1 10 134 https://mail.slaverymonuments.org/files/original/405fbbd7e71c57c5cde5f476d3ca458b.jpeg 2cd08776795ac9da4fd6fdbcdc1e135a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sites of Slavery Creator An entity primarily responsible for making the resource Written by Renée Ater Description An account of the resource For this thematic grouping, sites of slavery are designated as historic places (including plantations, wharves, archaeological sites) where "slavery happened" and that commemorate enslaved Africans, their lives, and their labor. We include sites that act as memorials and often have sculpture, public art, or monuments located on their grounds.  Founded in 2014 as a museum, the <a href="https://www.slaverymonuments.org/items/show/1218" target="_blank" rel="noopener">Whitney Plantation</a> educates the public about the history of slavery in Louisiana and the brutal production of sugar along the Mississippi River, between New Orleans and Baton Rouge. The historic plantation complex comprises twelve historic structures including slave cabins, a kitchen, a jail, and the main house. This site of slavery includes four memorials: The Wall of Honor, Allées Gwendolyn Midlo Hall, The Field of Angels, and the 1811 German Coast Uprising Memorials. Other sites of slavery include the <a href="https://www.slaverymonuments.org/items/show/1144" target="_blank" rel="noopener">ACTe Mémorial </a>in Pointe-à-Pitre, Guadaloupe, a memorial building and museum on the site of a former sugar plantation; the <a href="https://www.slaverymonuments.org/items/show/1164" target="_blank" rel="noopener">Valongo Wharf</a>, an archaeology site in Rio de Janeiro, Brazil, that was the debarkation point of an estimated 900,000 enslaved Africans; and the <a href="https://www.slaverymonuments.org/items/show/1152" target="_blank" rel="noopener">Mémorial de l'abolition de l'esclavage</a> in Nantes, France, on the Quai de la Fosse along the Loire River, the symbolic departure point of slave ships that sailed from France to Africa. Additional sites to be added include the Freedom Monument Sculpture Park along the Alabama River in Montgomery, Alabama, and the African Ancestors Memorial Garden at the International African American Museum located on Gadsden’s Wharf in Charleston, South Carolina. Note: All sites of slavery in West Africa can be found under the theme of the <a href="https://www.slaverymonuments.org/collections/show/14" target="_blank" rel="noopener">Transatlantic Slave Trade/Middle Passage.</a> Updated January 26, 2026 Contributor An entity responsible for making contributions to the resource Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Archaeological site 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 Cais do Valongo (Rio de Janeiro, Brazil) Subject The topic of the resource Subject (Topic) Brazil--Rio de Janeiro Enslaved persons Slavery--Brazil Slavery--Portugal Transatlantic slave trade Subject (Object Type) Archaeological site Description An account of the resource As the last nation in the Americas to officially abolish slavery in 1888, historians estimate that of the approximately 10.7 million enslaved persons brought to the Americas, as many as 50 percent arrived in Brazil. Valongo was the debarkation point for an estimated 900,000 enslaved Africans. In July 2007 the United Nations Educational, Scientific, and Cultural Organization added the wharf to its World Heritage List. The site consists of a number of archaeological layers, the lowest of which are the remains of the Valongo Wharf’s floor pavings. The bodies of the enslaved who died upon arrival in Brazil were burned, and chopped-up bones were buried in mass graves on a site near the wharf. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Jornal do Comércio Square, Av. Barão de Tefé - Saúde, Rio de Janeiro - RJ, 20220-460, Brazil Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. UNESCO. "Valongo Wharf Archaeological Site." Accessed May 28, 2019. https://whc.unesco.org/en/list/1548. Querin, Camilla. "An Antidote for Social Amnesia: The Memory Space of the Cais do Valongo." Smarthistory. Accessed February 15, 2025. https://smarthistory.org/memory-space-cais-valongo/. Angeleti, Gabriella. "Valongo Wharf--Historic Hub of Brazil's Slave Trade--Opens Following Overdue $400,000 Renovation." Art Newspaper, January 4, 2024. Accessed February 15, 2025. https://www.theartnewspaper.com/2024/01/02/valongo-wharfhistoric-hub-of-brazils-slave-tradeopens-to-the-public-following-overdue-400000-renovation. Chuva, Màrcia, Leila Bianchi Aguiar, and Brenda Coelho Fonseca. "Sensitive Memories at a World Heritage Site: Silencing and Resistance at the Valongo Wharf." In Decolonizing Global Heritage, eds. Britta Timm Knudsen, John Oldfield, Elizabeth Buettner, and Elvan Zabunyan, 175-192. Routledge, 2022. 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/wagnertamanaha/11381354915/in/photolist-W8RDRL-ikJr3Y-ikJqia-iwRo36-iwR3za-iwRwSk-YbicD9-iwKagt-iwQY5Z-iwRChD-iwRhg7" target="_blank" rel="noopener">"Cais do Valongo -- Rio de Janeiro (Brazil) 2013" by Wagner Tamanaha, CC BY-SA 2.0</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1811-1831 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 Archaeological Site Rights Information about rights held in and over the resource Rio de Janeiro City Hall, Rua Afonso Cavalcanti, 455 - Cidade Nova, 20211-110, Brazil Medium The material or physical carrier of the resource. Paving stone Has Part A related resource that is included either physically or logically in the described resource. Plaque: Patriomonio Cultural Carioca Circuito da Herança Africana Foi construido em 1811 para o desembarque e comércio de africanos escravizados. Remodelado em 1843 como Cais da Imperatriz, foi alerrado em 1911 para dar lugar a Praça do Comércio. Em 2011 foi redescoberto nas obras do Porto Maravilha. English translation: Built in 1811 for the disembarkation and trade of enslaved Africans. Remodeled in 1843 as the 'Cais da Imperatriz,' it was demolished in 1911 to make way for the 'Praça do Comércio.' In 2011, it was rediscovered during the Porto Maravilha works. archaeology https://mail.slaverymonuments.org/files/original/79dbb3250a9613ab576f7b6c91f18367.jpeg 7c64c9087e25f85e2726b5ca979690ed Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 84 in. (213.36 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Neg Mawon Emancipation Monument (Roseau, Dominica) Subject The topic of the resource Subject (Topic) Dominica--Roseau Enslaved persons--Emancipation--Dominica Freedoom Maroons--Dominica Public art Public sculpture Slavery--Dominica Slavery--England Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Standing resolutely forward, the muscular figure of a shirtless self-emancipated man ('neg mawon'), with broken shackles and chains around his wrists and neck, holds a conch shell to his lips. The bronze figure, located in the center of a traffic circle, celebrates the self-emancipated (maroon) societies that engaged in a sustained struggle against slavery and French colonialism. The work was unveiled during Dominica’s 2013 Emancipation Celebrations. Creator An entity primarily responsible for making the resource Zamora, Franklyn Date A point or period of time associated with an event in the lifecycle of the resource August 1, 2013 Contributor An entity responsible for making contributions to the resource Government of the Commonwealth of Dominica; Ministry of Culture; National Cultural 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 Turkey Lane and Victoria Street, Roseau, Dominica Has Part A related resource that is included either physically or logically in the described resource. Plaque next to monument: This monument is a symbol of freedom and emancipation. It is a tribute to all the enslaved Africans who suffered and were executed in the history of Dominica. It honours the Maroons who risked their lives to fight for the emancipation of all. It pays homage to those who were sold and executed at the Old Roseau Market and who were held at the Barracoon Building in Roseau before being sold and sent to the plantations. This monument salutes the memory of our African ancestors and the immense contribution of their skills to our early infrastructure and the development of agriculture in Dominica through the shedding of their blood, sweat and tears. It celebrates the powerful and lasting influence which our which our African ancestors had on Dominica's present day culture, especially in our forms of music, language, costumes and cuisine. This memorial is a reminder to all Dominicans that we should continue to sustain our African heritage and its many cultural expressions. Extent The size or duration of the resource. 