba6da7beb 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 240 in. (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 Lake Cumberland Slaves Memorial (Somerset, Kentucky) Subject The topic of the resource Subject (Topic) Enslaved persons Kentucky--Somerset Slavery--Kentucky Somerset Community College (Kentucky) Subject (Object) Commemorative sculpture Description An account of the resource The Lake Cumberland Slaves Memorial honors the enslaved people buried in unmarked graves in the Lake Cumberland region. The memorial features a twenty-foot tall, stainless-steel obelisk with a trapezoidal base. The obelisk has four notches on either side and narrows in the middle before expanding at the apex, where a Adinkra symbol, the Sankofa bird, rests on top. Stainless steel tubing runs throughout the interior structure of the memorial, allowing rainwater to flow through the monument. Creator An entity primarily responsible for making the resource Odeleye, Ayokunle, 1951- Source A related resource from which the described resource is derived Photograph: <a href="https://www.odeleyesculpturestudios.com/public_art/pa28.html" target="_blank" rel="noopener">Ayokunle Odeleye</a> Date A point or period of time associated with an event in the lifecycle of the resource October 21, 2019 Contributor An entity responsible for making contributions to the resource Dylan Doyle (sculptor’s assistant); Boswell Crane Service (installation) Rights Information about rights held in and over the resource Somerset Community College, 808 Monticello Street, Somerset, Kentucky, 42501, 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 Somerset Community College, 808 Monticello Street, Somerset, Kentucky, 42501, United States Medium The material or physical carrier of the resource. Stainless steel Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. WKU Public Radio | The Public Radio Service of Western Kentucky University. “Sculpture Honoring Slaves in Unmarked Graves Installed at Somerset Community College,” October 16, 2019. Accessed October 23, 2024. https://www.wkyufm.org/arts-culture/2019-07-18/sculpture-honoring-slaves-in-unmarked-graves-installed-at-somerset-community-college. Extent The size or duration of the resource. 240 in. (609.6 cm) abstract Adinkra symbols boat obelisk stainless steel 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/254672aeb2ae63c0d1f2cdf6413ec02b.jpeg 2ebc104da31e5965296c7606cde49375 https://mail.slaverymonuments.org/files/original/0f5f248978463ac075763d1b0a87827a.jpeg 5bee016b5984fc4b8a120999d418501d https://mail.slaverymonuments.org/files/original/a67f77f19b42524179325ff776211da0.jpeg 3a4b88b9c5d9e56646fae08b127dbf54 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 72 in. (182.88 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Legacies (Memphis, Tennessee) Creator An entity primarily responsible for making the resource Bagwell, Vinnie, 1957- Date A point or period of time associated with an event in the lifecycle of the resource 2012 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Chickasaw Heritage Park, 305 Metal Museum Drive, Memphis, Tennessee, 38106, United States Extent The size or duration of the resource. 72 in. (182.88 cm) Medium The material or physical carrier of the resource. Bronze (figure); Field-stone boulder (base), Mesabi-black-granite (ring) Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Subject The topic of the resource Subject (Topic) Chickasaw Nation Enslaved persons--Emancipation Freed persons Public art Public sculpture Tennessee--Memphis Subject (Object Type) Commemorative sculpture Description An account of the resource Legacies depicts a Chickasaw woman wrapped in a cloak. The artist Vinnie Bagwell has embellished the hem of the cloak with bas-relief, illuminating the complex history of present-day Memphis. She includes an African American woman and child. The two figures recall the 1866 emancipation of enslaved Black people in the Chickasaw Nation. The treaty of 1866 also included a provision that the US Government grant US citizenship to members of the Chickasaw Nation. On the work's back, the Spanish conquistador, Hernando De Soto, who trespassed into Chickasaw territory in 1540, is shown. Bagwell also includes an African American man playing the guitar and the famed blues musician, William Christopher Handy. Braille on the cloak reads "Legacies." The bronze statue rests on a field-stone boulder within a Mesabi-black granite ring. Source A related resource from which the described resource is derived Photographs: <a href="https://uacmem.org/projects/legacies" target="_blank" rel="noopener">UrbanArt Commission</a> Contributor An entity responsible for making contributions to the resource UrbanArt Commission; City of Memphis Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Public Art Archive. "Legacies." Accessed February 19, 2025. https://publicartarchive.org/art/Legacies/d0118e83. UrbanArt Commission. "Legacies." Accessed March 24, 2025. https://uacmem.org/projects/legacies. Rights Information about rights held in and over the resource City of Memphis, 125 North Main Street, Memphis, Tennessee, 38103, United States bas-relief black granite bronze figurative