1 10 134 https://mail.slaverymonuments.org/files/original/79ef8ac94602f4840bc28fa08673092a.jpg b383505d4c9ce4af56b3796fb2334bca https://mail.slaverymonuments.org/files/original/701ccf20c9bca12773a15897953f029e.jpg 6576834d1d12d6b899c8bb6576279297 https://mail.slaverymonuments.org/files/original/c79a5f52ba08d07bf12e1a44682089be.jpg 2f7622f6f8c17f6a194d7dc2a941d9f8 https://mail.slaverymonuments.org/files/original/56564e9cd4b820da54db98f77c8c358b.jpg 7297ce0f98450cf89c7a314be031f213 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture; Memorial Arch Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La Porte du Non Retour (Ouidah, Republic of Benin) Subject The topic of the resource Subject (Topic) Republic of Benin--Ouidah Slave markets Slave ships Slavery--Benin Transatlantic slave trade Subject (Object Type) Commemorative sculpture Memorial Arches Description An account of the resource Located on the sandy shores of Ouidah, Benin, the monumental concrete painted red and yellow and the metal sculptures that flank it, commemorate the horrors of the transatlantic slave trade. The memorial gate, which marks the point where African captives were forced onto transatlantic slave ships, is connected by a path, known as the “Slave Route,” to the market square, where enslaved people were once sold. The memorial arch is embellished with a frieze, depicting two lines of enslaved people bound at their hands and chained together as they walk towards waiting ships. The columns are adorned with sculptures depicting men and women captives, Their extremities bound, as they kneel and await their fate in Portuguese-built forts. The back of the gate is adorned with depictions of their native towns. Yves Ahouangnimon was the architect for the project; Fortuné Bandiera created figures and bas reliefs on the columns; Yves Apollinaire Pèdé created the bas-reliefs on the center arch and two free-standing egungun; and Dominique Kouas created the copper statues. Creator An entity primarily responsible for making the resource Ahouangnimon, Yves Bandiera, Fortuné, 1953- Kouas, Dominique, 1952- Pédé, Yves Apollinaire, 1959-2019 Date A point or period of time associated with an event in the lifecycle of the resource November 30, 1995 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Route des Pêches, la plage de Ouidah, 8399+69M, Ouidah, Benin Medium The material or physical carrier of the resource. Concrete; Bronze; Copper Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Araujo, Ana Lucia. "Political Uses of Memories of Slavery in the Republic of Benin." History in Focus, no.12 (Spring 2007). Accessed February 27, 2026. https://archives.history.ac.uk/history-in-focus/Slavery/articles/araujo.html. Law, Robin. "Commemoration of the Atlantic Slave Trade in Ouidah." Gradhiva: Revue d'anthropologie et d'histoire des arts (2008): 11-27. Akhtar, Saima and David H. Colmenares. "The Slaving Port of Ouidah and Monumental Discourse around the Atlantic Perimeter." Medium, Art Histories and Aesthetic Practices Blog, January 27, 2016. Accessed May 13, 2019. https://medium.com/from-traditional-to-contemporary-aesthetic/the-slaving-port-of-ouidah-and-monumental-discourse-around-the-atlantic-perimeter-a41968341a57. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photographs: Flickr: <a href="https://www.flickr.com/photos/dantoujours/33680680066/in/album-72157678589698644/" target="_blank" rel="noopener">"Door of No Return -- Ouidah, Republic of Benin 2017" by Dan Sloan, CC BY-SA-2.0</a>. Photograph of UNESCO commemorative plaque: <a href="https://commons.wikimedia.org/wiki/File:Porte_du_non_retour_11.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Contributor An entity responsible for making contributions to the resource Gouvernement de la République du Bénin and UNESCO Rights Information about rights held in and over the resource Ministère du Tourisme, de la Culture et des Arts, Gouvernement de la République du Bénin, Palais de la Marina, 01 BP 2037 Cotonou, Benin Extent The size or duration of the resource. Unknown Has Part A related resource that is included either physically or logically in the described resource. Inscription on marble plaque on right side of arch: Ce Monument Commemoratif A Ete Inauguree Le 30-11-95 Par Son Excellence Le President Nicephore Dieudonne Soglo Et Le Directeur General De L'UNESCO Monsieur Federico Mayor A L'Occasion De La Celebration De L'Annee 1995 Comme L' Annee Internationale De La Tolerance English translation: This Memorial Was Inaugurated On November 30, 1995 By His Excellency President Nicephore Dieudonne Soglo And The Director-General Of UNESCO Mr. Federico Mayor On The Occasion Of The Celebration Of The Year 1995 As The International Year Of Tolerance Inscription on marble plaque on left side of arch: LA PORTE du NON retour --Ses Figurines et ses bas-relief en colonnes d'esclaves a été conue et réalisée par Fortuné Bandeira --L'agencament ou terrassement par l'Architect Ahouangnimon Yves --Les Statues en cuivre rouge par Gnonnou Dominique Kouass --Les bas-relief du mur de ceinture et les deux Statues répresentant des Egun-Egun (Esprit des esclaves) par Yves Kpede -Sous la présidence du Ministre d'Etat Désiré Vieyra et la coordination de Mr. Noureini Tidjani-Serpos English translation: THE GATE OF NO RETURN --Its figurines and bas-reliefs on columns of slaves were designed and created by Fortuné Bandeira --The layout and earthworks by architect Ahouangnimon Yves --The red copper statues by Gnonnou Dominique Kouass --The bas-reliefs on the surrounding wall and the two statues representing Egun-Egun (spirits of slaves) by Yves Kpede -Under the chairmanship of Minister of State Désiré Vieyra and the coordination of Mr. Noureini Tidjani-Serpos bas-relief bronze concrete figurative https://mail.slaverymonuments.org/files/original/02ba49b9d8557ae157057c81bd5e42c0.jpg 5941330f916def3f23f3daca4efd4b50 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 Nkyinkyim (Montgomery, Alabama) Subject The topic of the resource Subject (Topic) Alabama--Montgomery Enslaved persons Equal Justice Initiative Slavery--Alabama Transatlantic