84 in. (213.36 cm) 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: Ariane Colenbrander, <a href="https://www.flickr.com/photos/arianec/49267300456/in/album-72157712340816712/" target="_blank" rel="noopener">Flickr</a> 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. Dominica News Online. "Emancipation Statue Unveiled." August 2, 2013. Accessed February 15, 2025. https://dominicanewsonline.com/news/homepage/news/culture/emancipation-statue-unveiled/. Government Information Service. "Emancipation Monument Officially Unveiled." Government of the Commonwealth Dominica. August 6, 2013. Accessed February 15, 2025. https://news.gov.dm/news/news-items/emancipation-monument-officially-unveiled. Rights Information about rights held in and over the resource Government of the Commonwealth of Dominica, Government Headquarters, Kennedy Avenue, Roseau, Commonwealth of Dominica. bronze figurative inscription manacles seashell https://mail.slaverymonuments.org/files/original/24240a1961b0c15a570faaad83d6c688.jpg 83a96d82795559ddc3a6b7bb927dacb9 https://mail.slaverymonuments.org/files/original/b6ac4fd81e859f1eef3e54c121865723.jpg 953b7ad296e8cdbef002e5df4519e4f6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 93.6 in. (237.74 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Frederick Douglass (Hillsdale, Michigan) Creator An entity primarily responsible for making the resource Wolfe, Bruce, 1941-2022 Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Michigan--Hillsdale Public art Public sculpture Underground Railroad Subject (Name) Douglass, Frederick, 1818-1895 Subject (Object Type) Commemorative sculpture Description An account of the resource Located on Hillsdale College’s Liberty Walk, the bronze statue of Frederick Douglass is the first African American figure to be included on the Liberty Walk. The bearded Douglass clasps his hands around a book, his torso turning gently leftward as he shifts his weight to his left leg. Source A related resource from which the described resource is derived Photograph: <a href="https://www.brucewolfe.com/frederick-douglass/" target="_blank" rel="noopener">Bruce Wolfe Ltd.</a> Date A point or period of time associated with an event in the lifecycle of the resource May 12, 2017 Contributor An entity responsible for making contributions to the resource Hillsdale College (President Larry Arnn) and James Nagy (benefactor). Rights Information about rights held in and over the resource Hillsdale College, 33 E College Street, Hillsdale, Michigan, 49242, 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 Lane Hall, Liberty Walk, Hillsdale College, 33 E College Street, Hillsdale, Michigan, 49242, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque on granite base: Frederick Douglass Dedicated May 11, 2017, in proud recognition of the speech given at Hillsdale College by Frederick Douglass on January 11, 1863 "Neither law, learning, nor religion, is addressed to any man’s color or race. Science, education, the Word of God, and all the virtues known among men, are recommended to us, not as races, but as men. We are not recommended to love or hate any particular variety of the human family more than any other. Not as Ethiopians; not as Caucasians; not as Mongolians; not as Afro-Americans, or Anglo-Americans, are we addressed, but as men. God and nature speak to our manhood, and to our manhood alone. Here all ideas of duty and moral obligation are predicated." —Blessing of Liberty and Education—September 3, 1894 With Gratitude to Mr. James Nagy in Memory of his beloved Wanda Nagy Dr. and Mrs. Larry Arnn Bruce Wolfe—Sculptor Medium The material or physical carrier of the resource. Bronze; Granite Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Extent The size or duration of the resource. 93.6 in. (237.74 cm) Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Hillsdale College. "Frederick Douglass: A Brief History."  Accessed May 24, 2020. https://www.hillsdale.edu/frederick-douglass/. Hillsdale College. "Hillsdale College Unveils Statue of Frederick Douglass." Accessed May 24, 2020. https://www.hillsdale.edu/news-and-media/press-releases/hillsdale-college-unveils-statue-frederick-douglass/. Hillsdale College. "A Man Worth Emulating: Frederick Douglass Statue Dedicated on Hillsdale's Liberty Walk." Accessed May 24, 2020. https://www.hillsdale.edu/hillsdale-blog/hillsdale-magazine/worth-emulating-frederick-douglass/. Wolfe, Bruce. "Frederick Douglass, Statue Unveiling at Hillsdale College." Accessed May 24, 2020. https://www.brucewolfe.com/frederick-douglass/. book bronze figurative granite portrait https://mail.slaverymonuments.org/files/original/1de4473a723c03e56a7ba5710f3f05ba.jpg 4e9edb22c90a0f3d5975e25c9f70023d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 156 in. (396.24 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 The Traveling Exhibition: Harriet Tubman - The Beacon of Hope (Cape May, New Jersey) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Enslaved persons--Emancipation Freedom New Jersey--Cape Mary Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource A bronze sculpture of Harriet Tubman stands firmly atop an oxen yoke. She stares into the eyes of the viewer, offering a golden key. Her right hand is raised, encircled by a rose compass—both adorned in gold leaf. Underneath the yoke lie countless chains and shackles, some open, others closed. The base features inscriptions on the front and back, bearing her name and the title of the work. In many of the cities, the monument is accompanied by a plaque featuring a quote by Harriet Tubman and Wesley Wofford’s artist statement. Created in 2023, the monument was designed to travel across the United States. Since then, it has been displayed at the Cape May Point Arts and Science Center in Cape May, New Jersey (2023); the Government Office Building in Salisbury, Maryland (2023-2024); City Hall Plaza in Rahway, New Jersey (2024); the National Underground Railroad Freedom Center in Cincinnati, Ohio (2024); the corner of Central Avenue and North Division Street in Peekskill, New York (2024); and the John Brown Farm State Historic Site in Lake Placid, New York (2024), with more locations planned in 2024 and beyond. For the sake of clarity, CMSP has decided to document this monument only once, based on the information from its initial showing. Creator An entity primarily responsible for making the resource Wofford, Wesley, 1972- Date A point or period of time associated with an event in the lifecycle of the resource September 1, 2023 Rights Information about rights held in and over the resource Wesley Wofford, Wofford Sculpture Studio, P.O. Box 2927, Cashiers, North Carolina 28717, 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 101 Lehigh Ave, Cape May Point, New Jersey, 08212, United States Has Version A related resource that is a version, edition, or adaptation of the described resource. Wesley Wofford made a permanent version of this monument, bearing the same name. Located in front of the Dorchester County Courthouse in Cambridge, Maryland, the permanent monument includes a figure of young Araminta Ross beside Harriet Tubman. See <a href="https://www.slaverymonuments.org/items/show/1244" target="_blank" rel="noopener">Beacon of Hope: Harriet Tubman Monument</a> in this database. Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Wofford, Wesley. “Harriet Tubman - The Beacon of Hopw - Wofford Sculpture Studio.” Accessed August 13, 2024. https://www.woffordsculpturestudio.com/exhibitions/harriet-tubman-the-beacon-of-hope. "Beacon of Hope Sculpture." Cape May Point Arts and Science Center. https://www.capemaypointsciencecenter.org/beacon-of-hope-sculpture. Extent The size or duration of the resource. 156 in. (396.24 cm) Has Part A related resource that is included either physically or logically in the described resource. Inscription on the front of the base: THE BEACON OF HOPE Inscription on the back of the base: HARRIET TUBMAN Beside the monument, a plaque reads: HARRIET TUBMAN - THE BEACON OF HOPE "I WAS THE CONDUCTOR OF THE UNDERGROUND RAILROAD FOR EIGHT YEARS, AND I CAN SAY WHAT MOST CONDUCTORS CAN'T SAY—I NEVER RAN MY TRAIN OFF THE TRACK AND I NEVER LOST A PASSENGER." — HARRIET TUBMAN Artist Statement - Wesley Wofford, FNSS "HARRIET TUBMAN-THE BEACON OF HOPE DEPICTS THE TRANSFORMATION OF TUBMAN FROM HER DIFFICULT ORIGINS TO BECOMING A SYMBOL OF FREEDOM AND AN AMERICAN ICON. SHE IS A FREE WOMAN REACHING DOWN WITH AN ENCOURAGING HAND TO THE VIEWER, AND UPON CLOSER INSPECTION, THE VIEWER DISCOVERS A GOLDEN KEY IN HER HAND. THIS "GENERATIONAL KEY" INSPIRES VIEWERS TO REACH WITHIN THEMSELVES TO UNLOCK THE INNER STRENGTH TO FORGE THEIR OWN DESTINY JUST AS TUBMAN DID. THE OXEN YOKE IS A METAPHOR FOR THE YOKE OF SLAVERY AND SHE CRUSHES THIS BROKEN OBSTACLE TO THE POINT OF SNAPPING IT. IT ALSO ILLUSTRATES THE LEGENDARY STORY OF YOUNG ARAMINTA SINGLE HANDEDLY STEERING A TEAM OF OXEN FOR HER FATHER. THE PILED SHACKLES AND CHAINS DEPICT ALL OF THE LIVES ADVERSELY AFFECTED BY THE SCOURGE OF SLAVERY. THE OPEN SHACKLES REPRESENT THOSE FREED BY TUBMAN AND OTHERS ON THE UNDERGROUND RAILROAD, WHILE THE LOCKED ONES DEPICT THOSE NOT LIBERATED UNTIL AFTER THE CIVIL WAR. THE CLOSED MANACLES ALSO SYMBOLIZE THE UNFINISHED WORK AHEAD OF US ESSENTIAL TO ACHIEVING A JUST AND EQUITABLE FUTURE FOR ALL. WHILE TUBMAN USED THE NORTH STAR TO NAVIGATE OUT OF BONDAGE, SHE THEN BECAME THE COMPASS ROSE TO THE THOUSANDS OF ENSLAVED WHO FOLLOWED HER GUIDING LIGHT TO FREEDOM. THE BEACON OF HOPE IS A MONUMENT THAT TELLS HARRIET TUBMAN'S STORY, SO THAT ALL MAY LEARN FROM IT; THAT AMPLIFIES HER MESSAGE OF EQUALITY, SO THAT ALL MAY HEAR IT; AND THAT CHRONICLES HER JOURNEY, WITH THE HOPE THAT WE ALL FIND THE INSPIRATION AND THE COURAGE TO WALK IN HER FOOTSTEPS." Source A related resource from which the described resource is derived Photograph by <a href="https://www.drba.net/sites/default/files/2023-10/beacon_of_hope_by_frank_scott.jpg" target="_blank" rel="noopener">Frank Scott</a>, Delaware River & Bay Authority bronze chains figurative North Star shackles https://mail.slaverymonuments.org/files/original/141d9dbb2e7881a7852412eed9dbb906.jpeg df303338c5cabb6ae7566606365cda3c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 108 in. (274.32 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Traveling Exhibition: Harriet Tubman - The Journey to Freedom (Montgomery, Alabama) Subject The topic of the resource Subject (Topic) Alabama--Montgomery Antislavery movements--United States Enslaved persons--Emancipation Freedom Public art Public sculpture Underground Railroad Subject (Name): Tubman, Harriet, 1822-1913 Subject (Object Type): Commemorative sculpture Description An account of the resource The sculpture depicts Harriet Tubman and a young girl caught in brisk motion against the wind, navigating treacherous terrain. Tubman’s left foot rests on an elevated platform, propelling them forward while her right foot pushes upward toward the incline. She grips the collar of her jacket with her left hand, as her right arm twists back to support the girl following behind her. The girl holds Tubman’s right arm with her left hand and grasps Tubman's right index finger between her thumb and forefinger. Tubman’s skirt partially covers the girl’s lower half. Near the girl’s bare feet lie a set of broken shackles. This monument was created in 2020 with the intention of traveling across the United States. Since then, the monument has traveled to the following locations: The Equal Justice Initiative Legacy Pavilion in Montgomery, Alabama (2020); Harriet Tubman Museum in Cape May, New Jersey (2020 and 2021); Dorchester County Courthouse in Cambridge, Maryland (2020); Newburgh Free Library in Newburgh, New York (2020); Jan Peek Square in Peekskill, New York (2020); Halifax State Historic Site in Halifax, North Carolina (2021); Haverstraw African American Memorial Park in Haverstraw, New York (2021); Bridge Park in Sylva, North Carolina (2021); Philadelphia City Hall in Philadelphia, Pennsylvania (2022); Renaissance Plaza in White Plains, New York (2022); The Harriet Tubman Home in Auburn, New York (2022); Washington Square Park in Rochester, New York (2022); Ulster County Office Building in Kingston, New York (2022-2023); Dr. Martin Luther King, Jr. Elementary School in Lancaster, Pennsylvania (2023); Button Farm Living History Center in Germantown, Maryland (2023); The Frampton Plantation House in Yemassee, South Carolina (2023); Joseph Rainey Park in Georgetown, South Carolina (2023); Brookgreen Gardens in Murrells Inlet, South Carolina (2023-2024); Legacy Plaza in Montgomery, Alabama (2024); The Kerr Community Center in Bastrop, Texas (2024); and the International African American Museum in Charlestown, South Carolina (2024). Additional locations are scheduled for 2025 and beyond. For the sake of clarity, CMSP has decided to document this monument only once, based on the details from its initial unveiling. Creator An entity primarily responsible for making the resource Wofford, Wesley, 1972- Source A related resource from which the described resource is derived Photograph by Wofford Sculpture Studios Date A point or period of time associated with an event in the lifecycle of the resource January 28, 2020 Rights Information about rights held in and over the resource Wesley Wofford, Wofford Sculpture Studio, P.O. Box 2927, Cashiers, North Carolina, 28717, 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 The Equal Justice Initiative Legacy Pavilion, 122 Commerce Street Montgomery, Alabama, 36104, United States Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Wofford, Wesley. “Harriet Tubman - The Journey to Freedom - Wofford Sculpture Studio.” Accessed August 13, 2024. https://www.woffordsculpturestudio.com/exhibitions/harriet-tubman. Welsh, Mickey. "The New Harriet Tubman Statue at the EJI Pavilion." Montgomery Advertiser, February 1, 2020. Accessed August 13, 2024. https://www.montgomeryadvertiser.com/picture-gallery/news/local/2020/02/01/new-harriet-tubman-statue-eji-pavilion/4633204002/. Extent The size or duration of the resource. 108 in. (274.32 cm) Has Part A related resource that is included either physically or logically in the described resource. Inscription on the front of the base: THE JOURNEY TO FREEDOM Inscription on the back of the base: HARRIET TUBMAN Beside the monument, a plaque reads: HARRIET TUBMAN - THE JOURNEY TO FREEDOM Artist Statement: “In 1858, Harriet Tubman bravely returned to the slave state of Maryland to lead an 8-year-old girl to the free state of New York via the Underground Railroad network. Harriet later adopted the girl and there is speculation that she was Harriet's actual daughter or niece. I used this story as a launching point of historical reference around which I built the composition. The contours of the base are the Maryland/Delaware Peninsula where Harriet was originally enslaved and to which she frequently returned for her freedom raids. The dramatic ledge represents the Mason-Dixon line into free Pennsylvania, an important milestone in the journey to freedom. Harriet is leaning into the wind with her shoulder; eyes cut formidably up, bracing herself against the elements. The wind illustrates the peril of the journey and serves as a metaphor for the intense opposition she faced. Harriet's