9 10 134 https://mail.slaverymonuments.org/files/original/ffec1056e474e75fd61f9ae23989e67f.jpg f450b9a059d304e784a417bef5e844b5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 144'' (365.76 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reconciliation Memorial (Ouidah, Republic of Benin) Subject The topic of the resource Subject (Topic) Public art Public sculpture Republic of Benin--Cotonou Republic of Benin--Ouidah Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Originally placed in Cotonou, Republic of Benin, the bronze torsos of two abstracted figures, engaged in a tight embrace, emerge from a rectangular bronze base. Unlike the version in Liverpool, this work includes the addition of bronze bas-relief designs, reflecting images related to the transatlantic slave trade, including cotton plants, chains, and industrial factories. In 2021, the statue was moved to Centre Culturel de Rencontre International John Smith in Ouidah, République du Bénin. See "Création du CCR International John Smith à Ouidah", 2020, /https://www.accr-europe.org/fr/creation-du-centre-culturel-de-rencontre-international-john-smith-a-ouidah-benin and "Inauguration du CCR international John Smith à Ouidah," 2021, https://www.accr-europe.org/fr/les-actualites/actualites-professionnelles/inauguration-du-ccri-john-smith-au-benin. Creator An entity primarily responsible for making the resource Broadbent, Stephen, 1961 Contributor An entity responsible for making contributions to the resource Republic of Benin Government; Faith Bebbington (sculptor); Garry Morris (curator, Liverpool Maritime Museum); Liverpool school students; Richmond, VIrginia, school students Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Reconciliation Triangle Date Created Date of creation of the resource. 2005 Has Part A related resource that is included either physically or logically in the described resource. Inscription on side: Reconnaissons et pardonnons le passé Célébrons le présent Construisons l'avenir dans la réconciliation et la justice. Acknowledge and forgive the past Embrace the present Shape a future of reconciliation and justice. Has Version A related resource that is a version, edition, or adaptation of the described resource. An identical version of the <a href="https://www.slaverymonuments.org/items/show/1140" target="_blank" rel="noopener">Reconciliation Memorial</a> exists in Richmond, Virginia. Extent The size or duration of the resource. 144 in. (365.76 cm) Medium The material or physical carrier of the resource. Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Broadbent, Stephen. "Reconciliation Triangle." Broadbent Studio. Accessed April 11th, 2019. https://broadbent.studio/reconciliation-triangle-casestudy. Hatch, John B. Race and Reconciliation: Redressing Wounds of Injustice. Lexington Books, 2008. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/w/index.php?search=Statut_de_la_réconciliation&title=Special%3AMediaSearch&type=image" target="_blank" rel="noopener">Wikimedia Commons</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Centre Culturel de Rencontre International John Smith, Palais de justice – Ouidah, BP 56 Ouidah, République du Bénin Rights Information about rights held in and over the resource Centre Culturel de Rencontre International John Smith, Palais de justice – Ouidah, BP 56 Ouidah, République du Bénin abstract bird bronze figurative inscription map slave ship https://mail.slaverymonuments.org/files/original/e974f5d022df99f923e02afd03bc94a4.jpg b3f706bc362fc1a2e0e3e0e9a4c958fe Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 144 in. (365.76 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reconciliation Memorial (Liverpool, England) Description An account of the resource The iron torsos of two abstracted figures, engaged in a tight embrace, emerge from a rectangular iron base. Two other identical sculptures were erected in 1989 in Belfast, Northern Ireland, and Glasgow, Scotland. According to the artist, Stephen Broadbent, the works were meant to be “powerful symbol[s] of the way in which sectarianism can be overcome through solidarity.” Broadbent reappropriated the form to serve as a memorial to the transatlantic slave trade. Creator An entity primarily responsible for making the resource Broadbent, Stephen, 1961- Date A point or period of time associated with an event in the lifecycle of the resource September 19, 1990 Contributor An entity responsible for making contributions to the resource John Varley (Iron Founders) Ltd; Merseyside Council for Voluntary Service; Liverpool City Council Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Concert Square, Concert and Wood Streets, Liverpool, L1 4DS, England Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Reconciliation Triangle Date Created Date of creation of the resource. 1989 Has Version A related resource that is a version, edition, or adaptation of the described resource. Two identical versions of this work exist in Belfast, Northern Ireland, and Glasgow, Scotland Extent The size or duration of the resource. 144 in. (365.76 cm) Medium The material or physical carrier of the resource. Cast iron Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Broadbent, Stephen. "Reconciliation." Broadbent Studio. Accessed April 11th, 2019. https://broadbent.studio/reconciliation. Hatch, John B. Race and Reconciliation: Redressing Wounds of Injustice. Lexington Books, 2008. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Subject The topic of the resource Subject (Topic) England--Liverpool Public art Public sculpture Slavery--England Transatlantic slave trade Subject (Object Type) Commemorative sculpture Source A related resource from which the described resource is derived Photograph: <a href="https://artuk.org/discover/artworks/reconciliation-330986" target="_blank" rel="noopener">Martin Henderson, Art UK</a> Rights Information about rights held in and over the resource Culture and Arts Investment Programme, Liverpool City Council, Cunard Building, Water Street, Liverpool, L3 1AH, England abstract figurative iron https://mail.slaverymonuments.org/files/original/5a14bf1c4fb322d5a79e1943bc6f3a63.jpeg aed3724c500b80e10331cb43aeae141e https://mail.slaverymonuments.org/files/original/392579615eff3a0228de7ff255db2a91.jpg e58a726a373c86b6233bcf5fd0c5b783 https://mail.slaverymonuments.org/files/original/ed675b1e473f5d948996efb71b893937.jpg 913cefc47957c47fd23963db69b7a3a3 https://mail.slaverymonuments.org/files/original/d33588e827d6890c872bc05790d50fed.jpg 13e97615236a7505766fc7ff791d20e7 https://mail.slaverymonuments.org/files/original/c4a6631ebce6e7e35cdc4e26f4c94db3.jpg f4d334fbe59334eedd14e670b33ea82e https://mail.slaverymonuments.org/files/original/caa5cab2b3be3f7fba1fe05333b6e4e9.jpg e88755680c48104100daa189442a6380 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "The Ark of Return": The Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade (New York, New York) Subject The topic of the resource Subject (Topic) Enslaved persons New York (State)--New York Public art Public sculpture Slave ships Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource The Ark of Return serves as a memorial to honor the victims of slavery and the transatlantic slave trade. Constructed from white marble, the memorial is a triangular structure with clean geometric lines and faceted surfaces, giving it a modern yet solemn appearance. A triangular portal in the structure allows visitors to walk through the interior. At the entryway, a reflecting pool engraved with the words "Lest we forget" invites visitors to offer prayers and libations. Inside, a map highlighting the African continent is inscribed on the wall, with the words, "Acknowledge the Tragedy." Nearby, a robed statue of a human figure—sculpted from black Zimbabwean granite—lies horizontally within a triangular space carved into the wall. This figure symbolizes the millions of enslaved individuals, their suffering, and the triangular slave route. Beneath the figure, another  inscription reads: "Consider the legacy." On the opposite wall, diagrams carved in low relief depict hundreds of enslaved people crammed inside a typical English slave ship, further emphasizing the brutal conditions endured during the Middle Passage. Creator An entity primarily responsible for making the resource Leon, Rodney, 1972- Date A point or period of time associated with an event in the lifecycle of the resource March 25, 2015 Contributor An entity responsible for making contributions to the resource UNESCO; Permanent Memorial Committee of the United Nations; Member States of the United Nations Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant United Nations Visitors Plaza, 1st Avenue and 46th Street, New York, New York, 10017, United States Medium The material or physical carrier of the resource. Marble; Black Zimbabwe granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. United Nations. "The Ark of Return": The Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade. Outreach Programme on the Transatlantic Slave Trade and Slavery. Accessed April 11, 2019. https://www.un.org/en/rememberslavery/memorial. Leon, Rodney. "The Ark of Return." Rodney Leon Architects. Accessed April 11, 2019. http://www.rodneyleon.com/the-ark-of-return. Leon, Rodney. "Reflections on the Tenth Anniversary of the Art of Return." UN Chronicle, March 24, 2025. Accessed January 26, 2026. https://www.un.org/en/un-chronicle/reflections-tenth-anniversary-ark-return. