8 10 134 https://mail.slaverymonuments.org/files/original/91db44edf397c9774e367140c318c3bc.jpeg 308b33c70bee72e8c7572d15a418f15f https://mail.slaverymonuments.org/files/original/95427215a43206452163900c59b1dd0e.jpeg ca14ad0329f241d6dcdf22f43efb5c41 https://mail.slaverymonuments.org/files/original/ad3d20deea72c87eb8be0bf551d2a484.jpeg f67046d4f6ae7ca196b2355a8d9b23d6 https://mail.slaverymonuments.org/files/original/95896d333ec69b20995a84a3d2014d25.jpeg be3c23b1eaf5e6c9b7bcd0498ca3ee78 https://mail.slaverymonuments.org/files/original/761e98f78c4426efc646360041acacf9.jpeg bd04ee425b37d3df822dba31e90e749c https://mail.slaverymonuments.org/files/original/f67151d1f37b048ddd84efce06b081a7.jpeg f74bb9b3f17d7070f031e831b27e4d84 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Unknown Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Let's Have Tea (Rochester, New York) Creator An entity primarily responsible for making the resource Kettavong, Pepsy M., 1972- Subject The topic of the resource Subject (Topic) Antislavery movements--United States New York (State)--Rochester Public art Public sculpture Women--Suffrage Subject (Name) Douglass, Frederick, 1818-1895 Anthony, Susan B., 1820-1806 Subject (Object Type) Commemorative sculpture Description An account of the resource Seated in simple wooden chairs, Frederick Douglass and Susan B. Anthony engage in conversation over tea. On a table between them sits a tea pot, two teacups and saucers, and two books. Douglass leans forward, his gaze cast slightly downward, listening intently to Anthony, who sits upright in her chair. Date A point or period of time associated with an event in the lifecycle of the resource 2001 Contributor An entity responsible for making contributions to the resource Susan B. Anthony Neighborhood Association; City of Rochester, New York 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 Susan B. Anthony Square Park, 39 King Street, Rochester, New York, 14608, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque: Artist: Pepsy M. Kettavong Title: "Let's Have Tea" Statues of Susan B. Anthony and Frederick Douglass Date: 1998-2002 "Let's Have Tea" A project of Susan B. Anthony Neighborhood Association Inc., was made possible through the generous support of the following donors and supporters: Citibank, Arts & Cultural Council for Greater Rochester Inc., Housing Opportunities Inc., Carmelia & John Matrachisia, Emma M. Whitis, Data Vault Storage Services Inc., The People of Jasco, Gleason Foundation, Linda Steinberg, Wm B. Morse Lumber Co., William B. Morse, 3rd, Barbara & Dan Hoffman, Lisa H. Hoffman, Susan A. Hoffman, Helen Hoffman, Mary & Mark Hoffman, Mary & Richard Charles, Joan & Don Glinski, Pat Hoffman, Sue Gaffney, James Piotrowski & Sarah Jones, Diane Montano, Marilyn & Mike Spang, Kathy & Ernie Weber, Nancy P. Merritt, Landmark Society of Western New York, Robert & Joan Daly, Fleda Emma Gibbs, Ann Daniels, Diana D. Miller, Luther & Iris Miller, C. Bonnie Nowark, Jean Cammer, Dr. Stephen & Susan Levinson, Karen Jacob, Sally A. Steinwachs, Edwin G. Saphar, Jr., The Thomas F. & Elisabeth W. Judson Foundation, Tobin & Associate Inc., Pg&e Bill Rubley, Louis S. & Molly B. Wolk Foundation, Clayton H. & Dorelis A Osborne, Lorraine Cappellino, Marion J. Hawks, Queen Investment Club, Alfred L. & Jean A. Pardi, Helen Q. Williams, Dr. David A Anderson-Sankofa, Joseph & Joan Yanni, Louise Woerner & Don H. Kollmorgen,Oisavanh Kettavong, Hannelore & Robert Heyer, C. Eugene & Geraldine A. Mosholder, E. Ann & James E. Scott, Barbara D. Blaisdell, Anthony & Lenora Colaruotolo, William Jr., & Patricia Marshall, Oliver Benjamin Hemmerie, Steel Works Inc., Alison Passeck-Cain & Ed Cain, Michael D. Nazar & Catherine M. Callery, The VandenBrul Foundation, Helen H. Kirker, James E. & Marianne T. Koller,City of Rochester Parks, Recreation & Human Services, Susan B. Anthony House, Downstairs Cabaret Theatre, Lou Phommahaxay, Jason Dobbs, Sector 3 NBN Planning Committee 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 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. "Susan B. Anthony Square Park." Historic Rochester, City of Rochester, NY. Accessed May 23, 2020. https://www.cityofrochester.gov/article.aspx?id=8589936553. Rights Information about rights held in and over the resource City of Rochester, City Hall, 30 Church Street, Rochester, New York, 14614, United States Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Statues of Susan B. Anthony and Frederick Douglass Susan B. Anthony Square Park bronze figurative portrait https://mail.slaverymonuments.org/files/original/9e4cc6954979aab1cc45d922dbdc2617.jpeg 17bb24e2d4e596dcbf18637ef648587a https://mail.slaverymonuments.org/files/original/b81719231814722d53b55fb7ba1cb0aa.jpeg 4536c388440a243093d488d2ff3383db https://mail.slaverymonuments.org/files/original/7577a96663b89c2a20033aef9b3ae2b3.jpeg 358c871940d9aaf70cc86cde544908a8 https://mail.slaverymonuments.org/files/original/743539c435917638fa9316f90a175a67.jpg d819b4c4b1ce1d86767be866327ef746 https://mail.slaverymonuments.org/files/original/78dabc5f52d4bc88031f23e5d2296969.jpg d5d9800c9f5b9984a1fb1d00e79a7e7e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Underground Railroad Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The memorial and monuments in this collection are dedicated to the Underground Railroad, an organized network of routes and safe houses that assisted freedom seekers [enslaved people] on their journeys northward. The Underground Railroad was part of the larger movement for the abolition of slavery in the United States. The movement to abolish slavery was a complicated political movement that, at its core, was driven by the resistance and activism of enslaved Black people and freedmen and women abolitionists. Historian Manisha Sinha explores the history of American abolition, including the Underground Railroad in The Slave's Cause: A History of Abolition (2016).  Although Harriet Tubman is the most famous conductor in the Underground Railroad, she is not the subject of the memorials featured in this collection (see the collection on this site, <a href="https://www.slaverymonuments.org/collections/show/1" target="_blank" rel="noopener">Black Abolitionists</a>, to view works specifically dedicated to her life and work). Rather the monuments and memorials featured here, such as Ed Dwight's <a href="https://www.slaverymonuments.org/items/show/1170" target="_blank" rel="noopener">Gateway to Freedom: International Memorial to the Underground Railroad</a>, highlight other prominent conductors, as well as celebrate the fortitude and bravery of the freedom seekers as they made the perilous journey north. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Unknown Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lorain Station 100 Ohio Underground Railroad Monument (Lorain, Ohio) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Fugitive slaves--United States Ohio--Lorain Public art Public sculpture Underground Railroad Subject (Object Type) Commemorative sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Black River Landing, 421 Black River Lane, Lorain, Ohio, 44052, United States Contributor An entity responsible for making contributions to the resource The Giardini Family; African Heritage Underground Railroad Project Committee: Sylvia Duvall, Chairperson, Kathy Fritsch, Marlene Duffy, Bessie Eva Nelson, Elizabeth Nicholson, Barbara Aldridge, Fred Wright; National Council of Negro Women, Lorain County Section; Lorain Club of the National Association of Negro Business & Professional Women's Clubs, Inc.; Lorain County Urban League; The Ohio Historical Society. Description An account of the resource A low relief depicts three freedom seekers against the map of Ohio: a father, mother, and young boy. The male figure is show in profile wearing a soft brimmed hat, holding a walking cane, and dressed in simple shirt and pants with worn shoes ( a hole is visible). The woman is between the man and young boy, holding both of their hands. She is wearing a head wrap, simple top and skirt, and a shawl on around her shoulders. Like the young boy, she is barefoot. With short hair, the young boy wears a button shirt with rolled up pants. Over his shoulder is a small sack. The artist signature, Danhires, is located near the bare feet of the young boy. The Lorain Underground Station 100 Monument  was damaged by heavy storms in August. 