slave trade Subject (Object) Commemorative sculpture Description An account of the resource Located on the grounds of The National Memorial for Peace and Justice in Montgomery, Alabama, Nkyinkyim is a sculptural grouping that is dedicated to the memory of the enslaved Africans who were victims of the transatlantic slave trade. This work depicts a coffle of seven seminude enslaved African men and women, bound by rusted shackles around their wrists, ankles, and necks. A man and a woman kneel on the ground, their shackled arms outstretched behind their backs, as they lean forward and away from the center of the monument. Between them, a standing Black male figure leans forward, pulled by two chains binding his neck shackle to those of others. Another woman, holding a screaming baby, reaches for the arm of a male figure standing before her with a look of desperation, while he stares straight ahead, his feet firmly planted. A pair of open shackles lie at the woman’s feet. The seventh figure depicts a pregnant enslaved woman squatting low to the ground, her shackled hands outstretched behind her. Creator An entity primarily responsible for making the resource Akoto-Bamfo, Kwame, 1983- Source A related resource from which the described resource is derived Photograph: <a href="https://www.flickr.com/photos/mdelli/43388298332/in/photostream/" target="_blank" rel="noopener">Michael Delli Carpini, Flickr, CC BY-NC 2.0</a> Date A point or period of time associated with an event in the lifecycle of the resource April 26, 2018 Contributor An entity responsible for making contributions to the resource Equal Justice Initiative Rights Information about rights held in and over the resource Equal Justice Initiative, 122 Commerce Street, Montgomery, Alabama, 36104, 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 National Memorial for Peace and Justice, 417 Caroline Street, Montgomery, Alabama, 36104, United States Medium The material or physical carrier of the resource. Concrete; Resin 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. Ater, Renée. “The National Memorial for Peace and Justice (Equal Justice Iniati Initiative).” Smarthistory, January 2019. https://smarthistory.org/national-memorial-for-peace-and-justice/. Sheets, Hilarie M. “Freedom Monument Sculpture Park’s Unflinching Look at Slavery.” The New York Times, October 11, 2023. Accessed October 22, 2024. https://www.nytimes.com/2023/10/11/arts/design/freedom-monument-sculpture-park-alabama.html Equal Justice Initiative. “EJI Releases Video on Sculpture about Enslavement.” Accessed March 4, 2026. https://eji.org/news/eji-releases-video-sculpture-about-enslavement/. chains concrete figurative manacles shackles https://mail.slaverymonuments.org/files/original/5f6378537d207a1cc73bf0137e10fa5c.jpeg 8569d239dc28d02956bcfef1e567c3a3 https://mail.slaverymonuments.org/files/original/9afb9aa834b3a6b2f73112e710e15bdf.jpeg 461c001bd664900aaf6ae83f4f8d7e67 https://mail.slaverymonuments.org/files/original/644459b72f60e76ba4cdacf17f558eb0.jpeg 733d1b934987e5c0301f4dabdd411922 https://mail.slaverymonuments.org/files/original/b7e2e84058dd97d7aa48d31fa9c0fbab.jpeg 84576277d0910bf87205c504b3f1fee7 https://mail.slaverymonuments.org/files/original/2de75cbfc675c3f6f221d1d8aadb0289.jpeg 8905b138c5bf106c4ac11c3c063dcc1a https://mail.slaverymonuments.org/files/original/2265296b4d34d487c98e451c6f485e69.jpeg a46c3a14f752eb1941b1a174a5c19ecf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Universities and Slavery Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments in this collection examine the intertwined histories of American universities and slavery. In his book, Ebony and Ivy: Race, Slavery, and the Troubled History of America’s Universities (2013), Craig Steven Wilder examines how universities and colleges were established and expanded because of the massive wealth they accrued from the transatlantic slave trade and slavery. Slave traders became the principal financiers of endowed faculty chairs and were appointed as university trustees, and colleges and universities made special efforts to recruit the sons of the slaveholding elite. Presidents of universities also held Black people in bondage, for example, Princeton’s first nine university presidents owned enslaved people. Universities and colleges such as the University of Virginia have recognized how enslaved people labored on their campuses, waiting on faculty and students and tending to their grounds. Just as importantly, the classes at many universities upheld the logic of racism foundational to American slavery. As researchers at Rutgers found, “The faculty and curriculum at Rutgers and other early American colleges reinforced the theological and scientific racism that provided the ideological and spiritual justification for the free labor of Africans, the absolute power of slave owners, and the separation of the races.” Often responding to pressure from students and activists, universities and colleges across the United States have begun to think more critically about how to address the complex, untold, and painful history of slavery and its ongoing legacy on their campuses. The memorials in this collection, such as the University of Virginia’s <a href="https://www.slaverymonuments.org/items/show/1127" target="_blank" rel="noopener" title="https://www.slaverymonuments.org/items/show/1127">Memorial to Enslaved Laborers</a> are intended as spaces for learning, healing, and reconciliation. In addition to building monuments, universities are also attempting to redress and repair their relationship with communities most affected by slavery. William and Mary’s Lemon Project, for example, focuses on “contributing to and encouraging scholarship on the 300-year relationship between African Americans and William and Mary, and building bridges between the university and Williamsburg and Greater Tidewater area.” Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 240 x 180 in. (609.6 x 457.2 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 From Absence to Presence, Commemorative to Enslaved Peoples of Southern Maryland (St. Mary's City, Maryland) Creator An entity primarily responsible for making the resource Allbritton, Shane, 1974- RE:site Studio Lee, Norman, 1972- RE:site Studio Baker, Quenton (poet), 1985- Subject The topic of the resource Subject (Topic) Enslaved persons Maryland--St. Mary's City Public art Public sculpture St. Mary's College of Maryland Slavery--Maryland Subject (Object Type) Commemorative sculpture Source A related resource from which the described resource is derived Photographs by Renée Ater<a href="https://www.smcm.edu/commemorative/%20" target="_blank" rel="noopener"></a> Date A point or period of time associated with an event in the lifecycle of the resource November 20, 2020 Contributor An entity responsible for making contributions to the resource METALAB (design optimization/management); Merge Studios (fabrication/installation); The Commemorative Selection Committee; St. Mary's College of Maryland; Governor Larry J. Hogan and the State of Maryland; Dr. Jeffrey J. Byrd and Mrs. Elizabeth A. Byrd; Maryland Heritage Areas Authority; Maryland State Arts Council; Southern Maryland Heritage Area Consortium Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Description An account of the resource The installation is shaped to evoke the frame of a slave cabin, constructed from alternating horizontal rows of wooden clapboards and mirror-polished, stainless-steel panels. The reflective surfaces mirror the surrounding environment, while the hollow interior, which is inaccessible to the public, suggests a private space for reflection and introspection. Inscribed across the stainless-steel panels are redacted text from slave advertisements and runaway slave notices from Southern Maryland—erasure poetry by Quenton Baker—that extend across the walls and roof, weaving erased memory and acts of commemoration into the entire structure. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 47777 Mattapany Road, St. Mary's City, Maryland, 20686, United States Rights Information about rights held in and over the resource St. Mary's College of Maryland, 47645 College Drive, St. Mary's City, Maryland, 20686, United States Type The nature or genre of the resource Building and Structures Visual Arts-Sculpture Medium The material or physical carrier of the resource. Steel frame; Polished mirror stainless steel; Tropical hardwood Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. St. Mary's College of Maryland. "About the Commemorative." Accessed May 3, 2021. https://www.smcm.edu/honoring-enslaved/about-commemorative/. SEGD. "From Absence to Presence, The Commemorative to Enslaved Peoples of Southern Maryland: Honor Award 2022." SEGD, Projects. Accessed February 10, 2026. https://segd.org/projects/from-absence-to-presence-commemorative-to-enslaved-peoples-of-southern-maryland/. King, Julia A. "Notice is Hereby Given: The Commemorative to Enslaved Peoples of Southern Maryland." In Grappling with Monuments of Oppression, eds. Christopher C. Fennell. 156-171. Routledge, 2025. Wilder, Craig Steven. Ebony and Ivy: Race, Slavery, and the Troubled History of America's Universities. Bloomsbury Publishing, 2014. Has Part A related resource that is included either physically or logically in the described resource. History of site information plaque: From Absence to Presence, Commemorative to Enslaved Peoples of Southern Maryland History of the Site Between 1750 and 1815, this field was home to three or four enslaved households. They labored for John Hicks and later John Mackall, both planters whose wealth was built on slave labor. Here along Mattapatty Road--then the main route into St. Mary's City--this housing compound, and another one across the road, would have been visible to all who passed by. In 2016, St. Mary's College of Maryland archaeologists unearthed fragments of brick, ceramics, tobacco pipes and bottle glass suggesting where these families' cabins once stood. The archaeologists believe the houses were probably of rough log construction with wooden chimneys and brick hearths. The cabins probably had few or no windows and dirt floors. Inside the cabins and out of sight of plantation surveillance, the families furnished their homes with both plain and decorated ceramics, possibly purchased with money made selling garden vegetables. Traces of garden features were found in this vicinity and documents show that enslaved families or nearby plantations sold their produce in the neighborhood. Although enlsaved, the families living here were probably able to travel to nearby farms, to church, and to the store in nearby St. Inigoes. In 1814, during the War of 1812, the British Navy issued a call to enslaved people in Southern Maryland to join against Americans and thereby earn their freedom. Nineteen men, women, and children enslaved by John Mackall heeded the call and joined the British. Based on the absence of artifacts after 1814, archaeologists suspect that some of these individuals may have come from this compound. A short three years later, on Easter Monday in 1817, the memory of those who had self-emancipated still fresh in everyone's minds, free and enslaved, a group of an estimated 150-200 enslaved men gathered at a dram shop, or tavern, near the store in St. Inigoes. When the local constable attempted to break up the gathering, the men resisted, a melee ensued, and some men were arrested for insurrection. No doubt men from the Mackall plantation were involved in the uprising, although their names were not among the arrested. By uncovering this hidden Black landscape, both here in St. Mary's City and throughout Southern Maryland, we can understand not only the unfinished work of the American Revolution, but the African American role in the struggle for freedom for all. Object information plaque: From Absence to Presence, Commemorative to Enslaved Peoples of Southern Maryland Activist Angela Davis described the sacredness of slave quarters in the lives of enslaved people as "the only space where they could truly experience themselves as human beings." This form is inspired by the 'ghost frame' architecture found on the site of Historic St. Mary's City. Rows