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photographs by Renée Ater Has Part A related resource that is included either physically or logically in the described resource. Inscription on interior wall below the map: "Acknowledge the tragedy" Inscription on interior wall below the human figure: "Consider the legacy" Inscription on the reflecting pool: "Lest we forget" Bronze plaque embedded on ground in front of memorial: Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade Ark of Return The United Nations General Assembly welcomed the initiative of Member States of the Caribbean Community and the African Union to erect this Permanent Memorial to honour the victims of Slavery and the Transatlantic Slave Trade and to educate and inform current and future generations about the causes, consequences, and lessons of slavery and the transatlantic slave trade. The Permanent Memorial Committee, comprising Brazil, Ghana, Jamaica (Chair), Kenya, Netherlands, Portugal, Qatar, Senegal, Suriname, and the United Kingdom of Great Britain and Ireland, with Member States from the Caribbean Communituy and the African Union playing a primary role in collaboration with the United Nations Educatinoal, Scientific and Cultural Organization, the United Nations Office for Partnerships, the United Nations Department for Public Information and the Sub-Committee for the Elimination of Racism of the NGO Committee on Human Rights, completed this Permanent Memorial on 25 March 2015. "Acknowlege the Tragedy, Consider the Legacy, Lest We Forget" These three distinct phrases form the inspiration for the design of this Permanent Memorial. "The Art of Return" memorial is a sacred space that is designed to psychologically and spiritually transport visitors to a place where acknowledgment, education, reflection and healing can take place. The Memorial's exterior form is constructed to reflect the image of a vessel or ship in acknowledgment of the millions of African people transported on slave ships to different parts of the world during the "Middle Passage." Images of map depicting the "Triangular Slave Trade" influenced the use of the triangle as a primary element in designing the Memorial's shape. The Memorial is also conceptually organized to allow visitors to pass through "The Ark of Return" to intimately experience three primary elements on the interior space. The first element is a three dimensional map inscribed on the interior of the Memorial. This map graphically depicts the global scale, complexity and impact of the triangular slave trade in "acknowledgment of the tragedy." The second element is a full scale human figure lying horizontally in front of a wall inscribed with images of the interior of a slave ship. This is meant to communicate and educate visitors on the physical conditions endured by the millions of African people transported under extreme conditions during the middle passage. Visitors are provided the opportunity to seriously "consider the legacy" of Slavery's impact upon humanity. The third element is a triangular reflecting pool which introduces water in a meditative, ritualistic and spiritual manner. Visitors are invited to pour libations or say a prayer in memory of the millions of souls that were lost "lest we forget" this monumental and historic tragedy. Bronze plaque embedded on ground in front of memorial: Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade Ark of Return On this day, 25 March 2015 at the United Nations in New York City, the President of the Sixty-ninth Session of the General Assembly and the Secretary-General of the United Nations unveiled this Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave, in the presence of the Prime Minister of Jamaica, the Director-General of UNESCO, the Permanent Representative of Jamaica and Chair of the Permanent Memorial Committee, the Permanent Observer of the African Union, the Permanent Representative of India, and the Architect and Designer of the Permanent Memorial. The Permanent Memorial Committee expresses it deep appreciation to all Member States, institutions, foundations, organizations and individuals who have contributed to this Memorial.(*) New York, 25 March 2015 (*)Non-exhaustive list of Member States and organizations that have contributed funds to the construction of the Permanent Memorial to Honour Victims of Slavery and the Transatlantic Slave Trade: Afghanistan; Algeria; Antigua and Barbuda; Argentina; Bahamas; Barbados; Belgium; Belize; Bhutan; Botswana; Brazil; Burkino Faso; Cameroon; Canada; Chile; China; Congo; Costa Rica; Cyprus; Denmark; Ecuador; Egypt; Equatorial Guinea; Estonia; Finland; Georgia; Germany; Ghana; Greece; Grenada; Guyana; Haiti; Honduras; Iceland; India; Indonesia; Ireland; Israel; Italy; Jamaica; Japan; Kazakhstan; Kenya; Kuwait; Libya; Liechtenstein; Lithuania; Luxembourg; Malaysia;  Malta; Mauritius; Mexico; Monaco; Montenegro; Mozambique (on behalf of Southern African Development Community Group of Ambassadors); Namibia; Netherlands; New Zealand; Nicaragua; Norway; Oman; Pakistan; Phillipines; Portugal; Qatar; Republic of Korea; Saint Kitts and Nevis; Saint Lucia; Saint Vincent and the Grenandines; Saudia Arabia; Senegal; Singapore; Slovenia; South Africa; Spain; Sri Lanka; Sudan; Suriname; Sweden; Syrian Arab Republic; the former Yugoslav Republic Macedonia; Togo; Trindad and Tobago; Turkey; Uganda; United Arab Emirates; United Kingdom of Great Britain and Northern Ireland; United Republic of Tanzania; United States of America; Uruguay; Martinique; The Alexander Cheritable Trust (San Marino); Boris and Inara Teterev Foundation (Latvia); Ford Foundation; Rush Communications; United Nations Federal Credit Union and individuals around the world. Rights Information about rights held in and over the resource United Nations Gifts, Department of Global Communications, United Nations Headquarters, Room GA-1B-31, New York, New York, 10017, United States abstract bas-relief black granite figurative inscription map marble slave ship https://mail.slaverymonuments.org/files/original/58c3326ac2e8cf96565e44e97deeed96.jpg 6f907100d66257cf1e759e29a9b2365b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Burial Grounds Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection is just a fraction of the burial grounds dedicated to enslaved persons, "contrabands," and freed persons. Many of these cemeteries and memorial parks have suffered greatly over the years--some have been desecrated and destroyed while others have been long ignored and fallen into disrepair. The monuments and memorials in this collection are part of local efforts to restore and recognize the importance of black life in death, including the <a href="https://www.slaverymonuments.org/items/show/1130" target="_blank" rel="noopener">Freedman's Cemetery Memorial</a> in Dallas, Texas; <a href="https://www.slaverymonuments.org/items/show/1136" target="_blank" rel="noopener">African Burial Ground National Memorial </a>in New York City; <a href="https://www.slaverymonuments.org/items/show/1128" target="_blank" rel="noopener">African Burying Ground Memorial</a> in Portsmouth, New Hampshire; and <a href="https://www.slaverymonuments.org/items/show/2" target="_blank" rel="noopener">Contrabands and Freedmen Cemetery Memorial</a> in Alexandria, Virginia. As of 2026, the Black Cemetery Network (blackcemeterynetwork.org) has documented 201 Black cemeteries in New England, the Middle Atlantic, the South, and the Midwest. Some of these cemeteries are dedicated to enslaved persons such as the Enslaved Cemetery in Mahwah, New Jersey; Betton Hills Plantation Cemetery in Tallahassee, Florida; and the Enslaved Burial Ground in Old Round Rock Cemetery in Round Rock, Texas. In 2022, the African American Burial Grounds Preservation Program authorized the National Park Service to administer an annual grant program to assist in the preservation of historic Black burial grounds. See Congress.gov. "Text - H.R.6805 - 117th Congress (2021-2022): African-American Burial Grounds Preservation Act." April 28, 2022. https://www.congress.gov/bill/117th-congress/house-bill/6805/text. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 250 feet (76.2 meters) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource African Burial Ground National Monument (New York, New York) Subject The topic of the resource Subject (Topic) African Americans--History African American cemeteries New York (State)--New York  Public art Public sculpture Slavery--New York (State) Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial sits on .35 acres and includes seven distinct design features: Wall of Remembrance, Ancestral Re-Internment Grove, Memorial Wall, The Ancestral Chamber, Circle of the Diaspora, Spiral Processional Ramp, and The Ancestral Libation Court. The visitor is invited to walk through the monumental triangular structure known as “The Ancestral Chamber,” which represents the Middle Passage across the Atlantic Ocean. After passing through the chamber, the visitor encounters a spiral memorial wall featuring twenty religious symbols including a number of Adinkra symbols (Akan peoples, Ghana). The floor of the monument includes a world map centered on the West African coast with sun rays radiating towards North America, Brazil, Europe, and the Caribbean Islands. Creator An entity primarily responsible for making the resource Leon, Rodney, 1972- Hollant-Denis, Nicole, 1965- Date A point or period of time associated with an event in the lifecycle of the resource October 5, 2007 Contributor An entity responsible for making contributions to the resource Monica Aliaga-Robles (project architect); Robert Silman Associates (structural engineer); Langan Engineering (civil engineer); Elizabeth Kennedy Landscape Architects; Domingo Gonzales Associates (lighting design); Dr. Gerald Palevsky (fountain); General Services Administration; Federal Steering Committee; African-American descendant community; and the National Park Service. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 290 Broadway, New York, New York, 10007, United States Has Part A related resource that is included either physically or logically in the described resource. Description of the seven elements from Rodney Leon, “The Ancestral Libation Chamber: Memorial on the African Burial Ground National Memorial,” National Park Service, https://www.nps.gov/afbg/learn/historyculture/upload/Rodney-Leon-Memorial.pdf. Wall of Remembrance: As one happens by the north wall facing Duane Street you are immediately struck by the scale and detail of a highly polished wall of granite inscribed with following libation text. For all those who were lost For all those who were stolen For all those who were left behind For all those who were not forgotten The Wall of Remembrance is intended to draw a person in, and thus begin the process of enlightenment and education. Ancestral Re-interment Grove:  A path extends itself north to south from Duane Street. Along this path are seven burial mounds marking the locations of the seven large sarcophagi containing the remains of the 419 African descendants that were re-interred in October of 2003. In addition, a grove of seven trees create a natural buffer and shelter between the re-interment zone and adjacent building. The burial mounds serve as markers and the trees as guardians for the entrance to the Libation Chamber. It is appropriate to place flowers and other offerings along the path in front of the burial mounds. Memorial Wall:  The Southern wall of the Libation Chamber shall be engraved with a map containing images and text describing the components of the African Burial Ground National Monument site in context of the burial ground's actual boundaries in lower Manhattan. This map will allow people to understand the extent and scope of the burial ground's actual size which extends significantly beyond the boundaries of the memorial site. The Ancestral Chamber:  The Ancestral Chamber is intended to reflect African cultural, spiritual and ancestral essence. This spiritual form rises out of the ground like an ancestral pillar and represents the soaring African spirit embracing and comforting all those who enter. The Ancestral Chamber is oriented towards the east and open to the sky above, allowing natural light to penetrate and illuminate the interior space. The interior of The Ancestral Chamber provides a sacred space for individual contemplation, reflection, meditation and prayer. Circle of the Diaspora:  Signs, symbols and images of the African Diaspora are engraved around the perimeter wall encircling the Libation Court. These symbols come from different areas and cultures throughout the Diaspora, especially Africa, Latin America and the Caribbean. Symbolic meaning is described below the image. As one circumambulates around the perimeter of the court and spirals down the processional ramp, these symbols present themselves as a reminder of the complexity and diversity of African culture's manifestation. They all come together to form a communal place and a reminder of the Burial Ground being an international center of gathering. For a complete list of the symbols, see https://www.nps.gov/afbg/learn/historyculture/adinkra-symbols.htm. Spiral Processional Ramp:  The Spiral Processional Ramp descends down 4’ below street level thereby bringing the visitor physically, psychologically and spiritually closer to the ancestors and original interment level. The ramp and stairs serve as bridges between the living and the spiritual realm. They symbolize the process of transcendence from physical to spiritual and passage from profane to sacred. The process will evolve from the public “secular” space of the city to the spiritual space of the Libation Court and culminate in the sacred space of The Ancestral Chamber. Ancestral Libation Court: The Ancestral Libation Court is situated on axis with The Ancestral Chamber. It is located 4’ below street level, providing a physical and psychological separation from the public activity of the surrounding urban environment. The Libation Court is a communal gathering place where small to medium-scale public cultural ceremonies may occur. This spiritual space is where re- consecration of the African Burial Ground National Monument will continually take place during the libation or other ceremonial rituals. The sacred ceremonial ritual of “libation” is the act which will serve as an offering and an acknowledgement linking past, present and future generations in the spirit of Sankofa (an Adinkra symbol of West Africa meaning ‘learn from the past’). Extent The size or duration of the resource. 250 feet (76.2 meters) Medium The material or physical carrier of the resource. Black granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Frohne, Andrea E. The African Burial Ground in New York City: Memory, Spirituality, Space. New York: Syracuse University Press, 2015. "African Burial Ground: African Burial Ground National Monument, New York." Tourist Map, National Park Service, 2011. Accessed May 24, 2020. https://www.loc.gov/item/2011587283/. Ater, Renée and Steven Zucker. "African Burial Ground, New York City." Smarthistory, August 1, 2020. Accessed January 23, 2026. https://smarthistory.org/african-burial-ground-new-york/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://www.loc.gov/pictures/item/2010719190/" title="African Burial Ground National Monument" target="_blank" rel="noopener">Carol Highsmith, Library of Congress</a> Date Created Date of creation of the resource. Groundbreaking: September 28, 2005 Rights Information about rights held in and over the resource National Park Service, U.S. Department of the Interior, 1849 C Street, NW, Washington, DC, 20240, United States abstract Adinkra symbols archaeology black granite map https://mail.slaverymonuments.org/files/original/efb04a8905f4aae7c6858ec2008ce5e0.jpg eebe7df111f470e0b7db92215c7df5dc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 144  x 204 in. (365.76 x 518.16 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 Middle Passage Monument (Kingshill, St. Croix, USVI) Subject The topic of the resource Subject (Topic) Enslaved persons Public art Public sculpture St. Croix (USVI)--Kingshill Slavery--St. Croix (USVI) Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource The twelve-foot-high memorial is composed of two large, thick aluminum arcs that bend towards each another but do not touch. The color has a silvery-gray tone and a matte surface etched with scratch-like patterns. It is installed on the grassy grounds of the St. Croix Educational Complex.  The monument commemorates the thousands of Africans who perished during the transatlantic slave trade. The version in St. Croix is a replica of the original memorial, which was ceremonially buried on the floor of the Atlantic Ocean—approximately 140 miles off the coast of New York Harbor — following an elaborate funeral procession and a blessing ceremony conducted by a multi-faith group of clergy in 1999. Creator An entity primarily responsible for making the resource Walsh, Michael, 1948- Date A point or period of time associated with an event in the lifecycle of the resource 2000 Contributor An entity responsible for making contributions to the resource Homeward Bound Foundation Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource 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 Saint Croix Educational Complex High School, Centerline Road, Kingshill, St. Croix, U.S. Virgin Islands, 00850 Has Version A related resource that is a version, edition, or adaptation of the described resource. Original cast lowered to bottom of New York Harbor on July 3, 1999. Extent The size or duration of the resource. 144 x 204 in. (365.76 x 518.16 cm) Medium The material or physical carrier of the resource. Aluminum Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Kardux, Johanna C. "Monuments of the Black Atlantic: Slavery Memorials in the United States and The Netherlands." In Blackening Europe: The African American Presence, ed. Heike Raphael-Hernandez, 87-106. Routledge: 2004. Ater, Renée. "Slavery and Its Memory in Public Monuments." American Art 24, no. 1 (2010): 20-23. 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 by Michael Walsh Rights Information about rights held in and over the resource St. Croix Educational Complex High School, P6F2+4G3, Centerline Rd, St Croix 00820, U.S. Virgin Islands abstract aluminum https://mail.slaverymonuments.org/files/original/2902ee1d6e78b859129e9bdf72705989.jpg d0bb08dcacdd43cecdafe17f70560a41 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource African American History Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials grouped under this theme acknowledge the important contributions of African Americans to American history. Slavery is anchored in the commemorative works as part of the larger story of Black existence in the United States. Some monuments, such as <a href="https://www.slaverymonuments.org/items/show/1133" target="_blank" rel="noopener">South Carolina African-American History Monument</a> and the <a href="https://www.slaverymonuments.org/items/show/1134" target="_blank" rel="noopener">Texas African American History Memorial</a>, include bas-reliefs of enslaved men and women, signaling these states' role in slavery. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1183" target="_blank" rel="noopener">Truths that Rise from the Roots Remembered</a>, honor the ability of ordinary Black people in Alexandria, Virginia (a slave trade center in the United States) to survive and thrive despite slavery, racism, and white supremacy.  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 408 x 324 in. ( 1036.32 x 822.96 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 Texas African American History Memorial (Austin, Texas) Subject The topic of the resource Subject (Topic) Abolition of slavery African Americans--History Enslaved persons--Emancipation Juneteenth Public art Public sculpture Slavery--Texas Texas--Austin Subject (Object Type) Commemorative sculpture Description An account of the resource The monumental work includes two bronze walls featuring figural scenes celebrating 400 years of African Americans’ contributions to Texas history. Decorated on both front and back, Dwight includes depictions of African Americans engaged in the cattle, cotton, and oil industries as well as tributes to Mickey Leland, Medgar Evers, Buffalo Soldiers, President Barack Obama, and African American Medal of Honor recipients. The two embellished walls meet at a central column. Scores of African American figures, seemingly comprising the base and shaft of the column, gaze outward at the viewer. The top of the column is adorned with two figures standing on a base that reads “Emancipation.” Both figures, one male, one female, have the cuffs of broken manacles and chains around their wrists. The former raises a lit torch over his head, while the latter holds a copy of the Emancipation Proclamation. The monument also serves as a memorial to Juneteenth (June 19, 1865), when hundreds of Union troops arrived in Texas and announced the abolition of slavery in the US. The memorial sits atop a granite base, which features bronze plaques with didactic text. Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Date A point or period of time associated with an event in the lifecycle of the resource November 19, 2019 Contributor An entity responsible for making contributions to the resource Texas African American History Memorial Committee; Texas Legislative Black Caucus; State of Texas. 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 Texas State Capitol Grounds, 100 West 11th Street, Austin, Texas, 78701, United States Has Part A related resource that is included either physically or logically in the described resource. Panel 1: First Contact and the Spanish Colonial Era 1528-1820 The first recorded people of African descent arrived in Texas with Spanish explorers and settlers. Estevanico, a Moorish slave from Azamor, Morocco, arrived in Texas in 1528 with a party of Spanish explorers who were shipwrecked on the Gulf Coast near Galveston Island. With three other survivors, Andres Dorantes de Castillo, Alvar Nunez Cabeza de Vaca and Alonso del Castillo Maldonado, he walked across southern Texas and northern Mexico, showing a talent for Indian languages and acting as an interpreter for the party. Estevanico was later pressed into service by the Viceroy of New Spain, Antonio de Mendoza, to guide an expedition into what is now Arizona. He was killed at Zuni Pueblo in 1539. His death may have been due to a sacred rattle given to him by Texas Indians, which the Zuni considered an offensive object. Estevanico was one of the thousands of Africans who helped settle Spanish Texas over the course of 300 years. By 1792, African people in Texas comprised 13 percent of the population. Most arrived enslaved. The African-American cultural heritage is a significant legacy that has shaped both our state and national heritage. Panel 2: Slavery During the Mexican National Era 1821-1836 During the Mexican national era, enslaved people of African descent were brought to Texas by the Anglo-American settlers introduced into Texas by Stephen F. Austin and other empresarios, land agents authorized by the Mexican government to help settle Texas. In 1830, Mexican lawmakers prohibited further immigration into Texas from the United States and explicitly banned the introduction of enslaved people into the territory. This ban contributed to increasing tensions between United States settlers and the Mexican government, and was one of the causes of the Texas Revolution from 1835 to 1836. By the time Texas declared independence, there were approximately 5,000 enslaved Blacks in the region. Panel 3: Slavery During the Republic and Early Statehood 1836-1860 Between 1836 and 1860, the slave population in Texas grew from 5,000 to 182,566. The greatest increase in the number of slaves brought to Texas occurred from 1850 to 1865. Among the expanding slave population were children who were purchased and brought to the State, or born in captivity to enslaved parents. Enslaved children typically wore slave cloth shirts made of homespun cotton or wool and were expected to do chores until they were old enough for field work. Enslaved women were expected to bear children and take care of their home life in the slave quarters, and to help farm cotton and other crops. Cotton produced by slave labor was the most important staple in the Texas economy, but slave labor was also integral to the economic growth of Texas in the lumber and construction industries. Several iconic Texas buildings including the 1853 limestone Texas Capitol, the 1856 Governor’s Mansion, and the 1853 Pease Mansion were built with Black slave labor. Most slaves showed skills in farming, animal husbandry, construction, masonry, cooking and blacksmithing. Panel 4: Civil War, Emancipation and Juneteenth, 1861-1865 On the eve of the Civil War, the number of enslaved people in Texas totaled 30 percent of the state’s population. This number continued to grow as slaveholders from other areas of the Confederacy came to Texas as refugees to escape the fighting and brought their enslaved property with them. Scholars estimate that more than 30,000 enslaved people were brought into Texas during the Civil War years alone. The conflict did not readily change the Black experience in Texas, as most African-Americans continued to be held in bondage and forced to labor. Federal troops occupied Texas in June 1865 after the Civil War. General Gordon Granger issued General Order Number 3 at Galveston on June 19, 1865 to enforce the Emancipation Proclamation previously signed by President Abraham Lincoln. That day soon became recognized as Juneteenth or Emancipation Day, although many slaves in Texas were not freed until much later. Juneteenth was officially declared a state holiday in Texas in 1980, and today it continues to be celebrated here and in other states as a milestone of the African-American struggle for freedom. After Emancipation , the former slaves entered the new stage of freedom with a mixture of joy, despair, elation, fear, hope, doubt, certainty and confusion. With little social infrastructure other than their families, they sought to make their way in a nation and state they helped to create, but in which they had very little ownership, input or power. Panel 5: Reconstruction and the Post Slavery Experience 1865-1900 After emancipation, Blacks in Texas, as in other southern states, became members of a society that was unwilling to accept them as equals. Despite efforts to be included in the fabric of Texas society, violence by hostile groups, the lack of access to courts and the ultimate withdrawal of federal troops resulted in the loss of equal protection under the law. In 1866-1867, Blacks could be arrested if they did not have employment, and once jailed, their labor could be forced. Prisoners, the majority of whom were African-Americans, were leased to contractors as convict laborers. These leased prisoners were used much like slaves, including during the construction of the current State Capitol. Although Blacks did serve on juries, vote and hold office for a few years from the late 1870s until the turn of the 20th century, their rights were constantly threatened at the local level and taken away statewide soon after 1900. During the era of Reconstruction, African-Americans sought to live and prosper in the aftermath of slavery. Fifty-two African-American men served Texas as either state legislative members or Constitutional Convention delegates during the last half of the 19th century. They built communities with churches and schools. Some former slaves served in Texas in four African-American regiments with white officers formed in 1866, the 9th and 10th Cavalry and the 24th and 25th Infantry. Native Americans gave these men the title of “Buffalo Soldiers.” Some African-Americans, including Bob Lemmons, Bill Pickett and Tige Avery became successful cowboys and horse wranglers on many Texas ranches, in part due to skills learned during their years of slavery. Panel 6: Post Reconstruction Challenges and Achievements 1877-1954 The end of Reconstruction proved an uncertain and violent time for African-Americans living in Texas. Riots and lynchings were common occurrences. By the early 20th century, Texas ranked third in the nation for lynching. Violence, however, did not deter Texans of African descent from seeking to improve their economic, political and social status. This period saw major African-American contributions to aviation, sports and the arts--particularly in music. Folk music from the African-Americans in Texas made an important contribution to the development of blues, folk and country music in America. Blacks were barred from attending public schools with Whites in Texas until 1954, when the United States Supreme Court ended public school segregation in the United States. Despite being forced to attend inferior public schools, African-Americans were able to attain higher education at traditionally black colleges including Huston-Tillotson University, Prairie View A&M University, Texas Southern University and Wiley College. During and after World War II, Black Texans played a significant role in advancing Civil Rights. The landmark case Smith v. Allwright (1944) improved the voting rights for African-Americans in the South and Sweatt v. Painter (1950) paved the way for equal access to education by opening the doors of The University of Texas law school to African-American students. More groundbreaking changes followed. African-American voter registration peaked in the 1960s. Activists organized peaceful protests including lunch counter sit-ins, marches and business boycotts. Panel 7: Major Achievements African-American Texans have contributed to the state’s culture, and have gained prominence in a host of fields. Despite the tremendous challenges posed by the institution of slavery, Jim Crow segregation and discrimination, African-Americans overcame and continue to overcome great obstacles to make a place for themselves in the Lone Star State, and are an essential part of Texas history, life and culture. Scott Joplin, a world class composer and pianist, was known as the “King of Ragtime Writers.” Jack Johnson was the first Black heavyweight boxing champion of the world. Bessie Coleman broke historical barriers by becoming the first African-American woman aviator and one of the first licensed female pilots in the world. Navy Mess Attendant Second Class Doris “Dorie” Miller shot down four Japanese warplanes at Pearl Harbor and was awarded the Navy Cross. Barbara Jordan was the first African-American woman elected to the Texas Senate (1966) and later became the first African-American