2024. It is currently being repaired and is not on view. Source A related resource from which the described resource is derived Photographs by Geoffrey Jacobson Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Creator An entity primarily responsible for making the resource Danhires, George Date A point or period of time associated with an event in the lifecycle of the resource June 16, 2007 Rights Information about rights held in and over the resource Lorain County Government, 226 Middle Avenue, Elyria, Ohio 44035, United States Has Part A related resource that is included either physically or logically in the described resource. Historic marker: Prior to the Civil War, Ohio was a leading state for enslaved Americans of African descent traveling the Underground Railroad to freedom in Canada. For these fugitives, their final stop in Ohio was a Lake Erie port community in the north. One such port was at the mouth of the Black River in Lorain that came to be identified as Lorain Station 100, named because it was thought to be one of the last stops or stations before the fugitive slaves reached freedom in Canada. Many arrived here in a wagon driven by Robbins Burrell who owned a farm five miles up the Black River. Concealed by vegetables, grains, or hay, the slaves were smuggled into schooners, some of which belonged to Burrell’s cousin Captain Aaron Root. From Lorain Station 100, the determined travelers were transported across Lake Erie, completing the final leg of their long journey to freedom. Inscription on granite at base of monument: Lorain Station 100 Ohio Underground Railroad Inscription on granite back: The Giardini Family Supporting Commitment, Creativity and Community In Memory of Those Who Risked Their Lives and Property in the Name of Freedom June 16, 2007 Lorain, Ohio "Both the Persecuted and Their Protectors Have Hallowed This Ground. Our Lives and Our Memories are Richer Because of Their Courage." Toni Wofford Morrison, Nobel Laureate in Literature African Heritage Underground Railroad Project Committee Sylvia Duvall, Chairperson Kathy Fritsch Marlene Duffy Bessie Eva Nelson Elizabeth Nicholson Barbara Aldridge Fred Wright National Council of Negro Women, Lorain County Section Marlene Duffy, President Lorain Club of the National Association of Negro Business & Professional Women's Clubs, Inc. Sylvia Duvall, President Lorain County Urban League Fred Wright, President & CEO Extent The size or duration of the resource. Unknown Medium The material or physical carrier of the resource. Bronze; Granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The Historical Marker Database. "Lorain Station 100." Accessed April 30, 2021. https://www.hmdb.org/m.asp?m=143281. "Fundraising Begins to Replace Fallen Historical Marker at Black River Landing." Morning Journal, August 15, 2024. Accessed February 10, 2026. https://www.morningjournal.com/2024/08/15/fundraising-begins-to-replace-fallen-historical-marker-at-black-river-landing/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater bas-relief bronze granite inscription map https://mail.slaverymonuments.org/files/original/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/103f00c2694b636c92d936855fbc8505.jpeg 4546941be4d8171d83533a5d1581b049 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 Mémorial Cap 110/Mémorial de l’Anse Caffard (Le Diamant, Martinique) Subject The topic of the resource Subject (Topic) Enslaved persons Martinique--Le Diamant Public art Public sculpture Slave ships Slavery--France Slavery--Martinique Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial, which overlooks the sea, commemorates both the enslaved people who perished in a shipwreck off the coast of Martinique in 1830, and more generally, the tens of thousands of enslaved Africans who were taken to Martinique as part of the transatlantic slave trade. Arranged in a triangle the 15 concrete figures are presented as abstracted, geometrized forms, stripping away any individualizing facial or bodily features. The figures face the ocean, leaning forward, their eyes cast downwards and their mouths open, as if vocalizing a scream. Creator An entity primarily responsible for making the resource Valère, Laurent, 1959- Date A point or period of time associated with an event in the lifecycle of the resource May 22, 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 Mémorial Cap 110, FX73+MCP, Le Diamant, Martinique Extent The size or duration of the resource. 98.4 x 58.8 x 22.8 in. (249.936 x 149.352 x 57.912 cm) Medium The material or physical carrier of the resource. Reinforced concrete; Sand and gravel from Trinidad Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Valère, Laurent. "Cap 110." Laurent Valère Art Studio. Accessed June 20, 2019. https://www.laurentvalereartstudio.com/cap-110-1. Curtius, Anny-Dominique Curtius. "Slavery Memorials." In Postcolonial Realms of Memory: Sites and Symbols in Modern France, eds. Etienne Achille, Chares Forsdick, and Lydie Moudileno, 167-185. Liverpool University Press, 2020. 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 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:Statues-diamant-stephfr.jpg" target="_blank" rel="noopener">Wikipedia Commons</a> Rights Information about rights held in and over the resource Ville du Diamant, Hôtel de Ville du Diamant, 45 Rue Justin Rock, Le Diamant, 97223, Martinique Contributor An entity responsible for making contributions to the resource Ville du Diamant; Association des Jeunes de l'Anse-Cafard; Allianz France Has Part A related resource that is included either physically or logically in the described resource. Front of information sign at site (French and English): Mémorial de l’Anse Caffard Anse Caffard Memorial Bienvenue Voici l'histoire de ces lieux: Le 8 avril 1830, vers midi, un bateau effectue d'étranges manoeuvres au large du Diamant, et vers cinq heures de l'après-midi, jette l'ancre, ici même, dans la parages dangereux de l'Anse Caffard. Un habitant du quartier, François Dizac, Géreur de l'Habitation Plage du Diamant, propriété du Comte de Latournelle, se rende compte du danger couru par la navire, mais une houle très forte l'empêche de mettre une pirogue à la mer pour prévenir le capitaine du péril imminent qu'il courait d'être jeté sur la côte. Il doit se borner à faire des signaux que la capitaine ne voit pas ou ne veut pas voir. A 23 heures, des cris et des craquements sinistres déchirent la nuit. Dizac et un groupe d'esclaves de l'Habitation, se rendent immédiatement sur les lieux pour découvir une vision d'horreur: Le bateau disloqué sur les rochers, avec ses passagers, pris dans la terrible furie de la mer déchainée. Les sauveteurs virent alors le mât de misaine, surchargé d'individus affolés se briser et etrainer définitivement dans l'écume et les rochers un grand nombre de personnes. Welcome Here's the story of this place: On 8th April 1830, around noon, a ship was carrying out strange maneuvers off the coast of Diamant and around five pm cast anchor in this very place on the dangerous coast of Anse Caffard (Caffard Cove). A resident of the neighborhood, François Dizac, manager of the Habitation Plage du Diamant, property of comte de Latournelle, realized the ship was in danger but a heavy swell prevented him from launching a boat to warn the captain that the ship ran the risk of running aground. He merely sent signals that the captain didn't see or didn't want to see. At 11 pm sinister cries and cracking sounds shattered the silence of the night. Dizac and a party of slaves from the Habitation were promptly  on the scene only to see a horrible sight: the ship dislocated on the rocks, its passengers tossed around by the raging seas. Then rescuers saw a great number of panic-stricken men holding firmly to the foremast which broke and carried them away once and for all into the foam