9
10
107
-
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72a35c4cd6997e89a4d931d7c9c1267c
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
<em>Zumbi dos Palmares</em> (Salvador da Bahia, Brazil)
Subject
The topic of the resource
Subject (Topic)<br />Slavery<br />Resistance<br />Middle Passage<br />Transatlantic Slave Trade<br />Slave Trade<br />Public art<br />Public sculpture<br />Salvador da Bahia, Brazil
Subject (Name)<br />Zumbi (Zumbi dos Palmares), 1655 – 1695
Subject (Object Type):
Commemorative sculpture
Creator
An entity primarily responsible for making the resource
Duarte, Lázaro Souza
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: May 30, 2008
Contributor
An entity responsible for making contributions to the resource
Palmares Cultural Foundation; A Mulherada; Minster of Culture; Municpality of Salvador
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
Praça da Sé, 15-23 - Pelourinho, Salvador - BA, 40020-210, Brazil
Description
An account of the resource
The work is dedicated to Zumbi dos Palmares, a <a href="https://www.britannica.com/topic/quilombo" target="_blank" rel="noopener">Quilombo</a> leader and one of the principle forces behind the resistance to slavery in Brazil. The muscular, semi-nude figure of Zumbi dos Palmares, stands with his weight shifted to his right foot. He brings the sole of his left foot to his right shin and holds a spear in his left hand as he turns his head slightly to the left.
Source
A related resource from which the described resource is derived
Laura De la Rosa, ResearchGate
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https://community-sourcing-beta-test.slaverymonuments.org/files/original/f55d8049930567b606e5eb0fd5d539a6.jpg
c2cc15c1cbc06873fd9377c065a8cc3a
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
<em>Valongo Wharf</em> (Rio de Janeiro, Brazil)
Subject
The topic of the resource
Subject (Topic)
Slavery
Middle Passage
Transatlantic Slave Trade
Slave Trade
Rio de Janeiro, Brazil
Subject (Object Type)<br />Memorial
Description
An account of the resource
As the last nation in the Americas to officially abolish slavery in 1888, historians estimate that of the approximately 10.7 million enslaved persons brought to the Americas, as many as 50 percent arrived in Brazil. Valongo was the debarkation point for an estimated 900,000 slaves. In July 2007 the United Nations Educational, Scientific, and Cultural Organization added the <a href="https://whc.unesco.org/en/list/1548" target="_blank" rel="noopener">wharf to its World Heritage List</a>. <br /><br />The site consists of a number of archaeological layers, the lowest of which are the remains of the Valongo Wharf’s floor pavings. The bodies of the slaves who died upon arrival in Brazil were burned, and chopped-up bones were buried in mass graves on a site near the wharf.
Relation
A related resource
To watch a video about this site from the United Nations Information Centre for Brazil, click <a href="https://www.youtube.com/watch?v=v1EgNV_4dSk" target="_blank" rel="noopener">here</a>.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Av. Barão de Tefé - Saúde, Rio de Janeiro - RJ, 20220-460, Brazil
Source
A related resource from which the described resource is derived
UNESCO
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https://community-sourcing-beta-test.slaverymonuments.org/files/original/a70034f880b5d7a41e85d18a9ccd3f6e.jpg
0434a74d97d1f5adc947fe7ef184c6b7
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
<em>Gilt of Cain</em> (London, England)
Subject
The topic of the resource
Subject (Topic)<br />Slavery<br />Resistance<br />Middle Passage<br />Transatlantic Slave Trade<br />Slave Trade<br />Public art<br />Public sculpture<br />London, UK
Subject (Object Type)<br />Commemorative sculpture
Description
An account of the resource
Located near St. Mary Woolnoth Church, where the abolitionist <a href="https://www.britannica.com/biography/William-Wilberforce" target="_blank" rel="noopener">William Wilberforce</a> heard the anti-slavery sermons of the <a href="https://collections.rmg.co.uk/collections/objects/107250.html" target="_blank" rel="noopener">Rev. John Newton, </a>the monument consists of 17 carved granite columns clustered around a granite podium. The curvilinear forms of the columns recall the growing stems of sugarcane. According to the artists, the position of the columns and podium are meant to suggest a group of people “gathered to listen to a speaker – perhaps the Rev Newton preaching against slavery, perhaps a trader auctioning his slaves, perhaps William Wilberforce campaigning in front of an audience.” Excerpts from Lemn Sissay's poem, the <em>Gilt of Cain</em>, are inscribed on the work. The words are inscribed in the same typography used in early abolitionist literature printed near the site.