congresswoman from Texas (1972-1978). Congressman Mickey Leland held the office previously occupied by Barbara Jordan and was a champion for equal rights until his untimely death. From exploration of unchartered lands in Texas to exploration of outer space, people of African descent contributed significantly to Texas history. This memorial is dedicated to their struggle and their accomplishments so that both will not be forgotten. Back Panel 1: Battles for Texas Independence from Mexico 1836 Several notable individuals of African descent participated in the battles at the Alamo and San Jacinto in 1836. Joe, slave of William B. Travis, fought at the Alamo and survived. His account of the fighting is one of the most important Alamo narratives. Mack Smith, slave of Ben Fort Smith, and Dick the Drummer, a musician, both participated in the battle of San Jacinto. A story recorded in 1842 by William Bollaert, an Englishman touring Texas, claimed that the Mexican Army probably lost the battle of San Jacinto because of the influence of a mulatto girl named “Emily,” who belonged to Col. James Morgan and was “closeted” in Santa Anna’s tent, detaining him when the Texans charged the Mexican Army camp. No other account of the battle mentions this story, but in 1836 a free woman named Emily D. West, who came to Texas from New York in late 1835, was employed by Col. Morgan as a house worker in New Washington (now Morgan’s Point) on Galveston Bay. Morgan’s settlement was occupied and burned by Santa Anna’s army on April 20, the day before the battle. His servants, unable to escape, were captured by the Mexican Army. Emily, sometimes known as “the Yellow Rose of Texas,” may have been among the prisoners because in 1837, when seeking a passport to leave Texas, she said she had lost her free papers at San Jacinto in April 1836. Back Panel 2: Hendrick Arnold and Samuel McCulloch, Jr. Hendrick Arnold and Samuel McCulloch, Jr. played important roles in the Texas Revolution and the formation of the Republic of Texas. After Texas became independent, both were considered free Blacks, but they were placed under severe legal restrictions. Samuel McCulloch, Jr., who lived near the Lavaca River with his family, has been called “a genuine Texas hero.” McCulloch volunteered to serve in the Texas Army and was wounded at the Battle of Goliad, the only Texan to be injured. After the war in 1837, he petitioned the Republic of Texas for citizenship rights and land. His petition was rejected, but McCulloch performed other military duties for the Republic of Texas, including serving as a spy during the Mexican invasion of San Antonio in 1842. After twenty years of petitioning the Congress of the Republic of Texas and the Texas State Legislature, McCulloch finally received his land in 1858 and settled at Von Ormy in Bexar County, where he farmed and ranched until his death in 1893. Hendrick Arnold’s family resided in San Antonio. In 1835, Arnold and his father-in-law, Erastus Smith, went on a hunting trip. When they attempted to go home, Mexican soldiers, who had since occupied San Antonio, refused to let them return. Subsequently, both Arnold and his father-in-law joined the Texas Army under Stephen F. Austin and worked as soldiers, spies and guides. Arnold became known in military circles as an associate of Sam Houston, an efficient and brave spy, and was cited for his service in the Texas Revolution. With his commendation from the Republic of Texas, he acquired land outside of San Antonio where he is buried today. Back Panel 3: The 21st Century The State of Texas has thrived economically. Early history indicates that the development of the cotton industry, initially dependent on slave labor, as well as the cattle market and the discovery of abundant supplies of oil contributed to this economic wealth. These three profitable industries facilitated Texas’ economic progress. However, such achievements were often at the expense of African-Americans who rarely reaped the benefits of such growth. For 200 years, Texans of African descent struggled for economic, social and political success. They fought to gain access to basic judicial and human rights to secure their enfranchisement and their role in Texas society. In some cases, they achieved some success. In other areas, there is work yet to be done. This Memorial is dedicated to both the struggles and achievements of African-American Texans and the impact of both on the economic and cultural vitality of the State of Texas. Extent The size or duration of the resource. 408 x 324 in. (1036.32 x 822.96 cm) Medium The material or physical carrier of the resource. Granite; 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. “Texas African American History Memorial, Dedication Ceremony, South Lawn Texas Capital, Saturday, November 19, 2016, 10:00 am.” Program (PDF). Accessed April 15, 2019. https://lrl.texas.gov/scanned/blog/aam_program2.pdf. State Preservation Board, Texas Capitol. “Texas African American History Memorial.” Accessed April 15, 2019. https://tspb.texas.gov/prop/tcg/tcg-monuments/21-african-american-history/index.html. Legislative Reference Library of Texas. “New Texas African American Monument.” Accessed April 15, 2019. https://lrl.texas.gov/whatsnew/client/index.cfm/2017/2/14/New-Texas-African-American-Monument. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: Flickr, “<a href="https://www.flickr.com/photos/jpestana/31271259748" title="Texas African American History Memorial: Ed Dwight..." target="_blank" rel="noopener">Texas African American History Memorial: Ed Dwight...</a>” by <a href="https://www.flickr.com/photos/jpestana/" target="_blank" rel="noopener">José Pestana</a>, <a href="https://creativecommons.org/licenses/by-nc-sa/2.0/deed.en" rel="noopener" target="_blank">CC BY-NC-SA 2.0</a> Rights Information about rights held in and over the resource Capitol Historical Artifact Collection, State Preservation Board, 201 East 14th Street, Suite 950 (Sam Houston State Office Building), Austin, Texas, 78711, United States bas-relief bronze Civil War figurative granite https://mail.slaverymonuments.org/files/original/54d94709792e70123c25adea44a98550.jpg 23bc8de5deead109bfb5a4cc0fbb3f55 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource African American History Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials grouped under this theme acknowledge the important contributions of African Americans to American history. Slavery is anchored in the commemorative works as part of the larger story of Black existence in the United States. Some monuments, such as <a href="https://www.slaverymonuments.org/items/show/1133" target="_blank" rel="noopener">South Carolina African-American History Monument</a> and the <a href="https://www.slaverymonuments.org/items/show/1134" target="_blank" rel="noopener">Texas African American History Memorial</a>, include bas-reliefs of enslaved men and women, signaling these states' role in slavery. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1183" target="_blank" rel="noopener">Truths that Rise from the Roots Remembered</a>, honor the ability of ordinary Black people in Alexandria, Virginia (a slave trade center in the United States) to survive and thrive despite slavery, racism, and white supremacy.  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 Obelisk and pedestal: 276 in. (701.04 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource South Carolina African-American History Monument (Columbia, South Carolina) Subject The topic of the resource Subject (Topic) African Americans--History Enslaved persons--Emancipation Public art Public sculpture Slave ships Slavery--South Carolina South Carolina--Columbia Subject (Object Type) Commemorative sculpture Description An account of the resource Two semicircular gray granite walls, inlaid with twelve bronze panels illustrating 300 years of African American history, frame an obelisk and pedestal. The twelve scenes of African American history include images of the Middle Passage, an African American family on an auction block, enslaved laborers working in a field, men and women celebrating the Emancipation Proclamation, the Jim Crow era, the Great Migration, and images of contemporary African Americans’ important contributions to engineering, law education, sports, politics, and space exploration. At the base of the monument’s obelisk are four rubbing stones from regions of Africa where people were captured - Senegal, Sierra Leone, the Republic of Congo, and Ghana. In front of the memorial, Dwight included a bronze cast of the famous print of the British slave ship Brookes (1787). Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Date A point or period of time associated with an event in the lifecycle of the resource March 29, 2001 Contributor An entity responsible for making contributions to the resource African American History Monument Commission; South Carolina Arts Commission; State House Committee; Citizens' Advisory Committe; Design Committee; Fundraising Committee; private donors 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 South Carolina State House Grounds, 1100 Gervais Street, Columbia, South Carolina, 29201, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque on front of monument: African American History Monument Dedicated - 2001 Ed Dwight - Sculptor Bronze plaque on back of monument: South Carolina African-American History Monument Dedicated to the people of South Carolina Monument Commission Chairman Senator Glenn F. McConnell Vice-Chairman Representative Gilda Cobb-Hunter Senator John E. Courson Senator Robert Ford Senator Darrell Jackson Senator McKinley Washington, Jr. Representative Daniel T. Cooper Representative James S. Klauber Representative John L. Scott, Jr. Honorable Jesse Washington, Jr. State House Committee Senator J. Verne Smith, Chairman Citizen's Advisory Committe Dr. Mac Arthur Goodman, Chairman Design Committee Dr. Terry K. Hunter, Chairman Dr. Henry G. Michaux Mr. James Wakefield Fundraising Committee Governor Jim Hodges, Honorary Chairman Mr. John S. Rainey, Chairman Ms. Juanita W. Brown, Co-Chairman Mr. E. Perry Palmer, Co-Chairman Extent The size or duration of the resource. Obelisk and pedestal: 276 in. (701.04 cm) Medium The material or physical carrier of the resource. Granite; 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. Botsch, Carol Sears. “The African-American Monument.” African Americans and South Carolina: History, Politics, and Culture. University of South Carolina-Aiken. Accessed April 15, 2019. https://polisci.usca.edu/aasc/African-AmericanMonument.htm (site discontinued). Davenport, Jim. “A Slave Memorial Now Stands Amid State's Tributes to Confederacy.” Los Angeles Times, March 25, 2001. Accessed April 15, 2019. https://www.latimes.com/archives/la-xpm-2001-mar-25-mn-42494-story.html. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: Flickr, <a href="https://www.flickr.com/photos/22711505@N05/7917139800" title="African-American History Monument -- State Capitol Grounds Columbia (SC) 2012" target="_blank" rel="noopener">"African-American History Monument -- State Capitol Grounds Columbia (SC) 2012" by Ron Cogswell, CC BY 2.0</a> Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. African American History Monument Rights Information about rights held in and over the resource South Carolina State House, 1100 Gervais Street, Columbia, South Carolina 29201, United States bas-relief bronze figurative granite obelisk slave ship https://mail.slaverymonuments.org/files/original/4d067b13954a799018a97269857061ad.jpg c70e1807c8422f73c9e9a83ac08dc9b0 https://mail.slaverymonuments.org/files/original/4b5c91b408741aa89b5670428cbe0762.jpg f69336ea0a8289b7d5238a7c0f59d61f https://mail.slaverymonuments.org/files/original/8f7b5278533b2eeeaf3cb7473361bf71.jpg 721797c2285f1b69ee5c53d0c45e50e1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Underground Railroad Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The memorial and monuments in this collection are dedicated to the Underground Railroad, an organized network of routes and safe houses that assisted freedom seekers [enslaved people] on their journeys northward. The Underground Railroad was part of the larger movement for the abolition of slavery in the United States. The movement to abolish slavery was a complicated political movement that, at its core, was driven by the resistance and activism of enslaved Black people and freedmen and women abolitionists. Historian Manisha Sinha explores the history of American abolition, including the Underground Railroad in The Slave's Cause: A History of Abolition (2016).  Although Harriet Tubman is the most famous conductor in the Underground Railroad, she is not the subject of the memorials featured in this collection (see the collection on this site, <a href="https://www.slaverymonuments.org/collections/show/1" target="_blank" rel="noopener">Black Abolitionists</a>, to view works specifically dedicated to her life and work). Rather the monuments and memorials featured here, such as Ed Dwight's <a href="https://www.slaverymonuments.org/items/show/1170" target="_blank" rel="noopener">Gateway to Freedom: International Memorial to the Underground Railroad</a>, highlight other prominent conductors, as well as celebrate the fortitude and bravery of the freedom seekers as they made the perilous journey north. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 360 in. (914.4 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Knockin’ On Freedom’s Door (Peoria, Illinois) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Fugitive slaves--United States Illinois--Peoria Public art Public sculpture Underground Railroad Subject (Name) Pettengill, Moses, 1802-1883 Pettengill, Lucy, 1802-1864 Lincoln, Abraham, 1809-1865 Subject (Object Type) Commemorative sculpture Description An account of the resource Preston Jackson‘s monumental bronze and stainless steel Knockin’ on Freedom’s Door is located on the site of the former Pettengill House in Peoria, an important station on the Underground Railroad. The work features multiple bronze sculptural groups within a stainless-steel frame. The sculptural grouping includes a male and female freedom seeker, climbing out of a small rowboat as two white members of the Underground Railroad look down upon the pair. The pair of Underground Railroad conductors are presumably Moses and Lucy Pettengill. Moses holds a bucket of water in one hand and a ladle in the other, while Lucy clutches at her chest. At the very top of the sculpture, looking down over the scene is a portrait of Abraham Lincoln in profile. Creator An entity primarily responsible for making the resource Jackson, Preston, 1944- Date A point or period of time associated with an event in the lifecycle of the resource October 24, 2008 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Peoria Civic Center, 201 SW Jefferson Ave, Peoria, Illinois, 61602, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque with dedication: “Knocking on Freedom's Door” Preston Jackson, Sculptor Dedicated October 24, 2008 From the 1840s to 1860s, the Moses and Lucy Pettengill House at the corner of Liberty and Jefferson was a safe house for hunted slaves escaping north along the Underground Railroad to freedom. In 2003, the Peoria Civic Center Authority voted to develop the Pettengill housing location as Peoria's newest historic site. In Dec. 2005, the National Park Service officially named Peoria as the 11th Illinois Underground Railway Network to Freedom Historic Site. Preston Jackson, internationally known African American sculptor and a resident of Peoria, was commissioned to create a public artwork that expressed the drama and raw emotions of slaves’ flight to the north along with the generosity of Pettengills, close friends of Abraham Lincoln. Generous support made this project possible, particularly from: Dr. Norman & Barbara Meyn Caterpillar Foundation National Park Service Turner Construction Company Oberlander Electric Advanced Technology Services AmerenCilco//Bill & Helen Barrick Ken & Jody Baum Brewer’s Distrubuting CEFCU Commerce Bancshares Foundation Dr. Peter & Barbara Court PSA Dewberry Harvey & Stuckel, Chartered HOK Sports Facilities Group Illinois Mutual Micro-Pavers, Inc. Selma E. Neumiller OSF Saint Francis Medical Center Tom & Debbie Ritschel Ransburg Foundation RLI Insurance Company Gene & Harriet Swager West Central IL Building & Construction Trades Council Ruby K. Warner Family Trust Bronze plaque with a relief of the home of Moses and Lucy Pettengill: "On this site stood the house of Moses and Lucy Pettengill Moses Pettengill [1802-1883] Lucy Pettengill [1802-1864] The house was noted as Peoria's station on the Underground Railway Network from the 1840s to the 1860s. Fleeing slaves were given food and refuge in this home. The Pettengills helped the escaping slaves with their dangerous journey along the Illinois River on their way to Farmington, Lawn Ridge and Princeton. The Pettengills assisted in founding: Illinois State Anti-Slavery Society [Oct 1837] Peoria Anti-Slavery Society [Feb 1844] Illinois State Female Anti-Slavery Society [May 1844] Abraham Lincoln was their intimate friend, and came to the home many times to discuss political affairs with the ardent Whigs. “In my own experience of about fifty years of opposition to intemperance, Secret Societies, and slavery, I have had the blessing of an approving conscience which is far more valuable than gold and silver.” - Moses Pettengill [1879] Extent The size or duration of the resource. 360 in. (914.4 cm) Medium The material or physical carrier of the resource. Stainless steel; Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photographs: <a href="https://ordinaryphilosophy.com/2017/10/24/photobook-knockin-on-freedoms-door-at-moses-and-lucy-pettingills-house-site-in-peoria-illinois/" target="_blank" rel="noopener">Amy Cools, Ordinary Philosophy</a> Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Thompson, Katie. "The Long Road to Freedom: Peoria and the Underground Railroad." Peoria Magazine, January/February 2008. Accessed February 10, 2026. https://ww2.peoriamagazines.com/as/2008/jan-feb/long-road-freedom. "Preston Jackson: Artist, Educator, Storyteller." Peoria Magazine, July 2021. Accessed February 10, 2026. https://ww2.peoriamagazines.com/pm/2021/jul/preston-jackson. Contributor An entity responsible for making contributions to the resource Dr. Norman & Barbara Meyn; Caterpillar Foundation; National Park Service; Turner Construction Company; Oberlander Electric; Advanced Technology Services; AmerenCilco//Bill and Helen Barrick; Ken and Jody Baum; Brewer’s Distributing CEFCU; Commerce Bancshares Foundation; Dr. Peter and Barbara Court; PSA Dewberry; Harvey & Stuckel Chartered; HOK Sports Facilities Group; Illinois Mutual; Micro-Pavers, Inc.; Selma E. Neumiller; OSF Saint Francis Medical Center; Tom and Debbie Ritschel; Ransburg Foundation; RLI Insurance Company; Gene and Harriet Swager; West Central IL Building & Construction Trades Council; Ruby K. Warner Family Trust Rights Information about rights held in and over the resource Peoria Civic Center Authority, 201 SW Jefferson Avenue, Peoria, Illinois, 61602, United States boat bronze figurative https://mail.slaverymonuments.org/files/original/fb692a79f17d643de96f1323497a7f84.jpeg 456646b64d2183fb91d0c010a035ccdf https://mail.slaverymonuments.org/files/original/f074b4e55b5c8c79c7a28bc6a82ee29a.jpeg 84fe61fda6bc488ed32631b33f2729a6 https://mail.slaverymonuments.org/files/original/24c49eea95c88844ee25238420698d90.jpeg 1aa967e33444c3de3c90823d22cf295a https://mail.slaverymonuments.org/files/original/d060a46e4405cf3f36e18dfa46d5f94a.jpeg 4caca941f2ee0190b0895e250c5ddbe7 https://mail.slaverymonuments.org/files/original/0892e7b036b2eac3ccc360e13ef634b5.jpeg 879cdabd9334287de838fc1055f0ff29 https://mail.slaverymonuments.org/files/original/ca828d8f156ce5c7fd692106fd5de077.jpeg f378eca583bdb443e1d6f7375f1803cd https://mail.slaverymonuments.org/files/original/c30c4456879a54b6c6bd846b8925cc0c.jpeg eecca1d0e86170feac1b7feee3508284 https://mail.slaverymonuments.org/files/original/9858fd099f3175337597418424411677.jpeg