dress is protectively enveloping the girl. Her skirt, billowing like a flag, signifies the legal protections afforded to every United States citizen and a symbol of the future equality to come. Each hand on the sculpture expresses an attribute: Determination, Protection, Fear, and Trust. With a look of trepidation, the child is leaning out to get a better sense of what lies ahead. She holds Harriet's finger affectionately, her cautious hope echoed in her delicate grip. The child is off-balance and tentatively taking a step forward, her foot precariously close to the edge of the cliff. The shackles are broken; they have left the bonds of slavery behind them.” Wesley Wofford, FNSS Wofford Sculpture Studio www.woffordsculpturestudio.com bronze chains figurative portrait shackles https://mail.slaverymonuments.org/files/original/227fcca055883a0d10219743558ff0f5.jpg a392acd856e1cb414545e9b0593fe107 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 156 in. (396.24 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 The Beacon of Hope: Harriet Tubman Monument (Cambridge, Maryland) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Enslaved persons--Emancipation Freedom Maryland--Cambridge Public art Public sculpture Underground Railroad Subject (Name)  Tubman, Harriet, 1822-1913 Subject (Object Type): Commemorative sculpture Description An account of the resource Facing true North, a bronze monument of Harriet Tubman and her younger self, Araminta Ross, stands atop a granite base. With her right foot planted firmly on an oxen yoke, Tubman uses her left foot to propel herself upward. She gazes into the eyes of Araminta Ross, handing her a golden key. Tubman's right hand is raised, encircled by a rose compass—both adorned in gold leaf. Araminta Ross’ hand hovers over the key as she looks up at Harriet Tubman. She is seated atop countless chains and shackles, some open and others closed. The base features rugged steps on either side of the figures, with inscriptions on both the front and back. Parallel to the monument, an open-faced book atop a podium presents an overview of Tubman's life.  The back of the podium features the sculptor Wesley Wofford's description of the monument in his own words. Creator An entity primarily responsible for making the resource Wofford, Wesley, 1972- Source A related resource from which the described resource is derived Photograph: <a href="https://harriettubmanbyway.org/newhtbw/wp-content/uploads/2023/09/DayOfResilience_Sept2022_ByJillJasuta-4023.jpg" target="_blank" rel="noopener">Jill Jasuta</a> Date A point or period of time associated with an event in the lifecycle of the resource September 10, 2022 Contributor An entity responsible for making contributions to the resource Rock of Ages (granite base); William V. Sipple & Son Monuments (base engraving); Alpha Genesis Community Development Corporation (funder); The City of Cambridge (granite base); Dorchester County Government (site preparation) Rights Information about rights held in and over the resource City of Cambridge, 410 Academy Street, Cambridge, Maryland, 21613, 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 Dorchester County Circuit Courthouse, 206 High Street Cambridge, Maryland, 21613, United States Has Version A related resource that is a version, edition, or adaptation of the described resource. Wesley Wofford made a traveling version of this monument without the figure of young Araminta Ross. Instead, Harriet Tubman looks and holds her hand out to the public. See <a href="https://www.slaverymonuments.org/items/show/1246" target="_blank" rel="noopener">Traveling Exibition: Harriet Tubman - The Beacon of Hope</a> in this database. Medium The material or physical carrier of the resource. Bronze; Blue gray granite; Gold leaf; Concrete; Brick Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. “‘Beacon of Hope’ Statue Honors Tubman in Her Homeland.” Harriet Tubman Underground Railroad Byway, May 21, 2024. Accessed August 7, 2024. https://harriettubmanbyway.org/new-beacon-of-hope-harriet-tubman-statue-finds-permanent-home-in-her-homeland/. Miller, Lauren. “The Beacon of Hope Statue Has Been Unveiled.” WBOC, September 10, 2022. Accessed August 7, 2024. https://www.wboc.com/news/the-beacon-of-hope-statue-has-been-unveiled/article_0bb23378-316c-11ed-91b1-8fe4ec0d16d4.html. Extent The size or duration of the resource. 156 in. (396.24 cm) Has Part A related resource that is included either physically or logically in the described resource. Inscription on the front of the base: HARRIET TUBMAN BORN ARAMINTA ROSS 1822 DORCHESTER COUNTY MARYLAND Inscription on the back of the base: ARAMINTA ROSS, ENSLAVED CHILD OF THIS LAND NOURISHED BY THE LOVE OF HER FAMILY FORTIFIED BY HER COMMUNITY AND GOD EDUCATED BY MOTHER NATURE FORGED BY FATHER TIME COURAGES OF HEART, OBSERVER OF INJUSTICE EYES SKYWARD, DESTINY’S KEY IN HAND DAUGHTER OF SLAVERY, NOW HARRIET TUBMAN LEADER TO FREED . . . OUR NORTH STAR Left (verso) page of the inscription on the book atop the Tubman biographical bronze podium: Harriet Tubman (c. March 1822 – March 10, 1913) was an American abolitionist, political activist, liberator, nurse, war hero and human rights advocate. Born Araminta Ross to enslaved parents in Dorchester County, Maryland, she made the treacherous journey north in 1849, hoping to escape slavery and the constant fear of being sold south. She settled in Philadelphia and changed her name to Harriet, after her mother. Soon thereafter, despite the danger, Tubman returned to Maryland to rescue her family. One of her first daring rescues was from here, the site of the Dorchester County Courthouse. She subsequently made at least 13 missions to liberate approximately 70 enslaved people, using a network of antislavery activists and safe houses known as the Underground Railroad. Right (recto) page of the inscription on the book atop the Tubman biographical bronze podium: It was Tubman’s experiences in Dorchester County — both horrific slavery and love of God and family — that were the basis for forming her into the woman she became. Her legacy and her commitment to the ideals of true freedom and equality have made her an icon of courage and determination that is still relevant today. The impetus for this sculpture came during a tumultuous time for our country, a time of heightened social unrest coupled with a deadly pandemic. Yet, in Dorchester County, a grassroots movement arose, uniting a diverse community inspired by our shared admiration and respect for Tubman’s legacy. Two hundred years after Tubman’s birth, we unveiled “The Beacon of Hope” in 2022, celebrating our common experiences and shared values that form a foundation of respect and admiration to build a more equitable future. Inscription on the back of the Tubman biographical bronze podium, artist statement: HARRIET TUBMAN The Beacon of Hope Not far from here, Araminta Ross was struck in the head with a scale counterweight at the Bucktown General Store, an injury she attributed to her having visions. In many ways this event marked the beginning of Harriet Tubman’s own storied journey towards freedom which resulted in the liberation of hundreds of other enslaved people. As young Araminta lifted herself from the ground, she had her first vision of the strong woman she would become. The sculpture depicts Harriet reaching down to help her younger self up and offering her a key to remove the shackle from her little arm. Also, with this “generational key” Araminta unlocked her inner strength to forge her own destiny: the rebirth of Araminta Ross as Harriet Tubman. The oxen yoke is a metaphor for the yoke of slavery and Harriet crushes this broken obstacle to the point of snapping it. It also illustrates Dorchester County’s legendary story of young Minty single handedly steering a team of oxen for her father. The pilled shackles and chains depict all of the lives adversely affected by the scourge of slavery. The open shackles represent those freed by Harriet while the locked ones depict those