and rocks. Back of information sign at site (French and English): Mémorial de l’Anse Caffard Anse Caffard Memorial Le bateau fut entièrement détruit, son nom et sa nationalité ne sont pas établis en l'état actuel des recherches historiques. Le lendemain, 9 Avril 1830, à l'aube, quarante six cadavres furent repêchés. Les corps des marins-négriers furent inhumés au cimetière du Diamant et les noyés africains, "à quelques distance du rivage," c'est à dire dans ce secteur. Quatre vingt six captifs, vingt six hommes  et soixante femmes, furent donc sauvés et recueillis par Dizac et les esclaves de son atelier avant d'être transférés vers Fort-du-France. Les rescapés étaient tous d'origine africaine. The ship was completely destroyed, its name and nationality have still not been established by historians. On the next day, 9th April 1830, at dawn, forty-six bodies were recovered. The slave traders bodies were buried at the Diamant cemetery and the African bodies "a short distance from the shore," at this very spot. Eighty-six captives, twenty-six men and sixty women were therefore saved and picked up by Dizac and the slaves of his estate before being transferred to Fort-de-France. The rescued were all Africans. Six blessés, dont l'état ne permettait pas le transport furent laissés provisoirement sur l'habitation d'un homme de couleur libre, aveugle, nommé Borromé, dont on retrouve la descendance ici même, à l'Anse Caffard. Aujourd'hui, rendant hommage aux victimes de cette tragédie, la ville du Diamant se souvient qu'ici, comme ailleurs, l'homme a impitoyablement asservi l'homme. Ce monument est orienté au cap 110 degrees, en direction du Golfe de Guinée, il a été érigé en mémoire des victimes inconnues de la traite et en invitation à la Fraternité entres les hommes. Six injured people who were not well enough to be transported were left temporarily at the "habitation" of a blind, free coloured man, named Borromé whose descendants can still be found here at Anse Caffard. Today, by paying tribute to the victims of this tragedy, the town of Diamant remembers that here and everywhere, man had ruthlessly enslaved man. This monument points 110 degrees to the Gulf of Guinea, it is erected in memory of the unknown victims of the slave trade and in celebration of human brotherhood. Fiche Technique Nombre de statues: 15 Matière: Béton armé avec utilisation de gravillons et de sable blanc de Trinidad et Tobago Hauteur: 2,5 m Poids: 4 tonnes par statue Poids total: 60 tonnes Orientation: 110 degrees Data Sheet Number of statues: 15 Material: Reinforced concrete with white grit and sand from Trinidad and Tobago Height: 2,5 meters (8 feet, 2 inches) Weight: 4 tons per statue Overall weight: 60 tons Orientation: 110 degrees Quelques explanation: La forme triangulaire fait référence au commerce du même nom (Europe, Afrique, Amériques). La couleur blanche est la couleur traditionnelle des sépultures dans la Caraibe. Elle marque la dimension funéraire de ces lieux où les corps des captifs Africains reposent. Le monument est orienté au cap 110, cap du Golfe de Guinée, d'où venait ce navire mystérieux. Further explanation: The triangular shape alludes to the trade of the same name (Europe, Africa, America). White is the traditional color worn in funerals in the Caribbean. It shows the funerary dimension of this place where about 40 Africans, men, women and children were buried. The monument points 110 degrees to the Gulf of Guinea this mysterious ship had come from. A l'initiative de la ville du Diamant, cette sculture de Laurent Valère, a été fabriquée à cla Martinique, a Trinité (Ateliers Prefakit) sous la Direction Technique de Eddie Vignon, la coordination Générale de Jean-Claude de Lafargue, a Régie de Danielle Martin, et l'Assistance Operationnelle des Agents des Services Techniques de la Ville du Diamant. Of this initiative on the town of Diamant, this sculpture by Laurent Valère was made in Martinique, in Trinité (Ateliers Prefakit) under the technical supervision of Eddie Vignon, the general coordination of Jean-Claude de Lafargue, under the control of Danielle Martin, and the operational assistance of the Agents of the technical department of the town of Diamant. abstract concrete figurative https://mail.slaverymonuments.org/files/original/58d9f6baaac4bd675804681977e0bdb3.jpg 528fbd511bda5718d6fbd7daa160bdbf 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 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 Mémorial de l'abolition de l'esclavage (Nantes, France) Subject The topic of the resource Subject (Topic) Abolition of slavery France--Nantes Slave ships Slavery--France Transatlantic slave trade Subject (Object Type) Memorial Description An account of the resource Erected as a space to remember the atrocities of slavery and to commemorate all past and present efforts to resist it, the memorial was constructed in Nantes—the former center of the French slave trade. Designed by an artist and an architect, it features an open-air staircase that leads to an underground space marked by strong geometric lines and a raw aesthetic. A long passageway, lined with subtle lighting showcases a series of wall panels that highlight key historical moments leading to the abolition of the slave trade. The memorial's clean, minimalist design invites quiet reflection. For an in-depth discussion of the memorial, see the website of the Mémorial de l'abolition de l'esclavage Nantes: https://memorial.nantes.fr/en/discovery/. Creator An entity primarily responsible for making the resource Wodiczko, Krzysztof (artist), 1943- Bonder, Julian (architect), 1962- Date A point or period of time associated with an event in the lifecycle of the resource March 25, 2012 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 Quai de la Fosse, Passerelle Victor-Schoelcher, 44000 Nantes, France Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Discover the Memorial." Mémorial de l'abolition de l'esclavage Nantes. Accessed December 19, 2025. https://memorial.nantes.fr/en/. Furuto, Alison. "Memorial to the Abolition of Slavery / Wodiczko + Bonder." July 26, 2012. ArchDaily. Accessed December 19, 2025. https://www.archdaily.com/256516/memorial-to-the-abolition-of-slavery-wodiczko-bonder. Frith, Nicola. "The Art of Reconciliation: The Memorial to Abolition of Slavery in Nantes." In At the Limits of Memory: Legacies of Slavery in the Francophone World, eds. Nicola Frith and Kate Hodson, 68-89. Liverpool University Press, 2015. CIPDH-UNESCO. "Memorial to the Abolition of Slavery." Memorias Situadas: Sites of Memory Related to Serious Human Rights Violations. Accessed February 10, 2026. https://www.cipdh.gob.ar/memorias-situadas/en/lugar-de-memoria/memorial-de-la-abolicion-de-la-esclavitud/. 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:Mémorial_Abolition_Esclavage_-_Nantes_(FR44)_-_2022-09-18_-_1.jpg" title="Mémorial de l'abolition de l'esclavage" target="_blank" rel="noopener">Wikimedia Commons</a> Medium The material or physical carrier of the resource. Concrete; Corten steel; Glass; Wood Contributor An entity responsible for making contributions to the resource Consultants Thomas Long, Design Collaboration & Visualization, Graphic Design; Snehal Intwala, Nicholas Capone, James Shen, Ryan McClain, Bill Panasuik, Emmanuelle Chérel (Research); Patrick Charles (Design; Technical Consultant); Maximo Rohm, Ron Henderson, Michael Blier, (Landscape Consultants – USA). Glass Consultants: James Carpenter, James Carpenter Design Associates (preliminary phase); RFR Engineurs, Paris – Philippe Bompas & Nicolo Baldassini (development & construction). Historic Advisors: David Blight, Gilder Lehrman Center on Slavery, Resistance & Abolition, Yale University; Sven Beckert, Harvard University; Kirk Savage, Pittsburgh University; Vince Brown, Duke University. Ville Nantes– Nantes Métropole: Jean-Marc Ayrault, Former Député-Maire de Nantes / Current French Prime Minister; Yannick Guin, conseiller municipal; Octave Cestor, conseiller municipal; Marie-Hélène Jouzeau, directrice Patrimoine et tourisme; Hervé Guégan, chef de projets, Atelier urbain, Nantes Métropole; Jean-Pierre