e11977324a66cee3cea2d8db1839c53c https://mail.slaverymonuments.org/files/original/a5eb8d35bb0806dbe6088b409794d807.jpeg 7a42081377dd1f41df05fc5a1801a5d3 https://mail.slaverymonuments.org/files/original/1a507bf13145789b2457494de495d5a0.jpeg f77580bcdb76e51bc2cdd79e71ad1bb9 https://mail.slaverymonuments.org/files/original/e063b8d8090b26dbf01e07e47aa2c18f.jpeg 51ef9ac3197516980005aa198c136328 https://mail.slaverymonuments.org/files/original/bfc6a8dc1f72e54e83e6746502153a10.jpeg 7a6518e3d95a98dfec6a013fe36edd27 https://mail.slaverymonuments.org/files/original/051aee4e4b689850b0ccb50f63ce7046.jpeg a21790d318f5b3a1fa0b064a685bb721 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Various sizes 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 Corinth Contraband Camp (Corinth, Mississippi) Subject The topic of the resource Subject (Topic) Enslaved persons--Emancipaiton Fugitive slaves--United States Mississippi--Corinth Refugee camps--Southern States--History--19th century United States--History--Civil War, 1861-1865 United States Colored Troops Subject (Object Type) Commemorative sculpture Description An account of the resource Eight life-size bronze statues (in six groupings) commemorate the formerly enslaved persons who escaped from the South and sought safety and freedom behind Union lines at the Corinth Contraband Camp in Corinth, Mississippi. Established by Union General Grenville M. Dodge in 1862 to shelter freedom-seekers, the Corinth Contraband Camp featured a church, a school, a hospital, and numerous homes as well as productive and profitable farms that were operated by freedmen and women. The bronze statues include: a woman with her hands on her hips, “the greeter”; a laundress ironing clothes; a farmer tending to his crops with a hoe; a female teacher with a young female student who read together from an open Bible; a man and boy gathering books; and a member of the United States Colored Troops who pulls Hardee's Rifle and Light Infantry Tactics from his haversack . Included at the site: two bronze plaques with inscriptions attached to a concrete wall near the greeter; two bronze low reliefs on a concrete wall opposite the greeter; and an informational panel explaining farming at the site in front of the farmer. The two bronze low reliefs are based on nineteenth-century photographs: Timothy H. O'Sullivan, Rappahannock River, Va. Fugitive African Americans fording the Rappahannock, August 1862 and G.W. Foster, Refugee camp; Street scene, Camp Nelson, Kentucky, 1864. Creator An entity primarily responsible for making the resource Lugar, Larry, 1953- Lugar, Andrea, 1952- Date A point or period of time associated with an event in the lifecycle of the resource May 23, 2009 Rights Information about rights held in and over the resource National Park Service, U.S. Department of the Interior, 1849 C Street NW, Washington, DC, 20240, United States 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 800 N Parkway St, Corinth, Mississippi, 38834, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on bronze plaque at entrance: Site of the Corinth Contraband Camp November 1862-December 1863 Here a newly freed people took their unswerving first steps on the long road to full citizenship. Inscription on bronze plaque at entrance: “This is a great opportunity afforded your race. Will you improve it?” — Lorenzo Thomas, Adjutant General, United States Army, in a speech to the Corinth Contraband Camp, May 15, 1863 Warmly received amid cheers of the assembled crowd, General Thomas’s words formed a challenge met daily by all who arrived to fulfill the mission of this camp. Assisted by the American Missionary Association, some 6,000 ex-slaves here practiced free enterprise and pursued an education for themselves and their children. Bravely affirming their unalienable right to equality. Men from this camp swelled the ranks of two infantry regiments raised for services in the U.S. Army. Although short-lived, the Corinth Contraband Camp served as a model endeavor for later United States efforts during the American Civil War. Information sign in front of farmer statue: Contraband Camp The Corinth Contraband Camp offered former slaves the first step toward self-sustainbility and freedom through profitable farming. These men, women, and children grew 300 acres of cotton and 100 acres of vegetables. All of the crops were sold, and the profits combined to about $5,000 per month, which would exceed $70,000 in today's money. Individuals also had smaller gardens that fed themselves and their families. These gardens consisted of tomatoes, cabbages, sweet potatoes, and other vegetables. This was the first time that many of the former slaves had grown crops for themselves rather than for someone else's benefit. Even though the Corinth Contraband Camp was only active for a little more than a year. It helped over 6,000 African Americans take a major step toward eventual citizenship. These newly freed African Americans would go on to use the skills they learned at the Corinth Contraband Camp to raise families, work paid jobs, and become self-sufficient members of society. This working garden was designed and created as part of an Eagle Scout project. (The rest of the text has weathered away.) 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. National Park Service. “Corinth Contraband Camp.” Shiloh National Military Park. Accessed February 13, 2019. https://www.nps.gov/shil/planyourvisit/contrabandcamp.htm. 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 Contributor An entity responsible for making contributions to the resource Siege and Battle of Corinth Commission (Rosemary Williams), Shiloh National Military Park (Superintendent Haywood “Woody” Harrell), Mississippi Department of Archives and History, and Corinth African-American Historical Society, and Preston Knight (Knight Brothers, Inc.). Date Created Date of creation of the resource. First statue installed: October 13, 2008 Extent The size or duration of the resource. Various sizes Bible book bronze Civil War concrete figurative https://mail.slaverymonuments.org/files/original/23343f5c1fdb34bbf0841f511c43ae13.jpg 83365b2673505582e3d0578824f21a12 https://mail.slaverymonuments.org/files/original/97b3a70e0ebc6f2804d73eaa1b78c9d0.jpg 34cdf22721dadf589cda4df1fa8c6d30 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Burial Grounds Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection is just a fraction of the burial grounds dedicated to enslaved persons, "contrabands," and freed persons. Many of these cemeteries and memorial parks have suffered greatly over the years--some have been desecrated and destroyed while others have been long ignored and fallen into disrepair. The monuments and memorials in this collection are part of local efforts to restore and recognize the importance of black life in death, including the <a href="https://www.slaverymonuments.org/items/show/1130" target="_blank" rel="noopener">Freedman's Cemetery Memorial</a> in Dallas, Texas; <a href="https://www.slaverymonuments.org/items/show/1136" target="_blank" rel="noopener">African Burial Ground National Memorial </a>in New York City; <a href="https://www.slaverymonuments.org/items/show/1128" target="_blank" rel="noopener">African Burying Ground Memorial</a> in Portsmouth, New Hampshire; and <a href="https://www.slaverymonuments.org/items/show/2" target="_blank" rel="noopener">Contrabands and Freedmen Cemetery Memorial</a> in Alexandria, Virginia. As of 2026, the Black Cemetery Network (blackcemeterynetwork.org) has documented 201 Black cemeteries in New England, the Middle Atlantic, the South, and the Midwest. Some of these cemeteries are dedicated to enslaved persons such as the Enslaved Cemetery in Mahwah, New Jersey; Betton Hills Plantation Cemetery in Tallahassee, Florida; and the Enslaved Burial Ground in Old Round Rock Cemetery in Round Rock, Texas. In 2022, the African American Burial Grounds Preservation Program authorized the National Park Service to administer an annual grant program to assist in the preservation of historic Black burial grounds. See Congress.gov. "Text - H.R.6805 - 117th Congress (2021-2022): African-American Burial Grounds Preservation Act." April 28, 2022. https://www.congress.gov/bill/117th-congress/house-bill/6805/text. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture 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 Freedman’s Cemetery Memorial (Dallas, Texas) Subject The topic of the resource Subject (Topic) African Americans--History African American cemeteries Freed persons--Texas Public art Public sculpture Slavery--Texas Texas--Dallas Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial is located in the Freedman Cemetery in Dallas, Texas. Established in 1861, it is one of the largest Freedman's cemeteries in the country. A Texas Red granite archway marks the entrance to the memorial. Two niches, located on either side of the arch, are adorned with life-size bronze figures (one in each niche). The free-standing figure on the left of the entrance, the so-called “Sentinel” or “Warrior,” is dressed in clothes inspired by the Benin culture of West Africa. He holds a large ceremonial machete with its blade pointed to the ground. His female counterpart, the “Prophetess,” holds a small harp to her chest with her left hand. On the other side of the arch within the memorial garden, two bronze figures occupy the niches. Unlike the free-standing works at the front of the archway, these works are bronze bas-reliefs. The figures emerge from a background that suggests the waves of an ocean. The female figure, the “Violated Soul,” whose wrists and feet are bound by iron manacles, covers her face with her hands. Her male counterpart, the “Struggling Soul,” is similarly shown with his wrists and feet bound by iron manacles; he covers his own scream with his bent left arm. Above each of the life-size bronze figures, in the top register of the arch, are twelve smaller bronze sculptures, suggestive of West African wood sculpture. Through the archway at the center of the memorial park, “Dream of Freedom,” sits atop a Texas Red granite circular plinth. The sculpture shows a newly emancipated couple. The male figure, whose shirtless torso is scarred by whip marks on his back, wraps his left arm around a kneeling woman. Directly behind “Dream of Freedom,” is a polished granite slab with Nia Akimbo’s poem, “Here.” Two remaining headstones from the original cemetery are embedded in the back of this granite slab. At the base of each statue, bronze plaques list the artist, title of the sculpture, and description of the work. Embedded in the interior arched wall are bronze plaques with poetry by ten children from local schools, who won a local poetry contest. In the lawn, several Texas Red granite blocks have bronze plaques attached to them, identifying the original riverbed and unmarked graves. Creator An entity primarily responsible for making the resource Newton, David S., 1967- Date A point or period of time associated with an event in the lifecycle of the resource June 19, 1999 Contributor An entity responsible for making contributions to the resource Black Dallas Remembered, Inc.; City of Dallas Office of Cultural Affairs; Dallas African American Museum; Dallas County Historical Commission; Freedman’s Foundation; Texas Department of Transportation; Mary Loving Blanchard (poet Nia Akimbo); and private donors. 