6 10 107 https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/0e071fc6bb179bdc0742d77cae6260fb.jpg f211143598b1628040f818d5bf8d3fdb Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 144'' (365.76 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reconciliation Memorial (Cotonou, Republic of Benin) Subject The topic of the resource Subject (Topic) Transatlantic Slave Trade Middle Passage Public art Public sculpture Benin Subject (Object Type) Commemorative sculpture Description An account of the resource The bronze torsos of two abstracted figures, engaged in a tight embrace, emerge from a rectangular bronze base. Unlike its <a href="https://www.community-sourcing-beta-test.slaverymonuments.org/admin/items/show/1138" target="_blank" rel="noopener">Liverpudlian</a> counterpart, this work includes the addition of bronze low-relief designs, reflecting images related to the slave trade, including cotton plants, chains, and industrial factories. Creator An entity primarily responsible for making the resource Broadbent, Stephen Contributor An entity responsible for making contributions to the resource Republic of Benin Government 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 Source A related resource from which the described resource is derived Broadbent Studio https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/7ce9cdfc338d56051a3de47cc6ef0199.jpg faa6f379040e4ed02b13f9567f9d7616 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 144'' (365.76 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reconciliation Memorial (Liverpool, England) Description An account of the resource The iron torsos of two abstracted figures, engaged in a tight embrace, emerge from a rectangular iron base. Two other identical sculptures were erected in 1989 in Belfast, Northern Ireland and Glasgow, Scotland. According to the artist, the works were meant to be “powerful symbol[s] of the way in which sectarianism can be overcome through solidarity.” Creator An entity primarily responsible for making the resource Broadbent, Stephen Date A point or period of time associated with an event in the lifecycle of the resource Unveiled: September 19, 1990 Contributor An entity responsible for making contributions to the resource Liverpool City Council Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Bold Street / Concert Street, Downtown Liverpool L1 4DS, United Kingdom Subject The topic of the resource Subject (Object Type) Commemorative sculpture Source A related resource from which the described resource is derived Broadbent Studio https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/cc0634b1f697d45739e1a492ffca158b.jpg c4651c017e9dc0cf9d47b79f01d8f37a Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Ark of Return": The Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade (New York City) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Transatlantic Slave Trade Middle Passage Northeastern United States Public art Public sculpture Subject (Object Type) Commemorative sculpture Description An account of the resource The Art of Return asks visitors to reflect upon the legacy of the slave trade and the persistent problems of racism and bigotry. The ark includes three principal design elements. According to the artist: “The first element is a three-dimensional map inscribed on the interior of the memorial. This map highlights the African continent at its center and graphically depicts the global scale, complexity and impact of the triangular slave trade in "acknowledgment of the tragedy. The second element is a full-scale human figure lying horizontally in front of a wall inscribed with images of the interior of a slave ship. This is meant to communicate and educate visitors on the physical conditions endured by the millions of African people transported under extreme conditions during the middle passage. The visitors are provided the opportunity to seriously "consider the legacy" of slavery's impact upon humanity. The third element is a triangular reflecting pool which introduces water in a meditative, ritualistic and spiritual manner. Visitors are invited to pour libations or say a prayer in memory of the millions of souls that were lost "lest we forget" this monumental and historic tragedy.” Creator An entity primarily responsible for making the resource Rodney, Leon Date A point or period of time associated with an event in the lifecycle of the resource Public Unveiling: March 25, 2015 Contributor An entity responsible for making contributions to the resource UNESCO, the Permanent Memorial Committee of the United Nations; Member States of the United Nations Relation A related resource To watch a video of the memorial unveiling, click <a href="https://www.un.org/en/events/slaveryremembranceday/memorial.shtml" target="_blank" rel="noopener">here.</a> Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant United Nations Visitors Plaza. 