Brindel, directeur Atelier urbain, Nantes Métropole; Aurélie Roger, directeur projets Atelier urbain, Nantes Métropole. Maitre D’Oeuvre: Arcadis Engineurs, Gildas Legall, Bruno Vasseur, Francois Bailly; Roulleau Architectes, Nantes – Michel Roulleau, Jean Marie Beslou. Construction: General Construction: DLE Ouest, Nicholas Boterf; Glass Wall: Polar, Torino, Paolo Cherasco; Inserts: Atelier Barrois, Brioude, Emmanuel Barrois; Lighting: Citelum, Nantes; Landscape: ISIS Espaces Vertes, Nantes; Steel/Metals: CMR, St. Nazaire, Nantes Rights Information about rights held in and over the resource Château des Ducs de Bretagne, Musée d’Histoire de Nantes 4, place Marc Elder, 44000 Nantes, France Has Part A related resource that is included either physically or logically in the described resource. Glass plaque with Universal Declaration of Human Rights, Article 4: No one shall be held in slavery or servitude; slavery and the slave trade shall be prohibited in all their forms. Glass plaques with the word "freedom" translated into 47 languages: Freedom (English) Freiheit (German) Libertad (Spanish) Vrijheid (Dutch) Liberdade (Portuguese) Frihed (Danish) Frihet (Norwegian) Свобода (Russian) Vryheid (Swedish) Huriya (Arabic) Yεrεma honron ya (Bambara) Fכundi (Baoulé) Libèté (Haitian creole) Libèté (Cuban creole) Libèté (Jamaican creole) Libèté (Barbadian creole) Libèté (Louisiana creole) Liberdade (Brazilian creole) Liberte (Reunionnais creole) Liberte (Mauritian creole) Libèté (Guadeloupean creole) Libèté (Guyanese creole) Hכrכnya / Hôrônya (Diola) ablɔɖe (Ewé (Togo) Fahodzi (Fang Cameroon) mɛɖesusi jijɛ (Fongbe) Vryheid (Khoïsan) Kimpwanza (Kikongo) Ufolo (Kimbundu) Fahafahana (Malagasy) Hכrכnya / Hôrônya (Malinké) Foroyaa (Mandinka) Hכrכnya / Hôrônya (Senufo) jeg a xoox of (Serer) Xornimo (Somali) Hכrכnya / Hôrônya (Susu) Uhuru (Swahili) Ahofadi (Twi) Lipanda (Vili) Mom sa bop (Wolof) Inkululeko (Xhosa) òmìniraàyèìjælá ìlúayélujára (Yoruba) Inkululeko (Zulu) Yancìì (Hausa) fridɔm (Krio) lɛgbɔɔɓa (Kpelewo) 90-meter glass plate wall with quotations (Grand Passage): Derek Walcott, "Memory," in The Sea is History, 1979 "Where are your monuments, your battles, martyrs? Where is your tribal memory? Sirs, in that gray vault. The sea. The sea has locked them up. The sea is History." Où sont vos monuments, vos batailles, martyrs? Oú est votre mémoire tribale? Messieurs, dans ce gris coffre-fort. La mer. La mer les a enfermés. La mer est l’Histoire. Mary Prince, The History of Mary Prince, a West Indian slave, related by herself, 1831 (Bermudes) "I then saw my sisters led forth, and sold to different owners; so that we had not the sad satisfaction of being partners in bondage. When the sale was over, my mother hugged and kissed us, and mourned over us, begging of us to keep up a good heart, and do our duty to our new masters. It was a sad parting; one went one way, one another, and our poor mother went home with nothing." Puis j’ai vu mes soeurs être emmenées et vendues à différents propriétaires pour que nous n’ayons pas la maigre consolation d’être partenaires dans l’esclavage. À a fin de la vente, ma mère nous a prises dans ses bras, embrassées, pleurées et suppliées de garder un cœur blanc et d’obéir à nos nouveaux maîtres. Ce furent des adieux déchirants; nous sommes parties chacune de notre côté, et notre pauvre maman est rentrée seule á la maison." Victor Schrelcher, Des colonies françaises, 1842 (France) “Si, comme le disent les colons, on ne peut cultiver les Antilles qu’avec des esclaves, il faut renoncer aux Antilles. La raison d’utilité de la servitude pour la conservation des colonies est de la politique de brigands. Une chose criminelle ne doit pas être necessaire. Périssent les colonies, plutôt qu’un principe.” Quotations include the words of Paul Laraque (1994), Adam Smith (1776), Frederick Douglass (1845), Toussaint Louverture (1793), Olaudah Equiano (1789), Abraham Lincoln (1863), Olympe de Gouges (1788), Léger-Félicité Sonthonax (1793), Bob Marley (1980), Frantz Fanon (1952), Axel Gauvin (1983), Abbé Grégoire (1822), Martin Luther King (1963), Aimé Césaire (1939), Toni Morrison (1987), Nelson Mandala (1994), Louis Timagène (1844), Maryse Romanos (1998), Louis Delgrès (1802), and Léopold Sedar Senghor (1977). For a booklet with all of the quotations etched into the glass wall at the Mémorial, see https://memorial.nantes.fr/wp-content/uploads/2017/03/citations_francais.pdf. Chronology of Abolition (west end of Grand Passage): 1777: Abolition of slavery in Vermont. 1780: Progressive emancipation of slaves in Pennsylvania. 1783: Progressive emancipation of slaves in Massachusetts and New Hampshire. Progressive emancipation of slaves in Rhode Island and Connecticut. August, 26 1789: Declaration of the Rights of Man and of the Citizen, France. 1793: The commissioner of the Republic, Monsieur Sonthonax, abolished slavery in the French possession of Saint-Domingue. 1794: The Convention voted the decree of the abolition of slavery, extending Sonthonax’s abolition to the other French colonies. 1802: Reinstatement of the slave trade by Napoleon Bonaparte in compliance with the laws existing before 1789. 1803: Abolition of the slave trade in Denmark. 1804: Abolition of slavery in Haiti. 1806: Britain banned the slave trade for British subjects. 1807: The United States banned the importation of captives and slaves. Britain banned the slave trade on African coasts. Abolition of slavery in Prussia. 1808: The United States banned the slave trade. 1814: Holland banned the slave trade. 1815: During the Vienna Congress, the principal European powers (Austrian Empire, Great Britain, France, Portugal, Russia, and Sweden) made a commitment to end the slave trade. But the practice persisted undercover. During the Hundred Days, Napoleon 1st signed a decree banning the slave trade. 1817: French Law abolished the slave trade. It was reinstated on April 25, 1827 and on February 2, 1831. 1821: Peru: all descendants of slaves born after this date were free, progressive emancipation of those born earlier and prohibition of the slave trade. 1822: Abolition of slavery in Santo Domingo. The state of Liberia was founded in West Africa by an American Colonization Company for the resettlement of former slaves. 1823: Abolition of slavery in Chile. 1824: Abolition of slavery in Costa Rica, Honduras, Panama, Belize, Salvador, Guatemala. 1826: Abolition of slavery in Bolivia. 1827: Second French law banning the slave trade. 1829: Abolition of slavery in Mexico. 1830: Abolition of slavery in Uruguay. 1833-1838: Enactment of the Abolition bill that provides for a progressive abolition of slavery in the British colonies (West Indies, British Guiana, Mauritius and India). 1836: Complete abolition of slavery in the British colonies. Abolition of slavery in Nicaragua. 1840 and 1843: Global anti-slavery convention in London. 1842: Abolition of slavery in Uruguay and Paraguay. 1846: Abolition of slavery in Tunisia. 1846-1848: Abolition of slavery in the Danish Virgin Island colonies. Saint-Thomas, Saint-Jean, Sainte-Croix. 1847: Abolition of slavery in the Swedish colony of Saint-Barthélemy. 1848: The abolition of slavery was decreed on April 27, 1848 in the French colonies (Martinique, Guadeloupe, Guiana, The Reunion Island). 1850: Official abolition of the slave trade in Brazil. However it continued illegally. 1851: Abolition of slavery in Columbia and Ecuador. 1853: Abolition of slavery in Argentina. 1854: Abolition of slavery in Venezuela, Jamaica, and Peru. 1861: Ban of serfdom in Russia. 1863: Abolition of slavery in the Dutch colonies in the Caribbean and Indonesia. 1865: Enactment of the 13th Amendment banning slavery in the United States. 1866: Spanish decree banning the slave trade. 1869: Abolition of slavery in Portuguese colonies. 1873: Abolition of slavery in Puerto Rico, a Spanish colony at the time. 1876: Abolition of slavery in Turkey. 1885: Adoption of measures against slavery in Africa at the Berlin Conference. 