of erasure poetry are cut from mirrored surfaces, creating an oscillation between legibility and illegibility. We experience the loss or un-speakability within fragment historical narratives of slavery. The words of archival documents, from St. Mary's County, of historical runaway slave advertisements are "redacted" by clapboards to reveal an emergent narrative of enslaved people. The reflective nature of the walls suggests that even as viewers of the present day, we are not to penetrate the sacred private space of the enslaved people who were once present at the site. The Commemoration creates a juxtaposition between the current site of a campus sports field with the past of a slave plantation field, causing us to reflect on how our lives are connected to the lives of the enslaved peoples throughout history. At night, the words of poetry are illuminated and projected upon the ground, recalling the starburst motif found on some of the stoneware artifacts discovered at the St. Barbara's site. Academics speculate the star form may symbolize Anansi, a character originating in Asante folklore who unites society against hostile outside forces. Anansi undermined the plantation system, resiting slavery through self-emancipation. The starburst form also evokes the North Star, which played a key role in helping enslaved peoples to find their way: a beacon to truth north and freedom. The illuminated structure appears as a beacon keeping eternal vigil to the memory and resilience of the enslaved peoples who once lived, loved, worked and resisted on the grounds of St. Mary's College. Artists: Shane Albritton and Norman Lee (RE:site) with poet Quenton Baker. Commissioning Agent: St. Mary's College of Maryland This project was made possible with funds from: The State of Maryland, St. Mary's College of Maryland, Maryland State Arts Council, Maryland Heritage Areas Authority, Southern Maryland Heritage Area Consortium, Elizabeth and Jeffry Byrd. Extent The size or duration of the resource. 240 x 180 in. (609.6 x 457.2 cm) https://mail.slaverymonuments.org/files/original/5684ef628f59173d89021d2d5a5a969d.jpeg 9a690de4ea4132989c96828d0b78d80d 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 144 in. (365.76 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sojourner Truth Monument (Battle Creek, Michigan) Creator An entity primarily responsible for making the resource Allen, Tina, 1950-2008 Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Michigan--Battle Creek  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 monumental bronze figure of Sojourner Truth stands behind a concave wall, on an elevated semi-circular stage. She stands to the left of a lectern, her left arm outstretched at her side as she looks out at an imagined audience. She places her right hand on the book that rests atop the lectern. Truth is shown bespectacled, wearing a scalloped-edge bonnet, fringed shawl, and floor-length dress. A bronze plaque describing Truth’s life and accomplishments is affixed to the front of the lectern. The concave wall behind Truth is embellished with bronze plaques bearing quotes from Truth. Source A related resource from which the described resource is derived Photograph: <a href="https://freshwater-reporter.com/michigans-underground-railroad/" target="_blank" rel="noopener">Grace Grogan, Freshwater Reporter</a> Date A point or period of time associated with an event in the lifecycle of the resource September 25, 1999 Contributor An entity responsible for making contributions to the resource Sojourner Truth Institute of Battle Creek; The United Arts Council of Calhoun County 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 Monument Park, Division Street North and East Michigan Avenue, Battle Creek, Michigan, 49017, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque (lectern): This monument was dedicated by the people of Battle Creek, Michigan, on September 25, 1999. To preserve the image and honor of the legacy of Sojourner Truth (1797-1883), who lived in this area for the last 27 years of her life. Although she could neither read nor write, this charismatic ex-slave was empowered by a deep religious faith to carry her message of social reform and individual right across the country. Using humor, wit and song in her oratory, Sojourner Truth transformed national attitudes and institutions. The community inspired the vision of Truth which is embodied in this sculpture by internationally renowned artist Tina Allen. It is for each of us who stand here to carry on the work of Truth. Bronze plaque on brick wall (right): “… And Truth shall be my abiding name.” Bronze plaque on brick wall (left): “Lord, I have done my duty and I have told the Truth and kept nothing back.” Bronze plaque with Sojourner Truth’s signature: Because it was illegal to reach slaves, Sojourner Truth never learned to read or write. This is the only known example of her signature, which she wrote in an autograph book owned by Hattie Johnson, a local high school student, on April 23, 1880. (from the archives of the Historical Society of Battle Creek) Bronze plaque in front of statue: Sojourner Truth was born as the slave Isabella in New York State about 1797. As a child she spoke only low Dutch and, like most slaves, she never learned to read or write. While she was in bondage, she married Thomas, a fellow slave, and had five children. She was sold to four new owners before walking away to freedom in 1826. Isabella then settled in New York City until 1843, when she changed her name to Sojourner Truth. Relying on her deep religious faith, she was determined to travel the land as an itinerant preacher, speaking the truth and fighting against injustice. She became a prominent figure in several national social reform movements, working for the abolition of slavery, women’s rights, temperance, prison reform, and the rights of former slaves. Sojourner first came to Battle Creek in 1856 to speak to the Quaker Friends of Human Progress. She moved to the area a year later and lived here for the last twenty-six years of her life. She died on November 26, 1883, and is buried in Oak Hill Cemetery. Sojourner Truth was perhaps the most famous African American woman in 19th century America. For over forty years she was a passionate advocate for the dispossessed, using her quick wit and fearless tongue to fight for human rights. May her legacy live on. Extent The size or duration of the resource. 