1st Avenue and 46th Street. New York, NY 10017, United States Source A related resource from which the described resource is derived United Nations https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/35ad99ea696a2e43165857add51a31f2.jpeg a3d7998b52440834d79a0514751589bc https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/e3605809f4e521b586a4e855540b7963.jpg 68e96b6653c61fca9fef2c96b2a3eead 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 Cemeteries and Memorial Parks 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 250 feet (76.2 meters) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource African Burial Ground National Monument (New York City) Subject The topic of the resource Subject (Topic) African Americans--New York Cemeteries--New York New York City--History Northeastern United States Public art Public sculpture Slave trade Slavery--New York (State) Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial sits on .35 acres and includes seven distinct design features: Wall of Remembrance, Ancestral Re-Interment Grove, Memorial Wall, The Ancestral Chamber, Circle of the Diaspora, Spiral Processional Ramp, and The Ancestral Libation Court. The visitor is invited to walk through the monumental triangular structure known as “The Ancestral Chamber,” which represents the Middle Passage across the Atlantic Ocean. After passing through the chamber, the visitor encounters a spiral memorial wall featuring twenty religious symbols including a number of Adinkra symbols (Akan peoples, Ghana). The floor of the monument includes a world map centered on the West African coast with sun rays radiating towards North America, Brazil, Europe, and the Caribbean Islands. Creator An entity primarily responsible for making the resource Leon, Rodney, 1972- Hollant-Denis, Nicole, 1965- Date A point or period of time associated with an event in the lifecycle of the resource Dedicated: October 5, 2007 Contributor An entity responsible for making contributions to the resource Monica Aliaga-Robles (project architect); Robert Silman Associates (structural engineer); Langan Engineering (civil engineer); Elizabeth Kennedy Landscape Architects; Domingo Gonzales Associates (lighting design); Dr. Gerald Palevsky (fountain); General Services Administration; Federal Steering Committee; African-American descendant community; and the National Park Service. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 290 Broadway, New York, New York, 10007, United States Source A related resource from which the described resource is derived Photograph: National Park Service, <a href="https://www.nps.gov/media/photo/gallery.htm?pg=3570929&id=19CBA11C-155D-451F-67AA7B78DDDCB3A4" target="_blank" rel="noopener">https://www.nps.gov/media/photo/gallery.htm?pg=3570929&id=19CBA11C-155D-451F-67AA7B78DDDCB3A4</a> Rights Information about rights held in and over the resource National Park Service, U.S. Department of the Interior, 1849 C Street, NW, Washington, DC, 20240, United States archaeology black cemetery New York City Rodney Leon slavery https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/efb04a8905f4aae7c6858ec2008ce5e0.jpg eebe7df111f470e0b7db92215c7df5dc Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 144'' x 204'' (365.76 cm x 518.16 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Middle Passage Monument (St. Croix, USVI) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Transatlantic Slave Trade Middle Passage Northeastern United States Public art Public sculpture Subject (Object Type) Commemorative sculpture Description An account of the resource A twelve‐foot‐high aluminum arch commemorates the thousands of Africans who perished during the transatlantic slave trade. Composed of two halves, which bend towards one another but never touch, the work symbolizes “the need for the past, present, and future to converge in order for cultural identity and pride to be realized.” On July 3, 1999, the Middle Passage Monument was dedicated at New York City’s Riverbank State Park in an elaborate funeral procession and blessing ceremony conducted by a multi-faith group of clergy. Creator An entity primarily responsible for making the resource Walsh, Mike, 1948- Date A point or period of time associated with an event in the lifecycle of the resource Dedicated: July 3, 1999 Contributor An entity responsible for making contributions to the resource Homeward Bound Foundation Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Located in the Atlantic Ocean, 427 kilometers (265 miles) east of New York Harbor, New York, United States Source A related resource from which the described resource is derived Millenniumarch.wordpress.com https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/95c4ca25d32321f70dff9d3b9dd60e93.jpg 9274942481ee5f1947a773fcb05767da Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource African American History Contributor An entity responsible for making contributions to the resource Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 408 x 324 in. ( 1036.32 x 822.96 cm.) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Texas African American History Memorial (Austin, TX) Subject The topic of the resource Subject (Topic) African American history American South Juneteenth--Texas--Austin Public art Public sculpture Slavery--Abolition Slavery--Emancipation Texas--History Subject (Object Type) Commemorative sculpture Description An account of the resource The monumental work includes two bronze walls featuring figural scenes celebrating 400 years of African Americans’ contributions to Texas history. Decorated on both front and back, Dwight includes depictions of African Americans engaged in the cattle, cotton, and oil industries as well as tributes to Mickey Leland, Medgar Evers, Buffalo Soldiers, President Barack Obama, and African American Medal of Honor recipients. The two embellished walls meet at a central column. Scores of African American figures, seemingly comprising the base and shaft of the column, gaze outward at the viewer. The top of the column is adorned with two figures standing on a base that reads “Emancipation.” Both figures, one male, one female, have the cuffs of broken shackles and chains around their wrists. The former raises a lit torch over his head, while the latter holds a copy of the Emancipation Proclamation. The monument also serves as a memorial to Juneteenth (June 19, 1865), when hundreds of Union troops arrived in Texas and announced the abolition of slavery in the U.S. The memorial sits atop a granite base, which features bronze plaques with didactic text. Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Date A point or period of time associated with an event in the lifecycle of the resource Dedicated: November 19, 2019 Contributor An entity responsible for making contributions to the resource Texas African American History Memorial Committee; Texas Legislative Black Caucus; and State of Texas. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Texas State Capitol Grounds, 100 W 11th St, Austin, Texas, 78701, United States Source A related resource from which the described resource is derived Photograph: José Pestana, <a href="https://www.flickr.com/photos/jpestana/31271259748/in/photolist-PDko3Q/" target="_blank" rel="noopener">https://www.flickr.com/photos/jpestana/31271259748/in/photolist-PDko3Q/</a> Rights Information about rights held in and over the resource Capitol Historical Artifact Collection, State Preservation Board, 201 E 14th Street, Suite 950 (Sam Houston State Office Building), Austin, Texas, 78711, United States African American history Ed Dwight Juneteenth slavery state capitol Texas https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/ad96b021c89f42e9f2c5c23580ea885a.jpg 72765ef6857bf06401f424c8ac5225f2 https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/02638b0b28bada818033a9510889d61c.jpg 0448fbc8669c4fa9bc63a09f20d3c5ee https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/d5b8880215260c80317d62d1ee5c7ae2.jpg c8dd26b3a53396dbc1f082d8ef66c718 https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/93256ed58a7695610e032126701179d5.jpg ad5c0a62e44511a552ed5fa939f114f3 https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/a0addd338f6ee63df99afbfdb1fe343b.jpg d482e9429b0d57ddfb4af2baef3d194d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource African American History Contributor An entity responsible for making contributions to the resource Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Obelisk and pedestal: 276 in. (701.04 cm.) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource South Carolina African-American History Monument (Columbia, SC) Subject The topic of the resource Subject (Topic) African American history American South Public art Public sculpture Slave ships--History Slavery South Carolina--History Subject (Object Type) Commemorative sculpture Description An account of the resource Two semicircular gray granite walls, inlaid with twelve bronze panels illustrating 300 years of African American history, frame an obelisk and pedestal. The twelve scenes of African American history include images of the Middle Passage, an African American family on an auction block, slaves working in a field, men and women celebrating the Emancipation Proclamation, the Jim Crow era, the Great Migration, and images of contemporary African Americans’ important contributions to engineering, law education, sports, politics, and space exploration. At the base of the monument’s obelisk are four rubbing stones from regions of Africa where slaves were captured - Senegal, Sierra Leone, the Republic of Congo, and Ghana. In front of the memorial, Dwight included a bronze cast of the famous print of the British slave ship Brookes (1787). Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Date A point or period of time associated with an event in the lifecycle of the resource Dedicated: March 29, 2001 Contributor An entity responsible for making contributions to the resource <a href="https://dc.statelibrary.sc.gov/handle/10827/25969" target="_blank" rel="noopener">African American History Monument Commission</a>; South Carolina Arts Commission; State House Committee; Citizens' Advisory Committe; Design Committee; Fundraising Committee; and private donors. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant South Carolina State House Grounds, 1100 Gervais Street, Columbia, South Carolina, 29201, United States Source A related resource from which the described resource is derived Photographs: Ron Cogswell, <a href="https://www.flickr.com/photos/22711505@N05/7917139800/in/album-72157630674378570/" target="_blank" rel="noopener">https://www.flickr.com/photos/22711505@N05/7917139800/in/album-72157630674378570/</a> Rights Information about rights held in and over the resource South Carolina State House, 1100 Gervais Street, Columbia, South Carolina, 29201, United States African American history Ed Dwight obelisk slave ship South Carolina state capitol https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/879b5eaaa83b6918da900635fc41b220.jpg 4161a04a0e79cfee7b993fd372a9a264 https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/e5d7801aac2539f1314b68d6ecdebda7.jpg fa85d897dca47c2d617868fe42e95cc7 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 360'' (914.4 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Knockin’ On Freedom’s Door (Peoria, IL) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Fugitive