left behind. The close manacles also symbolize the unfinished work ahead of us essential to achieving a just and equitable future for all. While Harriet used the North Star to navigate out of bondage, she then became the compass rose to the thousands of enslaved who followed her guiding to Freedom — Wesley Wofford, FNSS Sculptor Transcription of audio that plays from QR code on the back of the Tubman biographical bronze podium: Hello, my name is Wesley Wofford. I'm the sculptor of the Beacon of Hope, the statue where you are currently standing. I just wanted to point out a couple of special things about the statue for you to discover as you walk around it. This is an origin story statue of Harriet Tubman, so Araminta Ross was born an enslaved child here in Dorchester County. There was an event in the Bucktown General Store where she was hit in the head with a two-pound weight; and, I invite you to find the two-pound weights lying at her feet; and, in that moment, she was knocked on conscious and she attributes that event to her future visions. She also attributes that event to becoming Harriet Tubman. So this sculpture is about the young Araminta Ross having her first vision and the vision is of her future self giving her the inner strength to forge her own destiny. Look for the key. There's a generational key and it's also a key that will unlock the shackle on her arm. There's lots of symbolism built into the piece, but it's meant so that it can be reinterpreted by the viewers and their own perspectives. I invite you to use your own perspectives to find something meaningful in the sculpture that directly relates to you. The other part of the story of the statue is that Harriet Tubman used the North Star to navigate out of Cambridge to freedom and she later became that North Star for others to follow; thus, the transformation of her hand into the North Star via the symbol of a rose compass, and so she becomes a symbol of strength that we can all draw from two hundred years later. bronze chains concrete figurative granite North Star shackles https://mail.slaverymonuments.org/files/original/58d9f6baaac4bd675804681977e0bdb3.jpg 528fbd511bda5718d6fbd7daa160bdbf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sites of Slavery Creator An entity primarily responsible for making the resource Written by Renée Ater Description An account of the resource For this thematic grouping, sites of slavery are designated as historic places (including plantations, wharves, archaeological sites) where "slavery happened" and that commemorate enslaved Africans, their lives, and their labor. We include sites that act as memorials and often have sculpture, public art, or monuments located on their grounds.  Founded in 2014 as a museum, the <a href="https://www.slaverymonuments.org/items/show/1218" target="_blank" rel="noopener">Whitney Plantation</a> educates the public about the history of slavery in Louisiana and the brutal production of sugar along the Mississippi River, between New Orleans and Baton Rouge. The historic plantation complex comprises twelve historic structures including slave cabins, a kitchen, a jail, and the main house. This site of slavery includes four memorials: The Wall of Honor, Allées Gwendolyn Midlo Hall, The Field of Angels, and the 1811 German Coast Uprising Memorials. Other sites of slavery include the <a href="https://www.slaverymonuments.org/items/show/1144" target="_blank" rel="noopener">ACTe Mémorial </a>in Pointe-à-Pitre, Guadaloupe, a memorial building and museum on the site of a former sugar plantation; the <a href="https://www.slaverymonuments.org/items/show/1164" target="_blank" rel="noopener">Valongo Wharf</a>, an archaeology site in Rio de Janeiro, Brazil, that was the debarkation point of an estimated 900,000 enslaved Africans; and the <a href="https://www.slaverymonuments.org/items/show/1152" target="_blank" rel="noopener">Mémorial de l'abolition de l'esclavage</a> in Nantes, France, on the Quai de la Fosse along the Loire River, the symbolic departure point of slave ships that sailed from France to Africa. Additional sites to be added include the Freedom Monument Sculpture Park along the Alabama River in Montgomery, Alabama, and the African Ancestors Memorial Garden at the International African American Museum located on Gadsden’s Wharf in Charleston, South Carolina. Note: All sites of slavery in West Africa can be found under the theme of the <a href="https://www.slaverymonuments.org/collections/show/14" target="_blank" rel="noopener">Transatlantic Slave Trade/Middle Passage.</a> Updated January 26, 2026 Contributor An entity responsible for making contributions to the resource Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Building and Structure Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mémorial de l'abolition de l'esclavage (Nantes, France) Subject The topic of the resource Subject (Topic) Abolition of slavery France--Nantes Slave ships Slavery--France Transatlantic slave trade Subject (Object Type) Memorial Description An account of the resource Erected as a space to remember the atrocities of slavery and to commemorate all past and present efforts to resist it, the memorial was constructed in Nantes—the former center of the French slave trade. Designed by an artist and an architect, it features an open-air staircase that leads to an underground space marked by strong geometric lines and a raw aesthetic. A long passageway, lined with subtle lighting showcases a series of wall panels that highlight key historical moments leading to the abolition of the slave trade. The memorial's clean, minimalist design invites quiet reflection. For an in-depth discussion of the memorial, see the website of the Mémorial de l'abolition de l'esclavage Nantes: https://memorial.nantes.fr/en/discovery/. Creator An entity primarily responsible for making the resource Wodiczko, Krzysztof (artist), 1943- Bonder, Julian (architect), 1962- Date A point or period of time associated with an event in the lifecycle of the resource March 25, 2012 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Building and Structures Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Quai de la Fosse, Passerelle Victor-Schoelcher, 44000 Nantes, France Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Discover the Memorial." Mémorial de l'abolition de l'esclavage Nantes. Accessed December 19, 2025. https://memorial.nantes.fr/en/. Furuto, Alison. "Memorial to the Abolition of Slavery / Wodiczko + Bonder." July 26, 2012. ArchDaily. Accessed December 19, 2025. https://www.archdaily.com/256516/memorial-to-the-abolition-of-slavery-wodiczko-bonder. Frith, Nicola. "The Art of Reconciliation: The Memorial to Abolition of Slavery in Nantes." In At the Limits of Memory: Legacies of Slavery in the Francophone World, eds. Nicola Frith and Kate Hodson, 68-89. Liverpool University Press, 2015. CIPDH-UNESCO. "Memorial to the Abolition of Slavery." Memorias Situadas: Sites of Memory Related to Serious Human Rights Violations. Accessed February 10, 2026. https://www.cipdh.gob.ar/memorias-situadas/en/lugar-de-memoria/memorial-de-la-abolicion-de-la-esclavitud/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:Mémorial_Abolition_Esclavage_-_Nantes_(FR44)_-_2022-09-18_-_1.jpg" title="Mémorial de l'abolition de l'esclavage" target="_blank" rel="noopener">Wikimedia Commons</a> Medium The material or physical carrier of the resource. Concrete; Corten steel; Glass; Wood Contributor An entity responsible for making contributions to the resource Consultants Thomas Long, Design Collaboration & Visualization, Graphic Design; Snehal Intwala, Nicholas Capone, James Shen, Ryan McClain, Bill Panasuik, Emmanuelle Chérel (Research); Patrick Charles (Design; Technical Consultant); Maximo Rohm, Ron Henderson, Michael Blier, (Landscape Consultants – USA). Glass Consultants: James Carpenter, James Carpenter Design Associates (preliminary phase); RFR Engineurs, Paris – Philippe Bompas & Nicolo Baldassini (development & construction). Historic