1886: Abolition of slavery in Cuba. 1888: Effective abolition of slavery in Brazil. For the full chronology, see the website of the Mémorial de l'abolition de l'esclavage Nantes: https://memorial.nantes.fr/en/key-dates-in-the-chronology-of-abolitions/#contenu. concrete Corten steel etched glass slave ship wood https://mail.slaverymonuments.org/files/original/8c0b80737f678be100753bb22d8b6887.jpg b5cdc04a050a00a2863230582c2c467b https://mail.slaverymonuments.org/files/original/2ce2820d4d19f0525a0a0c6c5f963347.jpeg 502360b9314d09af9cbc77caf3b34f2f https://mail.slaverymonuments.org/files/original/dc9bb13e07d5b2794f888adabdbcd5da.jpg 49ca6e25121d81e49af91c8fb13ff367 https://mail.slaverymonuments.org/files/original/35ed51951e2095b4ee35e63a4b0d7fcf.jpeg 0826eb48c0e15e24df232706f42b4c84 https://mail.slaverymonuments.org/files/original/d9ec2e10f4d251f7aeeb81c31535fd96.jpeg 179fe14432fd2cfec7b88ed8abedf1da 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 Universities and Slavery Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments in this collection examine the intertwined histories of American universities and slavery. In his book, Ebony and Ivy: Race, Slavery, and the Troubled History of America’s Universities (2013), Craig Steven Wilder examines how universities and colleges were established and expanded because of the massive wealth they accrued from the transatlantic slave trade and slavery. Slave traders became the principal financiers of endowed faculty chairs and were appointed as university trustees, and colleges and universities made special efforts to recruit the sons of the slaveholding elite. Presidents of universities also held Black people in bondage, for example, Princeton’s first nine university presidents owned enslaved people. Universities and colleges such as the University of Virginia have recognized how enslaved people labored on their campuses, waiting on faculty and students and tending to their grounds. Just as importantly, the classes at many universities upheld the logic of racism foundational to American slavery. As researchers at Rutgers found, “The faculty and curriculum at Rutgers and other early American colleges reinforced the theological and scientific racism that provided the ideological and spiritual justification for the free labor of Africans, the absolute power of slave owners, and the separation of the races.” Often responding to pressure from students and activists, universities and colleges across the United States have begun to think more critically about how to address the complex, untold, and painful history of slavery and its ongoing legacy on their campuses. The memorials in this collection, such as the University of Virginia’s <a href="https://www.slaverymonuments.org/items/show/1127" target="_blank" rel="noopener" title="https://www.slaverymonuments.org/items/show/1127">Memorial to Enslaved Laborers</a> are intended as spaces for learning, healing, and reconciliation. In addition to building monuments, universities are also attempting to redress and repair their relationship with communities most affected by slavery. William and Mary’s Lemon Project, for example, focuses on “contributing to and encouraging scholarship on the 300-year relationship between African Americans and William and Mary, and building bridges between the university and Williamsburg and Greater Tidewater area.” 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 Memorial to Enslaved Laborers (Charlottesville, Virginia) Subject The topic of the resource Subject (Topic) Enslaved persons Public art Public sculpture Virginia--Charlottesville Slavery--Virginia University of Virginia Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial consists of two granite circles nestled into the grassy landscape. The exterior surface of the outer ring is ribbed and textured with shallow depressions designed to catch light and shadow. From a certain angle, the eyes of Isabella Gibbons—an enslaved woman at the University of Virginia—appear on the stone surface. The interior wall of this outer ring bears the engraved names of known enslaved laborers at the University, along with placeholders for those whose names remain unknown. At the center lies a circular grass lawn, encircled by a smaller stone ring. This inner ring features engravings of Isabella Gibbons’ writings and a timeline depicting the lives of enslaved people at the university from the early seventeenth century through Gibbons’ death in 1889. The structure invites visitors to view and reflect upon the various inscriptions etched onto the memorial. Creator An entity primarily responsible for making the resource Höweler + Yoon Architecture Höweler, Eric, 1972- Yoon, Meejin, 1972- Wilson, Mable O. (architect), 1963- Otiitigbe, Eto (artist), 1977- Gleam, Gregg (landscape architect), 1952- Dukes, Frank (community engagement facilitator), 1951- Date A point or period of time associated with an event in the lifecycle of the resource April 10, 2021 Contributor An entity responsible for making contributions to the resource Design Team: Höweler + Yoon Architecture including Namjoo Kim, Caroline Shannon, and Anna Kaertner; Silman, Structural Engineering; Nitsch Engineering; George Sexton Associates, Lighting Designer; DEW, International Water Feature Design Consultants; Team Henry Enterprises, General Contractor; Quarra Stone Company, Stone Fabrication and Installation; Common Name, Typography Design. Descendants of Enslaved Communities at UVA. University of Virginia: President's Commission on Slavery and the University, Memorial for Enslaved Laborers student organization, Inclusion Diversity Equity Access IDEA Fund, University and Community Action for Racial Equity (UCARE), Office of the Architect and Facilities Managment, Division of for Community Engagement and Equal Opportunity.  Memorial to Enslaved Laborers (MEL) Community Engagement Committee: Meghan Saunders (chair), Cecil Banks, Bobby Battle, Carolyn Dillard, Kellen Renner-Thomas, Joy Elmore, Tierney Fairchild, DeTeasa Gathers, Jessica Harris, Sarita Herman, Pam Higgins, Mary Hughes, Alexis Mason, Kristin Morgan, Louis Nelson, Shelley Murphy, Stacy Smith, and Cauline Yates. Community Input: 100 Black Men of Central Virginia, African American fraternities and sororities, Albemarle High School, Black Professional Network, Black Student Alliance (BSA), Buford Middle School, Central Virginia History Research Group (CVHR), Charlottesville High School, City of Promise, Collegiate 100, Daughters of Zion, Ebenezer Baptist Church, Faculty Senate, General Faculty Council, J.P. Burley High School Alumni, Jefferson Area Board for Aging (JABA), Mason’s Lodge, Monticello High School, NAACP, Office of African American Affairs, The Ridley Scholarship Fund, Trinity Episcopal Church, Union Run Baptist Church, UVA Black Alumni, Virginia Humanities, and Zion Union Baptist Church. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Division for Community Engagement and Equal Opportunity. "Memorial to Enslaved Laborers at the University of Virginia." University of Virginia. Accessed January 28, 2026. https://mel.virginia.edu/. Silva, Sergio Manuel. "Afterlives in Stone." Religion, Race & Democracy Lab, University of Virginia. Accessed April 30, 2025. https://religionlab.virginia.edu/projects/afterlives-in-stone/. Wilder, Craig Steven. Ebony and Ivy: Race, Slavery, and the Troubled History of America's Universities. Bloomsbury Publishing, 2014. University of Virginia. "Universities Studying Slavery." President's Commission on Slavery and the University. https://slavery.virginia.edu/universities-studying-slavery/. 