Creator
An entity primarily responsible for making the resource
Sissay, Lemn (Poet); Visocchi, Michael (Sculptor)
Contributor
An entity responsible for making contributions to the resource
FurtureCity; Black British Heritage; City of London
Relation
A related resource
To learn more about the artists and the history of the work's commission, click <a href="https://futurecity.co.uk/portfolio/gilt-of-cain/" 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
120 Fenchurch St, London EC3M 5BA, UK (51.5121°N 0.0815°W)
Source
A related resource from which the described resource is derived
Future City
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b65f04fb288ab13cb7704de92e7d50d6
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
<em>Atorkor Slave Monument</em> (Atorkor, Ghana)
Subject
The topic of the resource
Subject (Topic)<br />Slavery<br />Middle Passage<br />Transatlantic Slave Trade<br />Slave Trade<br />Public art<br />Public sculpture<br />Anlo-Afiadenyigba, Ghana
Subject (Object Type)<br />Commemorative sculpture
Description
An account of the resource
<p class="p1"><span class="s1">The memorial is located in the coastal Ghanaian district of Anlo, once known for its substantial involvement in the slave trade. A high-walled circular enclosure with a small wooden door, which serves as a narrow entrance, leads the viewer to the central feature of the memorial: a life-size sculptural group of a tall European slave-trader brandishing a whip over two kneeling African figures. The African figures, dressed in traditional garb, are chained at the neck. The interior walls of the monument are embellished with a narrative frieze illustrating a popular local legend. The narrative frieze of the memorial tells the story of a popular white trader who lived in Atorkor (a small village located in the district of Anlo): As the story goes: “One day, the Trader announced a dancing competition for the best dancers and drummers amongst the youth on his ship. The best dancer in the village was a beautiful young girl, but her parents forbade her from attending the party, as she had not completed her chores for the day. All the other young people in the village went to the dancing competition on the boat, where they were plied with rum before being shackled and sold into slavery.” As artist and educator Senam Okudzeto notes, “There are many versions of the story. This particular one corresponds with the official government version and was sourced from a website put up by the present chief of Atorkor, Samuel Adjorlorlo, who runs the Atorkor Development Foundation (ADF), an NGO for the development of the region” (see b<span>ibliographic citation).</span></span></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
1999
Contributor
An entity responsible for making contributions to the resource
Tourism Development Committee (part of the National Gov't of Ghana)
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
Visit Volta Region, Ghana Tourism Authority
-
https://community-sourcing-beta-test.slaverymonuments.org/files/original/fa34dbede6030f82883e4154471ae4ec.jpg
9743f965ab11a10dfa16521503c5b581
https://community-sourcing-beta-test.slaverymonuments.org/files/original/3ef0df8eeea73f457068a13b0d62bfee.jpg
9d07b73e16fa4e658829feafcba7b592
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''
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
<em>Neg Mawon Emancipation Monument</em> (Roseau, Dominica )
Subject
The topic of the resource
Subject (Topic)<br />Slavery-Emancipation<br />Slavery-Abolition<br />Middle Passage<br />Transatlantic Slave Trade<br />Slave Trade<br />Diaspora<br />Roseau, Dominica
Subject (Object Type)
Commemorative sculpture
Description
An account of the resource
Standing resolutely forward, the muscular figure of a shirtless self-emancipated man ('neg maron' or black maroon), with broken shackles and chains around his wrists and neck, holds a conch shell to his lips. The bronze figure, located in the center of a traffic circle, celebrates the self-emancipated (maroon) societies that engaged in a sustained struggle against slavery and French colonialism. The work was unveiled during Dominica’s 2013 Emancipation Celebrations.
Creator
An entity primarily responsible for making the resource
Zamore, Franklyn
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: August 2, 2013
Contributor
An entity responsible for making contributions to the resource
Cultural Division; National Cultural Council
Format
The file format, physical medium, or dimensions of the resource
JPEG
Language
A language of the resource
English
Type
The nature or genre of the resource
Visual Arts-Sculpture
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Dame Mary Eugenia Charles Blvd, Roseau, Dominica (15° 17.767′ N, 61° 23.173′ W)
Source
A related resource from which the described resource is derived
Read The Plaque; Historical Markers Database
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f63af59a793e7f566d7d7deb13a72f04
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
354.331'' x 196.85''
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
<em>Clave</em> (Rotterdam, The Netherlands)
Subject
The topic of the resource
Subject (Topic) <br />Slavery <br />Middle Passage<br />Transatlantic Slave Trade<br />Slave Trade<br />Rotterdam, The Netherlands
Subject (Object Type)<br />Commemorative sculpture
Creator
An entity primarily responsible for making the resource
da Silva, Alex, 1974-
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: June 16, 2013
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
Lloydstraat, 45-59, 3024 Rotterdam, The Netherlands
Description
An account of the resource
Four nude figures dance across the abstracted bow of a ship. Each figure strikes a distinct, rhythmic pose even as they are shackled together at the ankle by iron chains. The outer most figure appears to have broken free from this rhythmic chain-gang-- iron chains dangle freely from his right ankle. The work, unveiled on the 150th anniversary of the abolition of slavery in Surinam and the Dutch Antilles, is located along the Maas River in Lloydkwartier, a newly designed neighborhood built in the old port area of Delfshaven. The work’s location and title evoke the Dutch slave trade. Clave refers to a rhythmic pattern used in Afro-Cuban music.