Advisors: David Blight, Gilder Lehrman Center on Slavery, Resistance & Abolition, Yale University; Sven Beckert, Harvard University; Kirk Savage, Pittsburgh University; Vince Brown, Duke University. Ville Nantes– Nantes Métropole: Jean-Marc Ayrault, Former Député-Maire de Nantes / Current French Prime Minister; Yannick Guin, conseiller municipal; Octave Cestor, conseiller municipal; Marie-Hélène Jouzeau, directrice Patrimoine et tourisme; Hervé Guégan, chef de projets, Atelier urbain, Nantes Métropole; Jean-Pierre Brindel, directeur Atelier urbain, Nantes Métropole; Aurélie Roger, directeur projets Atelier urbain, Nantes Métropole. Maitre D’Oeuvre: Arcadis Engineurs, Gildas Legall, Bruno Vasseur, Francois Bailly; Roulleau Architectes, Nantes – Michel Roulleau, Jean Marie Beslou. Construction: General Construction: DLE Ouest, Nicholas Boterf; Glass Wall: Polar, Torino, Paolo Cherasco; Inserts: Atelier Barrois, Brioude, Emmanuel Barrois; Lighting: Citelum, Nantes; Landscape: ISIS Espaces Vertes, Nantes; Steel/Metals: CMR, St. Nazaire, Nantes Rights Information about rights held in and over the resource Château des Ducs de Bretagne, Musée d’Histoire de Nantes 4, place Marc Elder, 44000 Nantes, France Has Part A related resource that is included either physically or logically in the described resource. Glass plaque with Universal Declaration of Human Rights, Article 4: No one shall be held in slavery or servitude; slavery and the slave trade shall be prohibited in all their forms. Glass plaques with the word "freedom" translated into 47 languages: Freedom (English) Freiheit (German) Libertad (Spanish) Vrijheid (Dutch) Liberdade (Portuguese) Frihed (Danish) Frihet (Norwegian) Свобода (Russian) Vryheid (Swedish) Huriya (Arabic) Yεrεma honron ya (Bambara) Fכundi (Baoulé) Libèté (Haitian creole) Libèté (Cuban creole) Libèté (Jamaican creole) Libèté (Barbadian creole) Libèté (Louisiana creole) Liberdade (Brazilian creole) Liberte (Reunionnais creole) Liberte (Mauritian creole) Libèté (Guadeloupean creole) Libèté (Guyanese creole) Hכrכnya / Hôrônya (Diola) ablɔɖe (Ewé (Togo) Fahodzi (Fang Cameroon) mɛɖesusi jijɛ (Fongbe) Vryheid (Khoïsan) Kimpwanza (Kikongo) Ufolo (Kimbundu) Fahafahana (Malagasy) Hכrכnya / Hôrônya (Malinké) Foroyaa (Mandinka) Hכrכnya / Hôrônya (Senufo) jeg a xoox of (Serer) Xornimo (Somali) Hכrכnya / Hôrônya (Susu) Uhuru (Swahili) Ahofadi (Twi) Lipanda (Vili) Mom sa bop (Wolof) Inkululeko (Xhosa) òmìniraàyèìjælá ìlúayélujára (Yoruba) Inkululeko (Zulu) Yancìì (Hausa) fridɔm (Krio) lɛgbɔɔɓa (Kpelewo) 90-meter glass plate wall with quotations (Grand Passage): Derek Walcott, "Memory," in The Sea is History, 1979 "Where are your monuments, your battles, martyrs? Where is your tribal memory? Sirs, in that gray vault. The sea. The sea has locked them up. The sea is History." Où sont vos monuments, vos batailles, martyrs? Oú est votre mémoire tribale? Messieurs, dans ce gris coffre-fort. La mer. La mer les a enfermés. La mer est l’Histoire. Mary Prince, The History of Mary Prince, a West Indian slave, related by herself, 1831 (Bermudes) "I then saw my sisters led forth, and sold to different owners; so that we had not the sad satisfaction of being partners in bondage. When the sale was over, my mother hugged and kissed us, and mourned over us, begging of us to keep up a good heart, and do our duty to our new masters. It was a sad parting; one went one way, one another, and our poor mother went home with nothing." Puis j’ai vu mes soeurs être emmenées et vendues à différents propriétaires pour que nous n’ayons pas la maigre consolation d’être partenaires dans l’esclavage. À a fin de la vente, ma mère nous a prises dans ses bras, embrassées, pleurées et suppliées de garder un cœur blanc et d’obéir à nos nouveaux maîtres. Ce furent des adieux déchirants; nous sommes parties chacune de notre côté, et notre pauvre maman est rentrée seule á la maison." Victor Schrelcher, Des colonies françaises, 1842 (France) “Si, comme le disent les colons, on ne peut cultiver les Antilles qu’avec des esclaves, il faut renoncer aux Antilles. La raison d’utilité de la servitude pour la conservation des colonies est de la politique de brigands. Une chose criminelle ne doit pas être necessaire. Périssent les colonies, plutôt qu’un principe.” Quotations include the words of Paul Laraque (1994), Adam Smith (1776), Frederick Douglass (1845), Toussaint Louverture (1793), Olaudah Equiano (1789), Abraham Lincoln (1863), Olympe de Gouges (1788), Léger-Félicité Sonthonax (1793), Bob Marley (1980), Frantz Fanon (1952), Axel Gauvin (1983), Abbé Grégoire (1822), Martin Luther King (1963), Aimé Césaire (1939), Toni Morrison (1987), Nelson Mandala (1994), Louis Timagène (1844), Maryse Romanos (1998), Louis Delgrès (1802), and Léopold Sedar Senghor (1977). For a booklet with all of the quotations etched into the glass wall at the Mémorial, see https://memorial.nantes.fr/wp-content/uploads/2017/03/citations_francais.pdf. Chronology of Abolition (west end of Grand Passage): 1777: Abolition of slavery in Vermont. 1780: Progressive emancipation of slaves in Pennsylvania. 1783: Progressive emancipation of slaves in Massachusetts and New Hampshire. Progressive emancipation of slaves in Rhode Island and Connecticut. August, 26 1789: Declaration of the Rights of Man and of the Citizen, France. 1793: The commissioner of the Republic, Monsieur Sonthonax, abolished slavery in the French possession of Saint-Domingue. 1794: The Convention voted the decree of the abolition of slavery, extending Sonthonax’s abolition to the other French colonies. 1802: Reinstatement of the slave trade by Napoleon Bonaparte in compliance with the laws existing before 1789. 1803: Abolition of the slave trade in Denmark. 1804: Abolition of slavery in Haiti. 1806: Britain banned the slave trade for British subjects. 1807: The United States banned the importation of captives and slaves. Britain banned the slave trade on African coasts. Abolition of slavery in Prussia. 1808: The United States banned the slave trade. 1814: Holland banned the slave trade. 1815: During the Vienna Congress, the principal European powers (Austrian Empire, Great Britain, France, Portugal, Russia, and Sweden) made a commitment to end the slave trade. But the practice persisted undercover. During the Hundred Days, Napoleon 1st signed a decree banning the slave trade. 1817: French Law abolished the slave trade. It was reinstated on April 25, 1827 and on February 2, 1831. 1821: Peru: all descendants of slaves born after this date were free, progressive emancipation of those born earlier and prohibition of the slave trade. 1822: Abolition of slavery in Santo Domingo. The state of Liberia was founded in West Africa by an American Colonization Company for the resettlement of former slaves. 1823: Abolition of slavery in Chile. 1824: Abolition of slavery in Costa Rica, Honduras, Panama, Belize, Salvador, Guatemala. 1826: Abolition of slavery in Bolivia. 1827: Second French law banning the slave trade. 1829: Abolition of slavery in Mexico. 1830: Abolition of slavery in Uruguay. 1833-1838: Enactment of the Abolition bill that provides for a progressive abolition of slavery in the British colonies (West Indies, British Guiana, Mauritius and India). 1836: Complete abolition of slavery in the British colonies. Abolition of slavery in Nicaragua. 1840 and 1843: Global anti-slavery convention in London. 1842: Abolition of slavery in Uruguay and Paraguay. 1846: Abolition of slavery in Tunisia. 1846-1848: Abolition of slavery in the Danish Virgin Island colonies. Saint-Thomas, Saint-Jean, Sainte-Croix. 1847: Abolition of slavery in the Swedish colony of Saint-Barthélemy. 1848: The abolition of slavery was decreed on April 27, 1848 in the French colonies (Martinique, Guadeloupe, Guiana, The Reunion Island). 1850: Official abolition of the slave trade in Brazil. However it continued illegally. 1851: Abolition of slavery in Columbia and Ecuador. 1853: Abolition of slavery in Argentina. 