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 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant University and Elliewood Avenues, University of Virginia, Charlottesville, Virginia, 22903, 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 Medium The material or physical carrier of the resource. Virginia mist granite Rights Information about rights held in and over the resource Division for Community Engagement and Equal Opportunity, University of Virginia, Madison Hall, P.O. Box 400881, Charlottesville, Virginia, 22904, United States Has Part A related resource that is included either physically or logically in the described resource. Timeline https://mel.virginia.edu/history?open=true#timeline-of-enslaved-laborers-at-uva List of African American individuals (Community Cloud): http://juel.iath.virginia.edu/node/367 and https://mel.virginia.edu/community?open=true#community-cloud abstract granite memorial wall names https://mail.slaverymonuments.org/files/original/bfcb9976c9c0761669377d142582942e.jpeg 4d564b214d93252107816cabb6b9c16a 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 United States Colored Troops (USCT) Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource Included in this thematic collection are seventeen memorials that honor the vital contributions of the United States Colored Troops (USCT) to the Union victory during the American Civil War. The first all-Black units formed unofficially in Louisiana (Louisiana Native Guard, 1862); South Carolina (First South Carolina Volunteer Infantry, 1862-63); and Kansas (First Kansas Colored Infantry, 1862-63). The first official authorization to employ African Americans in federal service was the Second Confiscation and Militia Act of July 17, 1862. The Confiscation Act allowed Union officers to free enslaved men and put them to work as army laborers. However, Abraham Lincoln did not fully authorize the use of Black men in combat until the issuance of the Emancipation Proclamation on January 1, 1863. Beginning in late January 1863, Governor John A. Andrews of Massachusetts raised the first regiment of Black soldiers in the North, the Massachusetts 54th Volunteer Infantry. The abolitionist Frederick Douglass helped recruit men for the Massachusetts 54th, famously issuing a call to free African American men to join the Union Army. In a speech, “Men of Color, To Arms!”, delivered in Rochester, New York on March 2, 1863, Douglass urged his fellow free men of color to fight for the end of slavery and for their freedom: "By every consideration which binds you to your enslaved fellow-countrymen, and the peace and welfare of your country; by every aspiration which you cherish for the freedom and equality of yourselves and your children; by all the ties of blood and identity which make us one with the brave black men now fighting our battles in Louisiana and in South Carolina, I urge you to fly to arms, and smite with death the power that would bury the government and your liberty in the same hopeless grave." On May 22, 1863, the U.S. War Department issued General Order No. 143, authorizing the creation of the Bureau of Colored Troops. By the end of the Civil War, over 200,000 men, including white officers, served in 175 regiments of the USCT, which made up ten percent of the Union army. The compiled military records of the men who served in the USCT can be found in the National Archives and Records Administration. 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 132 x 168 in. (335.28 x 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 Memorial to Robert Gould Shaw and the Massachusetts Fifty-fourth Infantry Regiment (Boston, Massachusetts) Subject The topic of the resource Subject (Topic) African Americans--History Massachusetts--Boston Public art Public sculpture United States Colored Troops Subject (Name) Shaw, Robert Gould, 1837-1863 Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial commemorates Colonel Robert Gould Shaw and members of the Massachusetts 54th Volunteer Infantry Regiment, the first African American regiment to be formed in the North during the American Civil War. Shaw, the regiment’s leader, is shown on horseback in control of his horse and staring forward. Cast in bas relief, three rows of Black infantrymen of various ages stride forward in unison behind him. This scene depicts the Massachusetts 54th Regiment parade march down Beacon Street in Boston on May 28, 1863, as they left the city for Beaufort, South Carolina. On July 18, 1863, nearly 250 of the Massachusetts 54th Regiment were killed, wounded, or captured at the Battle of Fort Wagner located on Morris Island in Charleston Harbor including the death of Shaw. Sargeant William H. Carney received a Medal of Honor for his courageous actions during the fight, the first African American to receive the medal. The Massachusetts 54th Regiment and the Battle of Fort Wagner were the subject of the epic Civil War film, Glory (1989). Creator An entity primarily responsible for making the resource Saint-Gaudens, Augustus, 1848-1907 Date A point or period of time associated with an event in the lifecycle of the resource May 31, 1897 Contributor An entity responsible for making contributions to the resource McKim, Mead & White (architectural pedestal); Shaw Family; Governor John Andrew; 1865 Memorial Committe: Charles Sumner, Rev. Leonard Grimes, Joshua Bowen Smith, Edward Atkinson, Robert E. Apthorp, Francis W. Bird, Charles W. Slack, Henry P. Kidder, Charles R. Codman, Henry W. Longfellow, James L. Little, William L. Clapp Jr., Charles Beck, William G. Weld, Royal E. Robbins, Edward W. Kingsley, George B. Loring, Alanson W. Beard, Solomon Stebbins, and Robert K. Darrah; 1876 Memorial Committee: Edward Atkinson, John Murray Forbes, Henry Lee Jr., and Martin P. Kennard Rights Information about rights held in and over the resource National Park Service, 1849 C Street, NW, Washington, DC, 20240, 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 Boston Common, Beacon and Park Streets, Boston, Massachusetts, 02133, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on the relief: Omnia Relinquit Servare Rempublicam [He relinquished everything to save/preserve the Republic] Inscription on the pedestal: Robert Gould Shaw Colonel of the Fifty-Fourth Regiment of Massachusetts  Born in Boston 10 October MDCCCXXXVII Killed While Leading the Assault on Fort Wagner South Carolina 18 July MDCCCLXIII Right in the van, on the red rampart's slippery swell With heart that beat a charge he fell Foeward as fits a man; but the high soul burns on to light men's feet where death for noble ends makes dying sweet. [lines from James Russell Lowell's poem "Memoriae Positum"] Inscription on granite back between the two fasces: To the Fifty-Fourth of Massachusetts Regiment Infantry The White Officers taking life and honor in their hands cast in their lot with men of a despised race unproven in war and risked death as inciters of servile insurrection if taken prisoners besides encountering all the common perils of camp march and battle. The Black rank and file volunteered when disaster clouded the Union Cause. Served without pay for eighteen months till given that of white troops. Faced threatened enslavement if captured. We're brave in action. Patient under heavy and dangerous labors. And cheerful amid hardships and privations. Together they gave to the nation and the world undying proof that Americans of African descent possess the pride, courage and devotion of the patriot soldier. One hundred and eighty thousand such Americans enlisted under the Union Flag in MDCCCLXIII-MDCCCLXV. [Charles W. Eliot, President, Harvard University] Inscriptions on the back above the five laurel wreaths: Cabot Jackson Russel, Captain • William Harris Simpkins, Captain • Edward Lewis Stevens, 1st Lieutenant • David Reid, 1st Lieutenant • Frederick Hedge Webster, 2nd Lieutenant [Names of the five officers killed from the Fifty-Fourth Massachusetts} Inscription on back below the laurel wreaths: I know not my commander where in all human history to any given thousand men in arms there has been committed a work at once so proud, so precious, so full of hope and glory as the work committed to you. [Governor John Andrew, extract from speech given at the depart of the Fifty-Fourth Massachuestts Regiment in Boston 1863] Inscription on brick base at back: The Memory of the Just is Blessed Henry Albert • Thomas R. Ampey • Thomas Bowman • William Brady • Abraham Brown • James H. Buchanan • Henry F. Burghardt • Elisha Burkett • Jason Champin • Andrew Clark • Lewis Clark • Henry Craig • Albert Evans • William S. Everson • Samuel Ford • Richard M. Foster • Charles S. Gamrell • Lewis C. Green • John Hall • William Henry Harrison II • Edward Hines • Benjamin Hogan • Charles M. Holloway • George Jackson • James P. Johnson • John H. Johnson • Daniel A. Kelley • Henry King • Cyrus Krunkleton • Augustus Lewis • Thomas Lloyd • William Lloyd • Lewis J. Locard • Francis Lowe • Robert McJohnson • John Miller • James H. Mills • William H. Morris • Charles E. Nelson • Stephen Newton • Harrison Pierce • Cornelius Price • Thomas Peter Riggs • David R. Roper • Anthony Schenck • Thomas Sheldon • William J. Smith • Samuel Sufshay • John Tanner • William Thomas • Charles Van Allen • George Vanderpool • Cornelius Watson • Edward Williams • Franklin Willis • Joseph D. Wilson • William Wilson • John W. Winslow —Inscribed MCMLXXXII [Names of those soldiers from the Fifty-Fourth Massachusetts Regiment who died during the assault on Fort Wagner. Names added in 1982.] Extent The size or duration of the resource. 