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 Freedman’s Memorial Cemetery, 2525 N. Central Expressway, Dallas, Texas, 75204, United States Has Part A related resource that is included either physically or logically in the described resource. Historic marker: Freedman’s Cemetery This area of Dallas County was settled by former African American slaves shortly after the conclusion of the American Civil War. Freedman’s Cemetery, a graveyard for African Americans, was established in 1869 on one acre of land purchased by trustee Sam Eakins. Another three acres was acquired for cemetery purposes in 1879 by trustees A. Wilhite, Frank Read, A. Boyd, T. Watson, George English, Silas Pitman, and the Rev. A. R. Griggs, a former slave who later became a prominent local church leader and champion of early public education for the African American community. The community of churches, commercial enterprises, and residences that had developed in this area by the turn of the 20th century was by 1912 a part of the City of Dallas. Construction of the Central Expressway through here in the 1930s virtually eliminated all physical above-ground reminders of the cemetery. Descendants of persons buried here and the City of Dallas agreed in 1965 to establish the Freedman's Memorial Park and Cemetery at this site. Beginning in 1989 representatives of the community worked with the City of Dallas and the Texas Department of Transportation to preserve the historic Freedman’s Cemetery site prior to highway expansion. (1993) Bronze plaque: The Sentinel David Newton 1999 Symbolic guardian protecting site from disrespect or harm. His attire is based on Benin culture of West Africa. Bronze plaque: The Prophetess David Newton 1999 Symbolic of an African oral historian keeping the knowledge and memory of her ancestors alive. Bronze plaque: Violated Soul David Newton 1999 Symbolic of the violation of African women and the degrading nature of slavery, covered faces represents the loss of personal identity experienced by enslaved persons. Bronze plaque: The Struggling Soul David Newton 1999 Symbolic of the enslaved African’s resistance to slavery, and their constant struggle for freedom, the watery background represents the Atlantic Middle Passage unique to the American slave trade. Bronze plaque: Dream of Freedom David Newton 1999 Symbolic of a newly emancipated couple contemplating the death and suffering of their ancestors. Bronze plaque: Riverbed Symbolic of “Crossing Over” from the “Here” Monument to the “Afterlife” Cemetery Area Bronze plaque: Unmarked Graves Approximately 5,000 Unmarked Graves in This Area (Based on Arcaheological Report) Polished granite slab: “Here” by Nia Akimbo https://youtu.be/rua76I5Ptis Poetry bronze plaque: “Remembrance” The moment, once here, as of now bereft So many lives, all one by one taken, though Not to a sad place, for thorugh this unfair left They, in God’s glorious land, will awaken. Most now are gone, yet hardly forgotten- These treasured ancestors must live on In our spirits, we remain ever begotten And we shall never, from them, find ourselves gone. So much like a precious family heirloom Passed down through many generations Never to be lost or forgotten . . . too soon Yet to help us achieve our expectations We implore, please know, this is no morose fact Their dignity is returned to us at last. Olivia Linn 1995 Poetry bronze plaque: “Eulogy to an Unknown Freedman” We transient men of clay can well attest to The inherent frailty of the human frame. And do likewise confess that most of our names Are inevitably reduced to whispering ashes of fond recollections Scattering before the breath of the night wind That blows out the twilight our day; However, unlike this freedman, we can draw comfort from our nostalgic predilection To leave our moral names engraved in stone upon the sod, While he could only cling to the clarity of his perception That his name had been inscribed in the mind of God. Though anonymous here, the past deeds of this seemingly lost life of sorrows Still impacts our today and our tomorrows, For the complex fabric of our times is thickly interwoven With the sturdy cotton threads he spun his wheel of life. Yes, we’ve heard of this freedman-this “motherless” child of Africa Whose matchless paean(?), still echo here and do persuade us even now That we are, indeed, standing in an active valley of “them dry bones” With no need of rows upon rows of labeled stones, For it is certain that “on that great gettin up Mornin” This unidentified sleeping soul is going to stand up and us his name! Ramona Newton 1996 Poetry bronze plaque: “Undying Love” Black People, your minds is not fixed on grieving Yet to feel so much pain for so much time Many a soul wrecked; soon flees peace of mind- This hateful world still deceitful You toiled through sweat, suffering but believing Sometimes too hot, the sun above did shine Painful hearts pray for all to be fine Images of departure, enticing Spirits wandering though all those sad years Laid down a path for others, much like me Free, you strive to cleanse all the salty tears Working so that we would ever be free Your dearest love that that comforts all earthly fears Is reborn in this undying, watchful tree. Summer Allen 1995 Poetry bronze plaque: “A Life to Celebrate” Sweet sounding voices of our ancestors cry Oh, little black children, our own, please hear So you may know the weary-filled years Which set you here: Hope could not pass you by This life was hard so you, child, would apply To enjoy life, those things we hold so dear Not simply to toil, struggle and to fear: Offspring, learn now the road we had to buy Our spirits strong, living, rising like air Proud, Intelligent you are, and you are Celebrating life to show you care Never forget your past, those souls martyred For no one is promised sweet life is fair But unto all, the duty is to falter never. Remel Derrick 1995 Poetry bronze plaque: “Near This Place” Near here now sleep dead, though are they so cold? Let it be known, here warm breath resided In these lungs; under tragic struggle bold Steps these walked, yet their pain twas abided These simple lives unknown, until now Face here new meaning, and are not in vain. With death near, so much knowledge buried, how Many secrets are buried in these lives unchained? Yet lived these; lived boldly so and endured Yet knew pain, humanity they preserved As hate trod on, and true knowledge obscured While here Dignity, is kept, is honored This, never a cold vault of gloom, but here Is Peace, and a debt paid, this is now near. Jedidiah Anderson 1995 Poetry bronze plaque: “A Thread of Freedom” Opening the drawer to remove fresh cloth The stench of neglect infects pure air; The fabric worn from the work of a moth The texture haggard, from both time and wear, The history which lives with each thread, strong Every stitch brought together by brave souls Congregated to Fight against life’s Wrongs. They came from both sexes, the young and the old. I unfold the quilt to inhale beauty Different colors are combined with each other The passed down from those who value hard work and duty And would not live, property of another. Our inherited freedom, life’s treasure Simply belongs to all, without measure. Lysbet Musselwhite 1995 Poetry bronze plaque on brick wall: “The Post Oak” The Post Oak Tree stands remembering Black people remembering You! Jonathan Bailey 1995 Poetry bronze plaque on brick wall: “A Beginning” Birth Adventurous, fulfilling Beginning, crying, delivering New Experiences for yourself. Newness. Modesta Orono 1995 Poetry bronze plaque on brick wall: “Because I Was Free” I leaped in the air And shouted HALLELUJAH Because I Was Free. Tambre Kincade 1995 Poetry bronze plaque on brick wall: “A Celebration of Life” Living Pleasure, hurt now Ending, Moving, Pleasing To know my heritage. Venture. Alan Coleman 1995 Medium The material or physical carrier of the resource. Texas red granite; 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. Historic Preservation, Sustainable Development and Construction, City of Dallas. “Freedman’s Cemetery.” Accessed May 11, 2020. https://dallascityhall.com/departments/sustainabledevelopment/historicpreservation/Pages/freedman_s_cemetery.aspx. 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://texastimetravel.com/directory/freedmens-cemetery-memorial-tour/" title="Freedmen's Cemetery Memorial" target="_blank" rel="noopener">Texas Time Travel, Texas Historical Commission</a> Rights Information about rights held in and over the resource City of Dallas Office of Arts and Culture, Administrative Office, 1925 Elm Street, Suite 400, Dallas, Texas, 75201, United States archaeology bronze figurative granite poetry scourged back