1854: Abolition of slavery in Venezuela, Jamaica, and Peru. 1861: Ban of serfdom in Russia. 1863: Abolition of slavery in the Dutch colonies in the Caribbean and Indonesia. 1865: Enactment of the 13th Amendment banning slavery in the United States. 1866: Spanish decree banning the slave trade. 1869: Abolition of slavery in Portuguese colonies. 1873: Abolition of slavery in Puerto Rico, a Spanish colony at the time. 1876: Abolition of slavery in Turkey. 1885: Adoption of measures against slavery in Africa at the Berlin Conference. 1886: Abolition of slavery in Cuba. 1888: Effective abolition of slavery in Brazil. For the full chronology, see the website of the Mémorial de l'abolition de l'esclavage Nantes: https://memorial.nantes.fr/en/key-dates-in-the-chronology-of-abolitions/#contenu. concrete Corten steel etched glass slave ship wood https://mail.slaverymonuments.org/files/original/d4dbce60899b4fc20122a8ae82ebe46a.JPG 65361dae76cb37f23fdd85cd69a6c29e https://mail.slaverymonuments.org/files/original/560cfd3225954cb3b87e93efe88545de.JPG 08a4033ec882f80fbfa5450f7e00768e https://mail.slaverymonuments.org/files/original/5289baabf728d2eb3e3988b18fbd9bff.JPG 9be4f3542847d539d2ac8c4544a84f63 https://mail.slaverymonuments.org/files/original/6258a1efa74542c3911d9a274a0e49c8.JPG f9651c5fc8b85e73f5ec5afcc4a6218e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource United States Colored Troops (USCT) Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource Included in this thematic collection are seventeen memorials that honor the vital contributions of the United States Colored Troops (USCT) to the Union victory during the American Civil War. The first all-Black units formed unofficially in Louisiana (Louisiana Native Guard, 1862); South Carolina (First South Carolina Volunteer Infantry, 1862-63); and Kansas (First Kansas Colored Infantry, 1862-63). The first official authorization to employ African Americans in federal service was the Second Confiscation and Militia Act of July 17, 1862. The Confiscation Act allowed Union officers to free enslaved men and put them to work as army laborers. However, Abraham Lincoln did not fully authorize the use of Black men in combat until the issuance of the Emancipation Proclamation on January 1, 1863. Beginning in late January 1863, Governor John A. Andrews of Massachusetts raised the first regiment of Black soldiers in the North, the Massachusetts 54th Volunteer Infantry. The abolitionist Frederick Douglass helped recruit men for the Massachusetts 54th, famously issuing a call to free African American men to join the Union Army. In a speech, “Men of Color, To Arms!”, delivered in Rochester, New York on March 2, 1863, Douglass urged his fellow free men of color to fight for the end of slavery and for their freedom: "By every consideration which binds you to your enslaved fellow-countrymen, and the peace and welfare of your country; by every aspiration which you cherish for the freedom and equality of yourselves and your children; by all the ties of blood and identity which make us one with the brave black men now fighting our battles in Louisiana and in South Carolina, I urge you to fly to arms, and smite with death the power that would bury the government and your liberty in the same hopeless grave." On May 22, 1863, the U.S. War Department issued General Order No. 143, authorizing the creation of the Bureau of Colored Troops. By the end of the Civil War, over 200,000 men, including white officers, served in 175 regiments of the USCT, which made up ten percent of the Union army. The compiled military records of the men who served in the USCT can be found in the National Archives and Records Administration. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Memorial to the 2nd Regiment Infantry, U.S. Colored Troops (Fort Myers, Florida) Subject The topic of the resource Subject (Topic) African Americans--History Florida--Fort Myers Public art Public sculpture United States Colored Troops Subject (Object Type) Commemorative sculpture Description An account of the resource The over life-sized work depicts a sergeant in the United States Colored Troops 2nd Regiment standing in front of an open gate within a wall. The soldier is framed by two granite plaques mounted on each wall. The plaque on the left is a description of the important contribution of the 2nd Regiment during the Civil War. The plaque on the right contains a poem, written by D.J. Wilkins. Creator An entity primarily responsible for making the resource Wilkins, D. J., 1945-2021 Source A related resource from which the described resource is derived Photographs by Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource November 11, 1998 Contributor An entity responsible for making contributions to the resource Fort Myers Beautification Advisory Board; City of Fort Myers, Florida Rights Information about rights held in and over the resource City of Fort Myers, 2200 Second Street, Fort Myers, Florida, 33901, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Centennial Park, 2000 W First St, Fort Myers, FL 33901, United States Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Clayton Has Part A related resource that is included either physically or logically in the described resource. Inscription on left plaque: This Memorial is dedicated to The 2nd Regiment Infantry, U.S. Colored Troops and Companies D and I which served at The Battle of Fort Myers. On July 20, 1861, U.S. Army Officer Major French wrote to U.S. Naval Officer McKean, "I have information that a schooner fitted out as a slaver is in the Caloosahatchee River. Her appointments, I am told, are full...." On February 20, 1865, Confederates of the 1st Battalion, Florida Special Cavalry attacked Fort Myers. The attack erupted into a cannon duel with the 2nd USCT in charge of artillery. The New York Times reported: "The colored soldiers [at Fort Myers] were in the thick of the fight. Unconscious of danger,their constant cry was to 'get at them'...." At nightfall, the Confederate force withdrew. A Confederate participant later recalled: "It was seen that nothing was accomplished." The Battle of Fort Myers marked the final action of the 2nd USCT in South Florida. Companies D and I left Fort Myers in March of 1865. Fort Myers was then decommissioned. USCT Troops freed and enlisted over 1,000 of the enslaved in Florida during the Civil War." Inscription on right plaque: In Freedom Cover Me The war between the states it's called to make us all one people one man's bullet is another man's death in this God makes us equal. The men who died in the fight today all knew this was the start of some new age yet undefined of which we're all a part. This Union Flag I stand beneath is what's protecting me from a life of moral death a life in slavery. When muskets fire if I should fall in freedom cover me with these stars from this flag like leaves from God's great tree. - Clayton Medium The material or physical carrier of the resource. Bronze; Granite; Concrete Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Calligan, Tara. "An About-Face: A Monument Honoring Black Union Soldiers is Re-Turned to Face Centennial Park in Downtown Fort Myers." WGCU PBS and NPR for Southwest Florida, July 31, 2022. Accessed February 11, 2026. https://www.wgcu.org/2022-07-29/about-face-a-monument-honoring-black-union-soldiers-turns-towards-centennial-park. Alan Skerrett, Jr, ed. "Monuments to the United States Colored Troops (USCT) [African American Civil War Soldiers: The List." Jubilo! The Emancipation Century Blog, May 30, 2011. Accessed February 11, 2026. https://jubiloemancipationcentury.wordpress.com/2011/05/30/monuments-to-the-united-states-colored-troops-usct-the-list/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater bronze Civil War concrete figurative granite inscription poetry https://mail.slaverymonuments.org/files/original/ef3a6a485eb1c5d26c0e6c78475df69e.jpg ef2fa2fe9b0d94f479d127288bf1bb73 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 120 x 48 x 48 in. (304.8 x 121.92 x 121.92 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 Dred and Harriet Scott Statue (St. Louis, Missouri) Creator An entity primarily responsible for making the resource Weber, Harry, 1942- Subject The topic of the resource Subject (Topic) Antislavery movements--United States Enslaved persons--Emancipation--United States Missouri--St. Louis Public art Public sculpture Resistance Slavery--Missouri Subject (Name) Scott, Dred, 1799-1858 Scott, Harriet, 1815-1876 Subject (Object Type) Commemorative sculpture 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 Extent The size or duration of the resource. 