144 in. (365.76 cm) Medium The material or physical carrier of the resource. Bronze; Brick; 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. The Historical Marker Database. "Sojourner Truth Statue." Accessed February 20, 2025. <a href="https://www.hmdb.org/m.asp?m=177333">https://www.hmdb.org/m.asp?m=177333</a>. 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 City of Battle Creek, Michigan, 10 North Division Street, Battle Creek, Michigan, 49014, United States book bronze figurative portrait https://mail.slaverymonuments.org/files/original/67b8e27e6cda1fd8ef86bbd98e3d7660.jpeg 3e0da7e641426c2f436b23f168194bb2 https://mail.slaverymonuments.org/files/original/7b569c21c8b89df24dee1476382608a0.jpeg a84a508d1aea75be08223baa1bdf49de https://mail.slaverymonuments.org/files/original/62dbd496c4883f89759fbe0d7fd4a597.jpeg c40efc8bd8c84298f7347725aaeb3e73 https://mail.slaverymonuments.org/files/original/209dd586f3270fd509dd8ceb6e0a2b72.jpeg c0f1240e5535be316ae96a657a7bde8e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Underground Railroad Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The memorial and monuments in this collection are dedicated to the Underground Railroad, an organized network of routes and safe houses that assisted freedom seekers [enslaved people] on their journeys northward. The Underground Railroad was part of the larger movement for the abolition of slavery in the United States. The movement to abolish slavery was a complicated political movement that, at its core, was driven by the resistance and activism of enslaved Black people and freedmen and women abolitionists. Historian Manisha Sinha explores the history of American abolition, including the Underground Railroad in The Slave's Cause: A History of Abolition (2016).  Although Harriet Tubman is the most famous conductor in the Underground Railroad, she is not the subject of the memorials featured in this collection (see the collection on this site, <a href="https://www.slaverymonuments.org/collections/show/1" target="_blank" rel="noopener">Black Abolitionists</a>, to view works specifically dedicated to her life and work). Rather the monuments and memorials featured here, such as Ed Dwight's <a href="https://www.slaverymonuments.org/items/show/1170" target="_blank" rel="noopener">Gateway to Freedom: International Memorial to the Underground Railroad</a>, highlight other prominent conductors, as well as celebrate the fortitude and bravery of the freedom seekers as they made the perilous journey north. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Unknown Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Underground Railroad Sculpture (Oberlin, Ohio) Creator An entity primarily responsible for making the resource Armstrong, Cameron, 1956- Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Fugitive slaves--United States Ohio--Oberlin Public art Public sculpture Underground Railroad Subject (Object Type) Commemorative sculpture Description An account of the resource The Underground Railroad Sculpture commemorates Oberlin's role in the Underground Railroad. Wooden railroad tracks with iron ties emerge from the ground, reaching skyward. Cameron Armstrong (then a senior at Oberlin College) created the sculpture in 1977 as part of a class art project. Contributor An entity responsible for making contributions to the resource The Oberlin Class of 1977 Rights Information about rights held in and over the resource Oberlin College, 38 E College Street, Oberlin, Ohio, 44074, 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 Talcott Hall, 2 S Professor Street, Oberlin, Ohio, 44074, United States 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 1977 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Underground Railroad Statue." Oberlin College. Accessed April 30, 2021. https://www.oberlin.edu/underground-railroad-sculpture. Source A related resource from which the described resource is derived Photographs by Geoffrey Jacobson Extent The size or duration of the resource. Unknown Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque with description of sculpture: This sculpture commemorates Oberlin's participation in the Underground Railroad, a secret network to aid the escape of fugitive slaves to freedom in Canada in the years before the Civil War. It was designed and installed in Spring, 1977, by Cameron Armstrong, class of '77. Funding was provided by the Class of 1977 as their gift to the College. Medium The material or physical carrier of the resource. Wood; Steel abstract iron wood https://mail.slaverymonuments.org/files/original/88b7ffec5ae2dd2f4cdc45ffa5841ad5.jpg fa400578e536d0ad1bf6bd8ffde8428a 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 53.5 x 33 x 28.25 in. (135.98 x 83.82 x 71.76 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Frederick Douglass Circle (Hempstead, New York) Creator An entity primarily responsible for making the resource Bagwell, Vinnie, 1957- Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom New York (State)--Hempstead Public art Public sculpture Subject (Name) Douglass, Frederick, 1818-1895 Subject (Object Type) Commemorative sculpture Description An account of the resource An elder Frederick Douglass is depicted seated on a scissors chair— the armrests are adorned with the faces of open-mouthed lions, while the chair’s legs have been carved in the shape of lion’s legs. In bas-relief, the chair’s back is embellished with a widely circulated 18th-century anti-slavery medallion manufactured by the English potter Josiah Wedgwood. The design, which was likely created by the sculptor Henry Webber, features an enslaved black man, kneeling and bound by chains. The text below the figure reads “Am I not a friend and a brother?” The medallion became an important emblem of the abolitionist movement in both Britain and the United States.  