slaves--United States Underground Railroad Slavery-- Abolition American Midwest Subject (Name) Pettengill, Moses,1802-1883 Pettengill, Lucy,1802-1864 Lincoln, Abraham, 1809-1865 Subject (Object Type) Commemorative sculpture Description An account of the resource Preston Jackson‘s monumental bronze and stainless steel Knockin’ on Freedom’s Door is located on the site of the former Pettengill House in Peoria, an important station on the Underground Railroad. The work features multiple bronze sculptural groups within a stainless steel frame. The sculptural grouping includes a male and female freedom seeker, climbing out of a small rowboat as two white members of the Underground Railroad look down upon the pair. The pair of Underground Railroad conductors are presumably Moses and Lucy Pettengill. Moses holds a bucket of water in one hand and a ladle in the other, while Lucy clutches at her chest. At the very top of the sculpture, looking down over the scene is a portrait of Abraham Lincoln in profile. Creator An entity primarily responsible for making the resource Jackson, Preston Date A point or period of time associated with an event in the lifecycle of the resource Dedicated: October 24th, 2008 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Peoria Civic Center, 201 SW Jefferson Ave, Peoria, IL 61602, United States Source A related resource from which the described resource is derived Chicago-outdoor-sculptures.blogspot.com https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/fb692a79f17d643de96f1323497a7f84.jpeg 456646b64d2183fb91d0c010a035ccdf https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/f074b4e55b5c8c79c7a28bc6a82ee29a.jpeg 84fe61fda6bc488ed32631b33f2729a6 https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/24c49eea95c88844ee25238420698d90.jpeg 1aa967e33444c3de3c90823d22cf295a https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/d060a46e4405cf3f36e18dfa46d5f94a.jpeg 4caca941f2ee0190b0895e250c5ddbe7 https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/0892e7b036b2eac3ccc360e13ef634b5.jpeg 879cdabd9334287de838fc1055f0ff29 https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/ca828d8f156ce5c7fd692106fd5de077.jpeg f378eca583bdb443e1d6f7375f1803cd https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/c30c4456879a54b6c6bd846b8925cc0c.jpeg eecca1d0e86170feac1b7feee3508284 https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/9858fd099f3175337597418424411677.jpeg e11977324a66cee3cea2d8db1839c53c https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/a5eb8d35bb0806dbe6088b409794d807.jpeg 7a42081377dd1f41df05fc5a1801a5d3 https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/8696003bb6a5656fb187c25a63d026a0.jpeg 0f6b02c244b43f981b4ab0ed17d66bdb https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/1a507bf13145789b2457494de495d5a0.jpeg f77580bcdb76e51bc2cdd79e71ad1bb9 https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/769c42430eb9be9e8434f1b93c69b9dd.jpeg 486b18b0841af6f1b219b25d5ffbe935 https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/e063b8d8090b26dbf01e07e47aa2c18f.jpeg 51ef9ac3197516980005aa198c136328 https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/bfc6a8dc1f72e54e83e6746502153a10.jpeg 7a6518e3d95a98dfec6a013fe36edd27 https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/051aee4e4b689850b0ccb50f63ce7046.jpeg a21790d318f5b3a1fa0b064a685bb721 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Monuments 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 Various sizes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Corinth Contraband Camp (Corinth, MS) Subject The topic of the resource Subject (Topic) American South Civil War Corinth (Miss.) Fugitive slaves--United States Mississippi--History Public art Public sculpture Refugee camps--Southern States--History--19th century Slaves--Emancipation--United States Subject (Object Type) Commemorative sculpture Description An account of the resource Eight life-size bronze statues (in six groupings) commemorate the formerly enslaved persons who escaped from the South and sought safety and freedom behind Union lines at the Corinth Contraband Camp in Corinth, Mississippi. Established by Union General Grenville M. Dodge in 1862 to shelter freedom-seekers, the Corinth Contraband Camp featured a church, a school, a hospital, and numerous homes as well as productive and profitable farms that were operated by freedmen and women. The bronze statues include: a woman with her hands on her hips, “the greeter”; a laundress ironing clothes; a farmer tending to his crops with a hoe; a female teacher with a young female student who read together from an open Bible; a man and boy gathering books; and a member of the United States Colored Troops who pulls Hardee's Rifle and Light Infantry Tactics from his haversack . Included at the site: two bronze plaques with inscriptions attached to a concrete wall near the greeter; two bronze low reliefs on a concrete wall opposite the greeter; and an informational panel explaining farming at the site in front of the farmer. The two bronze low reliefs are based on nineteenth-century photographs: Timothy H. O'Sullivan, <a href="https://www.loc.gov/item/2018666225/" target="_blank" rel="noopener">[Rappahannock River, Va. Fugitive African Americans fording the Rappahannock]</a>, August 1862 and G.W. Foster, <a href="https://exploreuk.uky.edu/fa/findingaid/?id=xt77sq8qcb8z" target="_blank" rel="noopener">Refugee