132 x 168 in. (335.28 x 426.72 cm) Medium The material or physical carrier of the resource. Bronze; Milford pink granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Greenough, Sarah and Nancy Anderson. Tell It With Pride: The 54th Massachusetts Regiment and Augusts Saint-Gaudens' Shaw Memorial. Yale University Press, 2013. Alan Skerrett, Jr, ed. "Monuments to the United States Colored Troops (USCT) [African American Civil War Soldiers: The List." Jubilo! The Emancipation Century Blog, May 30, 2011. Accessed February 11, 2026. https://jubiloemancipationcentury.wordpress.com/2011/05/30/monuments-to-the-united-states-colored-troops-usct-the-list/. Blight, David W. "The Shaw Memorial in the Landscape of Civil War Memory." In Hope & Glory: Essays on the Legacy of the Fifty-Fourth Massachusetts Regiment, eds. Martin H. Blatt, Thomas J. Brown, and Donald Yacovone, 79-93. University of Massachusetts Press, 2001. Grover, Kathryn. To Heal the Wounded Nation's Life: African Americans and the Robert Gould Shaw/54th Regiment Memorial. Special History Study, Saint-Gaudens National Historical Park. National Park Service, 2021. Accessed February 11, 2026. https://irma.nps.gov/DataStore/DownloadFile/668698. 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: National Park Service Has Version A related resource that is a version, edition, or adaptation of the described resource. A gold patinated plaster cast (1900) is on view at the National Gallery of Art in Washington, DC, on loan from the Saint-Gaudens National Historic Site in Cornish, New Hampshire. A bronze cast (1997) is on display at the Saint-Gaudens National Historic Site in Cornish, New Hampshire. bas-relief bronze Civil War figurative granite inscription marble https://mail.slaverymonuments.org/files/original/d4dbce60899b4fc20122a8ae82ebe46a.JPG 65361dae76cb37f23fdd85cd69a6c29e https://mail.slaverymonuments.org/files/original/560cfd3225954cb3b87e93efe88545de.JPG 08a4033ec882f80fbfa5450f7e00768e https://mail.slaverymonuments.org/files/original/5289baabf728d2eb3e3988b18fbd9bff.JPG 9be4f3542847d539d2ac8c4544a84f63 https://mail.slaverymonuments.org/files/original/6258a1efa74542c3911d9a274a0e49c8.JPG f9651c5fc8b85e73f5ec5afcc4a6218e 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 United States Colored Troops (USCT) Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource Included in this thematic collection are seventeen memorials that honor the vital contributions of the United States Colored Troops (USCT) to the Union victory during the American Civil War. The first all-Black units formed unofficially in Louisiana (Louisiana Native Guard, 1862); South Carolina (First South Carolina Volunteer Infantry, 1862-63); and Kansas (First Kansas Colored Infantry, 1862-63). The first official authorization to employ African Americans in federal service was the Second Confiscation and Militia Act of July 17, 1862. The Confiscation Act allowed Union officers to free enslaved men and put them to work as army laborers. However, Abraham Lincoln did not fully authorize the use of Black men in combat until the issuance of the Emancipation Proclamation on January 1, 1863. Beginning in late January 1863, Governor John A. Andrews of Massachusetts raised the first regiment of Black soldiers in the North, the Massachusetts 54th Volunteer Infantry. The abolitionist Frederick Douglass helped recruit men for the Massachusetts 54th, famously issuing a call to free African American men to join the Union Army. In a speech, “Men of Color, To Arms!”, delivered in Rochester, New York on March 2, 1863, Douglass urged his fellow free men of color to fight for the end of slavery and for their freedom: "By every consideration which binds you to your enslaved fellow-countrymen, and the peace and welfare of your country; by every aspiration which you cherish for the freedom and equality of yourselves and your children; by all the ties of blood and identity which make us one with the brave black men now fighting our battles in Louisiana and in South Carolina, I urge you to fly to arms, and smite with death the power that would bury the government and your liberty in the same hopeless grave." On May 22, 1863, the U.S. War Department issued General Order No. 143, authorizing the creation of the Bureau of Colored Troops. By the end of the Civil War, over 200,000 men, including white officers, served in 175 regiments of the USCT, which made up ten percent of the Union army. The compiled military records of the men who served in the USCT can be found in the National Archives and Records Administration. 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 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 Memorial to the 2nd Regiment Infantry, U.S. Colored Troops (Fort Myers, Florida) Subject The topic of the resource Subject (Topic) African Americans--History Florida--Fort Myers Public art Public sculpture United States Colored Troops Subject (Object Type) Commemorative sculpture Description An account of the resource The over life-sized work depicts a sergeant in the United States Colored Troops 2nd Regiment standing in front of an open gate within a wall. The soldier is framed by two granite plaques mounted on each wall. The plaque on the left is a description of the important contribution of the 2nd Regiment during the Civil War. The plaque on the right contains a poem, written by D.J. Wilkins. Creator An entity primarily responsible for making the resource Wilkins, D. J., 1945-2021 Source A related resource from which the described resource is derived Photographs by Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource November 11, 1998 Contributor An entity responsible for making contributions to the resource Fort Myers Beautification Advisory Board; City of Fort Myers, Florida Rights Information about rights held in and over the resource City of Fort Myers, 2200 Second Street, Fort Myers, Florida, 33901, 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 Centennial Park, 2000 W First St, Fort Myers, FL 33901, United States Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Clayton Has Part A related resource that is included either physically or logically in the described resource. Inscription on left plaque: This Memorial is dedicated to The 2nd Regiment Infantry, U.S. Colored Troops and Companies D and I which served at The Battle of Fort Myers. On July 20, 1861, U.S. Army Officer Major French wrote to U.S. Naval Officer McKean, "I have information that a schooner fitted out as a slaver is in the Caloosahatchee River. Her appointments, I am told, are full...." On February 20, 1865, Confederates of the 1st Battalion, Florida Special Cavalry attacked Fort Myers. The attack erupted into a cannon duel with the 2nd USCT in charge of artillery. The New York Times reported: "The colored soldiers [at Fort Myers] were in the thick of the fight. Unconscious of danger,their constant cry was to 'get at them'...." At nightfall, the Confederate force withdrew. A Confederate participant later recalled: "It was seen that nothing was accomplished." The Battle of Fort Myers marked the final action of the 2nd USCT in South Florida. Companies D and I left Fort Myers in March of 1865. Fort Myers was then decommissioned. USCT Troops freed and enlisted over 1,000 of the enslaved in Florida during the