In Douglass's right hand, he holds the text to an 1883 speech that he delivered to mark the 20th anniversary of the Emancipation Proclamation. The speech is continued on the pavement. Source A related resource from which the described resource is derived Photograph: <a href="https://www.flickr.com/photos/hofstrauniversity/39344857345/in/photostream/" target="_blank" rel="noopener">Hofstra University</a> Date A point or period of time associated with an event in the lifecycle of the resource October 29, 2008 Contributor An entity responsible for making contributions to the resource Hofstra University 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 Daniel L. Monroe Lecture Center Courtyard, South Campus, Hofstra University, Hempstead, New York, 11549, United States Extent The size or duration of the resource. 53.5 x 33 x 28.25 in. (135.98 x 83.82 x 71.76 cm) Medium The material or physical carrier of the resource. Bronze; Mesabi black granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Bagwell, Vinnie. "Frederick Douglass Circle." Coda Worx. Accessed October 31, 2019. https://www.codaworx.com/projects/frederick-douglass-circle-777. "Hofstra Happenings-Special 2008: Historic Sculpture Dedicated at Hofstra University." Hofstra Magazine, December 14, 2007. Accessed May 23, 2020. https://news.hofstra.edu/2007/12/14/hofstra-happenings-special-2008/. Rights Information about rights held in and over the resource Hofstra University Museum of Art, 112 Hofstra University, Hempstead, New York, 11549, United States Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Has Part A related resource that is included either physically or logically in the described resource. Inscription at base of sculpture: Frederick Douglass Circle Vinne Bagwell 2008 Inscription on sheet in Douglass' hand: "Until color shall cease to be a bar to equal participation in the offices and honor of the country, this discussion will go on... Until the American people shall make character and not color the criterion of respectability, this discussion will go on..." --1883 black granite bronze figurative portrait https://mail.slaverymonuments.org/files/original/0740b38e49bdaefb69c539a922a2d0d7.jpeg 3eb03e5222b27d5d4385761fe494a19e 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 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 Sojourner Truth Statue (Highland, New York) Creator An entity primarily responsible for making the resource Bagwell, Vinnie, 1957- Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom New York (State)--Highland Public art Public sculpture Women--Suffrage Subject (Name) Truth, Sojourner, c. 1797-1883 Subject (Object Type) Commemorative sculpture Date A point or period of time associated with an event in the lifecycle of the resource August 26, 2020 Contributor An entity responsible for making contributions to the resource New York State Women's Suffrage Commission; Modern Art Foundry; Fine Arts Specialists 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 Walkway Over the Hudson State Historic Park, 87 Haviland Road, Highland, New York, 12528, United States Extent The size or duration of the resource. 84 in. (213.36 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 Description An account of the resource Vinnie Bagwell's seven-foot-tall bronze statue of Sojourner Truth reveals a bespectacled, a middle-aged woman who stares resolutely forward, her head turned slightly to the right. Bagwell, perhaps taking inspiration from this undated carte de visite of Truth, shows Truth with her right arm outstretched by her side and a cane in her left hand. The folds of her skirt contain bas-reliefs from moments in Truth's life including images of a young enslaved mother comforting her child, a slavery sale sign, images of her abolitionist peers, and a poster for a Women's Suffrage March. Source A related resource from which the described resource is derived Photograph: <a href="http://timeshudsonvalley.com/stories/celebrating-womens-suffrage,19999" target="_blank" rel="noopener">Hudson Valley Times</a> Rights Information about rights held in and over the resource New York State Office of Parks, Recreation, and Historic Preservation, 625 Broadway, Albany, New York, 12207, United States Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Press Release. "New York State Announces Unveiling of Sojourner Truth Statue at The Walkway Over the Hudson State Historic Park." August 26, 2020. Accessed February 19, 2025. https://www.governor.ny.gov/unveiling-sojourner-truth-statue-walkway-over-hudson-state-historic-park. Santistevan, Ryan. "Sojourner Truth Statue Installed at Highland's Walkway Over the Hudson Welcome Center." Poughkeepsie Journal, August 18, 2020. Accessed February 19, 2025. https://www.poughkeepsiejournal.com/story/news/local/2020/08/18/sojourner-truth-statue-installed-walkway-over-hudson-highland/5596247002/. Has Part A related resource that is included either physically or logically in the described resource. Informational plaque about the Sojourner Truth Statue: Isabelle Baumfree (Bomefree) was born enslaved in Ulster County among Dutch people. As Sojourner Truth she became one of the nation's leading voices for abolition and universal suffrage in the nineteenth century. She "walked away by day light," freeing herself from slavery one year before legal enslavement ended in New York. Following her deeply held religious views she traveled as an intinerant preacher, speaking "truth" to the harsh inequalities people of color and women suffered, while calling for systemic change. Naming herself Sojourner Truth, she became known for her strong mind and remarkable gift of language, which she used tirelessly for human rights. Throughout her life, Sojourner Truth fought for justice for all under the law. She won several court cases tied to the rights of Black women, including regaining her illegally-sold son and later defending herself against slander. Her imposing stature, remarkable oratory skills, and melodic voice propelled Truth to the forefront in the national debates on