camp; street scene, Camp Nelson, Kentucky</a>, 1864. Creator An entity primarily responsible for making the resource Lugar, Larry, 1953- Lugar, Andrea, 1952- Date A point or period of time associated with an event in the lifecycle of the resource Dedicated: May 23, 2009 Rights Information about rights held in and over the resource National Park Service, U.S. Department of the Interior, 1849 C Street NW, Washington, DC 20240, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 800 N Parkway St, Corinth, Mississippi, 38834, United States Source A related resource from which the described resource is derived Photographs by Renée Ater Contributor An entity responsible for making contributions to the resource Siege and Battle of Corinth Commission (Rosemary Williams), Shiloh National Military Park (Superintendent Haywood “Woody” Harrell), Mississippi Department of Archives and History, and Corinth African-American Historical Society, and Preston Knight (Knight Brothers, Inc.). Relation A related resource <a href="https://www.nps.gov/shil/learn/historyculture/corinth.htm" target="_blank" rel="noopener">Corinth Civil War Interpretative Center</a> Andrea Lugar contrabands emancipation freedom Larry Lugar Mississippi Shiloh National Military Park https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/23343f5c1fdb34bbf0841f511c43ae13.jpg 83365b2673505582e3d0578824f21a12 https://www.community-sourcing-beta-test.slaverymonuments.org/files/original/97b3a70e0ebc6f2804d73eaa1b78c9d0.jpg 34cdf22721dadf589cda4df1fa8c6d30 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cemeteries and Memorial Parks 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 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Freedman’s Cemetery Memorial (Dallas, TX) Subject The topic of the resource Subject (Topic) African Americans--Texas--Dallas--History American South Cemeteries--Texas Freedmen--Texas Public art Public sculpture Slavery--United States Texas--History Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial is located in the Freedman Cemetery in Dallas, Texas. Established in 1861, it is one of the largest Freedman's cemeteries in the country. A Texas Red granite archway marks the entrance to the memorial. Two niches, located on either side of the arch, are adorned with life-size bronze figures (one in each niche). The free-standing figure on the left of the entrance, the so-called “Sentinel” or “Warrior,” is dressed in clothes inspired by the Benin culture of West Africa. He holds a large ceremonial machete with its blade pointed to the ground. His female counterpart, the “Prophetess,” holds a small harp to her chest with her left hand. On the other side of the arch within the memorial garden, two bronze figures occupy the niches. Unlike the free-standing works at the front of the archway, these works are bronze bas-reliefs. The figures emerge emerge from a background that suggests the waves of an ocean. The female figure, the “Violated Soul,” whose wrists and feet are bound by iron mancles, covers her face with her hands. Her male counterpart, the “Struggling Soul,” is similarly shown with his wrists and feet bound by iron manacles; he covers his own scream with his bent left arm. Above each of the life-size bronze figures, in the top register of the arch, are twelve smaller bronze sculptures, suggestive of West African wood sculpture. Through the archway at the center of the memorial park, “Dream of Freedom,” sits atop a Texas Red granite circular plinth. The sculpture shows a newly emancipated couple. The male figure, whose shirtless torso is scarred by whip marks on his back, wraps his left arm around a kneeling woman. Directly behind “Dream of Freedom,” is a polished granite slab with Nia Akimbo’s poem, “Here.” Two remaining headstones from the original cemetery are embedded in the back of this granite slab. At the base of each statue, bronze plaques list the artist, title of the sculpture, and description of the work. Embedded in the interior arched wall are bronze plaques with poetry by ten children from local schools, who won a local poetry contest. In the lawn, several Texas Red granite blocks have bronze plaques attached to them, identifying the original river bed and unmarked graves. Creator An entity primarily responsible for making the resource Newton, David S., 1967- Date A point or period of time associated with an event in the lifecycle of the resource Dedicated: June 19, 1999 Contributor An entity responsible for making contributions to the resource Black Dallas Remembered, Inc.; City of Dallas Office of Cultural Affairs; Dallas African American Museum; Dallas County Historical Commission; Freedman’s Foundation; Texas Department of Transportation; Mary Loving Blanchard (poet Nia Akimbo); and private donors. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Freedman’s Memorial Cemetery, 2525 N Central Expressway, Dallas, Texas, 75204, United States Source A related resource from which the described resource is derived Photograph: DARTable, <a href="https://dartable.dart.org/dartable-gem/freedmans-cemetery-memorial-2/" target="_blank" rel="noopener">https://dartable.dart.org/dartable-gem/freedmans-cemetery-memorial-2/</a> Rights Information about rights held in and over the resource City of Dallas Office of Arts and Culture, Administrative Office, 1925 Elm Street, Suite 400, Dallas, Texas, 75201, United States black cemetery David S. Newton freedmen slavery Texas