120 x 48 x 48 in. (304.8 x 121.92 x 121.92 cm) Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource June 8, 2012 Contributor An entity responsible for making contributions to the resource Dred Scott Heritage Foundation: Lynne M. Jackson; National Park Service; Vladimir Zhitomirsky, VMD Sculpting; McCarthy Building Companies (Mark Smith, Mark Weiss and Dustin Roberts); KPFF Consulting Engineers; Rosch Companies; McFry Excavating; Geotechnology, Inc.; Rebar Specialist Inc.; Wilson Concrete, Vee-Jay Cement; Budrovich, Inc; Thomas Bradley and Frank Mares Rights Information about rights held in and over the resource Regional Arts Commission of St. Louis, 6128 Delmar Boulevard, St. Louis, Missouri, 63112, United States Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Old Courthouse, 11 N 4th Street, St. Louis, Missouri, 63102, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on base of work: Dred and Harriet Scott filed suit for their freedom at this courthouse in 1846. Their case reached the United States Supreme Court and was decided in 1857. The court ruled that the Scotts and all African Americans were not citizens of the United States. Opposition to the decision was one of the causes of the Civil War and led to the Thirteenth, Fourteenth, and Fifteenth Amendments to the Constitution. The Scotts' struggle for freedom stands as a defining moment in the history of the Civil Rights Movements. Dedicated June 8, 2012 Gift of the Dred Scott Heritage Foundation Harry Weber, Sculptor Description An account of the resource A figurative statue of Dred and Harriet Scott. Dred Scott wears a suit with tie. He reaches his left arm behind Harriet Scott, embracing her; they also hold hands. Harriet Scott wears a full-length dress and turns her head upward. Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:Dred_and_Harriet_Scott_Statue_2_(8257d8fd-c3a1-3d14-164d-d0961fc37038).jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Weber, Harry. "About: Dred and Harriet Scott." Regional Arts Commission of St. Louis. Accessed April 30, 2021. https://racstl.org/public-art/dred-and-harriet-scott/. bronze figurative portrait https://mail.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg 7268cf848b31fc83b60b54a1c5e60661 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture 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 Sojourner Truth Memorial Statue (Florence, Massachusetts) Creator An entity primarily responsible for making the resource Warren, Thomas Jay, 1958- Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Massachusetts--Florence Public art Public sculpture Women--Suffrage Subject (Name) Truth, Sojourner, c. 1797-1883 Subject (Object Type) Commemorative sculpture Description An account of the resource The life-size bronze figure of Sojourner Truth stands at the center of a square concrete base. Truth is shown bespectacled, wearing a period-appropriate head covering, long scarf, and floor-length dress. Her arms are open at her side, in an inviting gesture. She holds a walking stick in her right hand. Source A related resource from which the described resource is derived Photograph: <a href="https://sojournertruthmemorial.org/about-us/memorial-statue/" target="_blank" rel="noopener">Sojourner Truth Memorial Committee</a> Date A point or period of time associated with an event in the lifecycle of the resource October 6, 2002 Contributor An entity responsible for making contributions to the resource Sojourner Truth Memorial Statue Committee; Massachusetts Monument Grants program; Florence Savings Bank; Smith College; Community Foundation of Western Massachusetts; Denig Design Associates of Northampton 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 Sojourner Truth Memorial Park, 121 Pine Street, Florence, Massachusetts, 01062, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque set in concrete (1): The Northhampton Association of Education and Industry was a number of utopian communities that arose during in the 1840s. Its members were ardent abolitionists who believed in equality for blacks and women. The Association served as a haven for radical reformers and was a stop on the Underground Railroad. Sojourner Truth and David Ruggles, a well-known African-American abolitionist, were valued members. Engaged in silk manufacturing and other economic activities, the Association paid all workers equally. Frederick Douglass remembers its people as "the most democratic I have ever met. There was no high, no low, no masters, no servants, no white, no black."  In 1993, the Committee for Northampton was formed to dismantle racism and to call for social justice. This memorial was inspired by the life of Sojourner Truth and the interracial community to which she belonged. Welcome to this site and to this cause. Bronze plaque set in concrete (2): Sojourner Truth was born a slave named Isabella in upstate New York in 1797. She worked for a series of five masters while raising five children. When slavery ended in New York State in 1827, she settled in New York City. A deeply religious woman, Isabella took the name Sojourner Truth after God spoke to her. She was 46 years old when she set out walking and preaching through Long Island and Connecticut. Eventually, she reached Massachusetts and joined the Northampton Association of Education and Industry. From her home here in what is now Florence, Truth broadened her mission and began speaking out for the abolition of slavery and for women's rights. Small bronze plaque: A gift to the City of Northampton 2002 Sculptor: Thomas Jay Warren Landscape Architect: Denig Design Associates <a href="http://www.johnsendelbach.com/2023/06/sojourner-truth-memorial-florence-ma.html"></a> Bronze plaque set in concrete (3): After the demise of the Northampton Association, Samuel L. Hill and others founded the factory village of Florence. With Hill's help, Sojourner Truth brought her home on Park Street. Unable to read or write, Truth dictated her story to a neighbor, The Narrative of Sojourner Truth, was published in 1850. She became well-known as an orator, singer, evangelist, abolitionist and reformer, selling her Narrative and photographs of herself throughout the nation.  Although she moved to Battle Creek, Michigan, in 1857, she was fondly remembered in Florence, where her wisdom and wit were especially valued. Samuel Hill noted that his long aquaintance with Sojourner Truth confirmed her "title to the name you have chosen, and its record in humanity's 'Book of Life.' Medium The material or physical carrier of the resource. Bronze; Concrete Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Sojourner Truth Memorial Committee. “Memorial Statue.” Accessed October 31, 2019. https://sojournertruthmemorial.org/about-us/memorial-statue/. Western Massachusetts Master Gardner Association. "Sojourner Truth Memorial Park." Accessed February 19, 2025. https://www.wmmga.org/content.aspx?page_id=22&club_id=101643&module_id=227884. Mass Moments. "Northampton Dedicates Sojourner Truth Statue." October 4, 2022. Accessed October 31, 2019. https://www.massmoments.org/moment-details/northampton-dedicates-sojourner-truth-statue.html. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Rights Information about rights held in and over the resource Western Massachusetts Master Gardener Association, 481 Station Road, Amherst, Massachusetts, 01002, United States bronze concrete figurative portrait