Civil War." Inscription on right plaque: In Freedom Cover Me The war between the states it's called to make us all one people one man's bullet is another man's death in this God makes us equal. The men who died in the fight today all knew this was the start of some new age yet undefined of which we're all a part. This Union Flag I stand beneath is what's protecting me from a life of moral death a life in slavery. When muskets fire if I should fall in freedom cover me with these stars from this flag like leaves from God's great tree. - Clayton Medium The material or physical carrier of the resource. Bronze; Granite; 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. Calligan, Tara. "An About-Face: A Monument Honoring Black Union Soldiers is Re-Turned to Face Centennial Park in Downtown Fort Myers." WGCU PBS and NPR for Southwest Florida, July 31, 2022. Accessed February 11, 2026. https://www.wgcu.org/2022-07-29/about-face-a-monument-honoring-black-union-soldiers-turns-towards-centennial-park. Alan Skerrett, Jr, ed. "Monuments to the United States Colored Troops (USCT) [African American Civil War Soldiers: The List." Jubilo! The Emancipation Century Blog, May 30, 2011. Accessed February 11, 2026. https://jubiloemancipationcentury.wordpress.com/2011/05/30/monuments-to-the-united-states-colored-troops-usct-the-list/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater bronze Civil War concrete figurative granite inscription poetry https://mail.slaverymonuments.org/files/original/b409a3fa1de8c19d2fe6c0e15cd3f089.jpg 59a7274c03aae521125711073a56e297 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 168 x 336 in. (426.72 x 853.44 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Memorial to the Underground Railroad (Battle Creek, Michigan) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Fugitive slaves--United States Michigan--Battle Creek Public art Public sculpture Underground Railroad Subject (Name) Hussey, Erastus, 1800-1889 Hussey, Sarah Bowen, 1808-1899 Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture 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://commons.wikimedia.org/wiki/File:Underground_Railroad_sculpture.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 October 24, 1993 Contributor An entity responsible for making contributions to the resource W. K. Kellogg Foundation and Glenn A. Cross Estate, Battle Creek, Michigan. Rights Information about rights held in and over the resource W. K. Kellogg Foundation, 1 Michigan Avenue East, Battle Creek, Michigan, 49017, 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 Kellogg House Park, 2-10 N Monroe Street, Battle Creek, Michigan, 49017, United States Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Underground Railroad Sculpture; Underground Railroad Monument Date Created Date of creation of the resource. 1993 Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque: Memorial to the Underground Railroad. From the 1830s to the 1861, thousands of slaves in the southern United States courageously escaped northward to freedom to what became known as the Underground Railroad. Along this secret network, ‘conductors’ like Battle Creek’s Erastus and Sarah Hussey, whose likenesses are captured in this memorial, took great personal risks to ensure the safety of escaping slaves. Harriet Tubman, known as the Black Moses, was a national heroine of this epic struggle and is depicted leading another brave family away from the shackles of slavery. This memorial honors the Underground Railroad and is dedicated to the strength of the human spirit in the quest for freedom. Ed Dwight, Sculptor. Denver, Colorado. 1993. This sculpture was made possible by a gift from the Glenn A. Cross Estate and the W. K. Kellogg Foundation. Extent The size or duration of the resource. 168 x 336 in. (426.72 x 853.44 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. Detroit1701.org. “Battle Creek Underground Railroad Sculpture.” Accessed March 19, 2018. http://detroit1701.org/Battle%20Creek%20Underground%20RR%20Sculpture.html. Glesner, Anthony Patrick. "Laura Haviland: Neglected Heroine of the Underground Railroad." Michigan Historical Review 21, no. 1 (Spring 1995): 19-48. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Description An account of the resource At the front of the monument are full-size statues of Erastus Hussey and Harriet Tubman. On the left, Erastus sports mutton-chop whiskers and is dressed a long coat and trousers. He gestures behind him to Sarah Hussey who holds a lantern in her left hand and gestures towards an open doorway--two women enter the door including one who holds a baby. The doorway represents a secret entry into the Hussey's home, a stop on the Underground Railroad in Michigan. Slightly behind Sarah's extended right arm, a man carries a banjo and a load of belongings on his shoulder. Behind the man steps a young boy who grasps a dog on a rope. Behind the boy, is a bas-relief that depicts a wagon drawn by two horses. On the right of the monument, stands a figure of Tubman with a walking stick in her right hand as she gestures behind her towards a group of freedom seekers walking through a woods including a young boy carrying a bed roll, a woman with head wrap, and a man in a hat, coat and trousers who grasps a young child on his back. A bas relief shows a row boat coming ashore while a wagon awaits the freedom seekers on the shoreline. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad bas-relief bronze figurative lantern https://mail.slaverymonuments.org/files/original/ca34513954f239187d5717cdec4b3079.jpg d0a0350b6d1defbe3d412f76c78aa098 https://mail.slaverymonuments.org/files/original/6afff488e8952d6cd7b1232648a7ccf1.jpeg eb911e16a01fa7e1a7c8e15e08e5e723 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Building Physical Dimensions The actual physical size of the original image 240 x 240 in. (609.6 x 609.6 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Menokin Remembrance Structure (Warsaw, Virginia) Subject The topic of the resource Subject (Topic) Enslaved persons Plantations Slavery--Virginia Virginia—Warsaw Subject (Object) Buildings and Structures Description An account of the resource The Menokin Remembrance Structure is a memorial that honors the enslaved persons who once worked at Menokin, as well as their modern descendants. Built on a former plantation, the wooden structure replicates an enslaved person’s eighteenth-century dwelling. The structure is sited directly above the archaeological remains of the dwelling. The wooden framing of the gable-roofed structure is covered with sheer translucent building fabric. At night, solar lighting illuminates the entire pavilion, creating a soft, luminous effect. Creator An entity primarily responsible for making the resource Freeman, Joseph Reid, 1966- REID Architecture Source A related resource from which the described resource is derived Photograph: <a href="https://reidarc.com/remembrance-structure" target="_blank" rel="noopener">Reid Architecture</a> Date A point or period of time associated with an event in the lifecycle of the resource July 10, 1905 Contributor An entity responsible for making contributions to the resource The Menokin Foundation Rights Information about rights held in and over the resource The Menokin Foundation, 4037 Menokin Road, Warsaw, Virginia, 22572, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Building and Structures Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Menokin Foundation, 4037 Menokin Road, Warsaw, Virginia, 22572, United States Medium The material or physical carrier of the resource. Sawn pine; Hewn pine; Hewn white oak; Translucent building fabric; Solar panels Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. REID Architecture. “Menokin Remembrance Structure, The Menokin Foundation, Warsaw, Virginia.” Accessed October 22, 2024. https://reidarc.com/remembrance-structure. Menokin Foundation. "The Remembrance Structure." Accessed October 22, 2024. https://www.menokin.org/remembrance-structure. Extent The size or duration of the resource. 186 x 300 in. (472.44 x 762 cm) archaeology historic architecture wood