abolition, suffrage, and the flight of those formerly enslaved. Sojourner Truth's belief in equal rights for all humans has kept her in the public consciousness and allowed her to become a symbol for strength and change during the Civil Rights and Women's Movements of the 20th century. Statue Inscriptions A. "The Truth is Powerful and It Prevails." B. Three Spirals C. "Negroes for Sale" sign D. Mother, Son and Hand E. Heart Symbol (Adinkra) F. Isabella Baumtree G. Influenctial Faces H. Female Warrior I. Abolitionist Poster J. Dutch and Braille Translations "We are now trying for liberty that requires no blood--that women shall have their rights, not rights from you. Give them what belongs to them." --Sojourner Truth Vinnie Bagwell, Artist A native of New York State, Ms. Bagwell is a multi-disciplinary artist, sculptor, painter, writer, illustrator, and graphic designer. She has completed numerous public art commissions including a bronze of "The Lady of Jazz Ella Fitzgerald," which was the first public artwork of a contemporary African American woman to be commissioned by a municipality in the United States. Walkway Over the Hudson State Historic Park New York Parks, Recreation and Historic Preservation Adinkra symbols bas-relief bronze figurative portrait https://mail.slaverymonuments.org/files/original/254672aeb2ae63c0d1f2cdf6413ec02b.jpeg 2ebc104da31e5965296c7606cde49375 https://mail.slaverymonuments.org/files/original/0f5f248978463ac075763d1b0a87827a.jpeg 5bee016b5984fc4b8a120999d418501d https://mail.slaverymonuments.org/files/original/a67f77f19b42524179325ff776211da0.jpeg 3a4b88b9c5d9e56646fae08b127dbf54 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 72 in. (182.88 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Legacies (Memphis, Tennessee) Creator An entity primarily responsible for making the resource Bagwell, Vinnie, 1957- Date A point or period of time associated with an event in the lifecycle of the resource 2012 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Chickasaw Heritage Park, 305 Metal Museum Drive, Memphis, Tennessee, 38106, United States Extent The size or duration of the resource. 72 in. (182.88 cm) Medium The material or physical carrier of the resource. Bronze (figure); Field-stone boulder (base), Mesabi-black-granite (ring) Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Subject The topic of the resource Subject (Topic) Chickasaw Nation Enslaved persons--Emancipation Freed persons Public art Public sculpture Tennessee--Memphis Subject (Object Type) Commemorative sculpture Description An account of the resource Legacies depicts a Chickasaw woman wrapped in a cloak. The artist Vinnie Bagwell has embellished the hem of the cloak with bas-relief, illuminating the complex history of present-day Memphis. She includes an African American woman and child. The two figures recall the 1866 emancipation of enslaved Black people in the Chickasaw Nation. The treaty of 1866 also included a provision that the US Government grant US citizenship to members of the Chickasaw Nation. On the work's back, the Spanish conquistador, Hernando De Soto, who trespassed into Chickasaw territory in 1540, is shown. Bagwell also includes an African American man playing the guitar and the famed blues musician, William Christopher Handy. Braille on the cloak reads "Legacies." The bronze statue rests on a field-stone boulder within a Mesabi-black granite ring. Source A related resource from which the described resource is derived Photographs: <a href="https://uacmem.org/projects/legacies" target="_blank" rel="noopener">UrbanArt Commission</a> Contributor An entity responsible for making contributions to the resource UrbanArt Commission; City of Memphis Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Public Art Archive. "Legacies." Accessed February 19, 2025. https://publicartarchive.org/art/Legacies/d0118e83. UrbanArt Commission. "Legacies." Accessed March 24, 2025. https://uacmem.org/projects/legacies. Rights Information about rights held in and over the resource City of Memphis, 125 North Main Street, Memphis, Tennessee, 38103, United States bas-relief black granite bronze figurative https://mail.slaverymonuments.org/files/original/50c4a5e84abd4d0588f158aa392c65ab.jpeg a73cce7fda9db262b9a6116437de20d4 https://mail.slaverymonuments.org/files/original/a9da5d8c8b8632309df9fdc3ef16bebc.jpeg 3848700cddc0acc39f5294363247d194 https://mail.slaverymonuments.org/files/original/4b1964b5f81014d65d590c57d7eb72b3.jpeg 40332b776f8924b80f7c153ab8ce6838 https://mail.slaverymonuments.org/files/original/9ea401230953551814c3d5775ea8ffb9.jpeg 370a40447927f7b4cbbdf238f0c0f0ac https://mail.slaverymonuments.org/files/original/7d9b4fe56c13f0395bfef85efe211285.jpeg b459ad813d6d47c78387ce166b2e24bc https://mail.slaverymonuments.org/files/original/3f2e3255d1c0a2c6810e762358f59bdf.jpeg 222e9394587d42928b24e73793f75e0f https://mail.slaverymonuments.org/files/original/9d37b48e4d5cd1b4acb8be5b826e12df.jpeg f8f137920ccce59004b404d176794dac 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 Entry portals: 126 in. (320.04 cm) Portal widths: 78 in. (198.12 cm) to 192 in. (502.92 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 Camp Barker Memorial (Washington, DC) Creator An entity primarily responsible for making the resource MacDonald, Katie, 1992- After Architecture Schumann, Kyle, 1992- After Architecture Bagwell, Vinnie, 1957- Subject The topic of the resource Subject (Topic) Enslaved persons--Emancipation Fugitive slaves Public art Public sculpture Refugee camps--History--19th century United States Colored Troops United States--History--Civil War, 1861-1865 Washington (D. C.) Subject (Object Type) Buildings and Structures Commemorative sculpture Contributor An entity responsible for making contributions to the resource Yun Associates, LLC (structural engineering); Garrison Elementary School (DC Public Schools) 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 May 2019 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 Buildings and Structures 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 Garrison Elementary School, 1200 S Street NW, Washington, DC, 20009, United States Extent The size or duration of the resource. Entry portals: 126 in. (320.04 cm) Portal widths: 78 in. (198.12 cm) to 192 in. (502.92 cm) Medium The material or physical carrier of the resource. Bronze; Charred wood; Brass Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Description An account of the resource Created by the architecture firm After Architecture (Katie MacDonald and Kyle Schumann), the memorial consists of three entry gatewaysthat serve as both functional entrances and commemorative spaces. Constructed from charred wood and lined with reflective brass, the portals feature bronze bas-relief panels by sculptor Vinnie Bagwell. These panels depict key figures and moments from African American history, including Sojourner Truth, Frederick Douglass, and the year 1862—the year of the District of Columbia Emancipation Act. Rights Information about rights held in and over the resource DC Public Schools, 1200 First Street, NE, Washington, DC, 20002, United States Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Camp Barker Memorial, Washington, DC, United States, 2019." Architectonic. Accessed May 3, 2021. https://www.architonic.com/en/project/after-architecture-camp-barker-memorial/20076736. McDonald, Katie and Kyle Schumann. “Camp Barker Memorial: From Object to Urban Mediator.” Expanding the View: 109th Association of Collegiate Schools of Architecture Annual Meeting Proceedings, March 24-26, 2001. Accessed August 27, 2024. https://www.acsa-arch.org/chapter/camp-barker-memorial-from-object-to-urban-mediator/. Taylor, Sharine. “The Camp Barker Memorial Is a Sobering Look at America’s Past (and Present).” Azure, August 19, 2019. Accessed April 21, 2025. https://www.azuremagazine.com/article/the-camp-barker-memorial-is-a-sobering-look-at-americas-past-and-present/. Adinkra symbols bas-relief bronze Civil War wood https://mail.slaverymonuments.org/files/original/8b463cae26ccd291755704ec57d628ef.jpeg 39d0e305ef30d4b963ed0cc18606864b https://mail.slaverymonuments.org/files/original/792bd3c743c984bfbd9905572548617d.jpeg 64df8e582c7f9e5602d8ab396c89c2c8 https://mail.slaverymonuments.org/files/original/39af40059f086620799201b1a2844d01.jpeg 4c15c42657f529de5373a311f3dbe538 https://mail.slaverymonuments.org/files/original/cf182d806c1e730a399cdf97d36c9214.jpeg d190ed92f55d46966d618496c3c46016 https://mail.slaverymonuments.org/files/original/2ad7e42791353863d4350b793d1ff509.jpeg 2e8144439e73ed04fe3e7e0c673caebe 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 Sculpture Physical Dimensions The actual physical size of the original image Varied 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 Enslaved Africans' Rain Garden (Yonkers, New York) Creator An entity primarily responsible for making the resource Bagwell, Vinnie, 1957- Subject The topic of the resource Subject (Topic) Enslaved persons Philipse Manor Hall State Historic Site (Yonkers, N.Y.) Public art Public sculpture New York (State)--Hudson River New York (State)--Yonkers Slavery--New York (State) Subject (Object Type) Commemorative sculpture Description An account of the resource The public art project including a rain garden is located along the Hudson River in Yonkers. It is comprised of four life-size bronze statues: I'Satta; Themba; Bibi; and Sola and Olumide. The figures commemorate enslaved Africans who resided at the Philipse Manor Hall. I'Satta is a bronze sculpture of a young African woman dressed in eighteenth-century dress. In her left hand, she carries a string of four fish, while she uses her right hand to balance the wood-slat bucket on her head. On the back of her dress is a schematic of a slave ship, a map of Africa, Adinkra symbols, and text that reads "Angola-Madagascar." The bottom of her skirt includes an image of man's face drowning as a ship sails off. On the side of her skirt, the artist included a Braille inscription: "My soul looks back, lest I forget." Bibi represents the elders of enslaved Africans. As she appears to stride forward, Bibi wears a large brim hat and carries a large stick. Braille on her apron reads: “I believe in freedom.” In the folds of her skirt, there is a relief sculpture of a little girl. The sign on the hem of the skirt reads: “FOR SALE A likely… NEGRO WENCH Seven to eight years of age. Has had smallpox. For information, enquire at…” Themba holds a tri-corner hat in his hands as he gazes off into the distance. Braille on his garment reads: “faith, hope, trust.” He stands upon a map of the western world, indicating the routes that slave ships took around the world. Sola and Olumide are sculptures of two young children who embrace each other. On Olumide's back are bas-relief images of African masks, art that is indigenous to their homeland and was seen commercially in America until well after the third quarter of the 20th century. See video about the Enslaved Africans' Rain Garden: https://youtu.be/F4loZRMtCrs. 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 June 19, 2022 Contributor An entity responsible for making contributions to the resource The City of Yonkers; New York Council of the Arts; National Endowment for the Arts; ArtsWestchester; ConEdison; Entergy; New York State Department of Parks, Recreation and Historic Preservation; Yonkers Board of Education Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 20 Water Grant Street, Yonkers, New York, 10701, United States 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 City of Yonkers, 40 Sout Broadway, Yonkers, New York, 10701, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Medium The material or physical carrier of the resource. 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. Aiello, Tony. "Enslaved Africans Rain Garden Unveiled in Yonkers." CBS New York. Accessed February 17, 2025. https://www.cbsnews.com/newyork/news/enslaved-africans-rain-garden-unveiled-in-yonkers/. Enslaved African's Rain Garden: A Public Art Iniative. Website, 2022. Accessed February 17, 2025. http://enslavedafricansraingarden.org. Extent The size or duration of the resource. Varied Adinkra symbols bas-relief bronze figurative