Relation
A related resource
To watch a video of the work, click <a href="https://www.youtube.com/watch?v=boHuPIEnpx8" target="_blank" rel="noopener">here.</a>
Source
A related resource from which the described resource is derived
Art at Heart
-
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30bf9b2e4cd0a61bf5b8cf73f45940a0
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d4d8310b84e221679ccd24b8a61a68f8
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1cc52c0bb98fc0aaabb2593019d732f3
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
<em>Haitian Monument</em> (Savannah, GA)
Subject
The topic of the resource
Subject (Topic)<br />Associations--Military<br />American South<br />American Revolution
Creator
An entity primarily responsible for making the resource
Mastin, James
Date
A point or period of time associated with an event in the lifecycle of the resource
First four figures dedicated: October 8th 2007;
Two additional figures unveiled: October 2009
Contributor
An entity responsible for making contributions to the resource
Haitian-American Historical Society
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
Franklin Square, Savannah, GA 31401, United States
Description
An account of the resource
<p class="p1"><span class="s1">The <i>Haitian Monument</i> commemorates the contributions of the Chasseurs-Volontaires de Saint-Domingue, a French regiment of free men of African descent, during the American Revolution. The work depicts five uniformed and armed soldiers, rifles pointed at the ready. One of the soldiers sits, wounded, his face contorted in a grimace as he rests his rifle across his lap and brings his right hand to his chest. <br /><br />The<span class="Apple-converted-space"> </span>young drummer boy, who stands just to the left of the armed group, is <a href="https://www.britannica.com/biography/Henry-Christophe" target="_blank" rel="noopener">Henri Christophe</a>, an important <span>leader in the Haitian Revolution and the only monarch of the Kingdom of Haiti</span>. Christophe, who joined the Chasseurs-Volontaires as a teen is believed, although firm proof does not exist, to have participated in the Siege of Savannah. </span></p>
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cab5240fe75be3546570f49ea9edd1da
Still Image
A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Sculpture
Physical Dimensions
The actual physical size of the original image
120 x 120 x 144 in. (304.8 x 304.8 x 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
<em>Gateway to Freedom: International Memorial to the Underground Railroad</em> (Detroit, MI )
Subject
The topic of the resource
Subject (Topic)<br />Underground Railroad<br />Slavery-- Abolition<br />Slavery-- Emancipation<br />Resistance<br />Midwestern United States<br />Public art<br />Public sculpture
Subject (Object Type)<br />Commemorative sculpture
Description
An account of the resource
<p class="p1"><span class="s1">Two gateway pillars (approximately fifteen feet tall), topped with candles symbolizing the “Flame of Freedom,” flank Ed Dwight's memorial to the Underground Railroad. The work, which overlooks the Detroit River, includes a ten-by-twelve-foot sculptural group: eight escaping slaves and an Underground Railroad Conductor, who gazes and points towards Canada. Dwight modeled the conductor after </span><a href="https://detroithistorical.org/learn/encyclopedia-of-detroit/debaptiste-george" target="_blank" rel="noopener">George DeBaptiste</a>, a freeman from Virginia who migrated to Detroit in 1846. DeBaptiste was an active abolitionist, Underground Railroad operative, and leader of the Vigilant Committee of Detroit, a watchdog and legal advocacy group for the black community. </p>
<br />Panels with engravings of quilt squares appear on either side of the figural group. Here, Dwight appears to be referencing one of the most popular myths surrounding the Underground Railroad:<span> “<a href="https://www.pbs.org/wnet/african-americans-many-rivers-to-cross/history/who-really-ran-the-underground-railroad/">Freedom Quilts</a>,” objects said to have been created by slaves and hung in windows as coded maps or guideposts for fugitives slaves on the run. </span>The base of the sculpture is embellished with engravings of lanterns resting in window sills.<br /><br />As the historian, Nora Faires has observed of the two gateway pillars: “High on the western pillar is a carving of a “slave tag,” dated 1833. Masters in Charleston, South Carolina, were legally required to purchase such tags or badges for slaves to wear, both as a revenue-raising measure and to keep track of those in the city’s slave population who hired out their own time. The badges were meant, in part, to prevent runaways from blending into the urban slave population, because they would have found it difficult and dangerous to seek work or engage in other business on their own behalf without possessing a tag. Dwight adorned the eastern pillar with a Charleston “free tag,” which the city had required free blacks to wear for most of the 1780s, probably also to help prevent runaways from taking advantage of urban opportunities. Interestingly, the centerpiece of the free tag is a liberty or Phrygian cap, held aloft on a liberty pole, a symbol of the quest for freedom that made an occasional appearance during the era of the American Revolution but would become more common in the United States in the 1790s and after, it having been popularized in the French Revolution.33 The placement of the slave figures between these two badges hints at their liminal state between the strict regulations of slavery and the quest for full liberty" (see b<span>ibliographic citation).</span>
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: October 20, 2001
Contributor
An entity responsible for making contributions to the resource
Detroit 300; International Underground Railroad Monument Collaborative
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Detroit Riverwalk, Detroit, MI 48226, United States (42° 19.584′ N, 83° 2.637′ )
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
Wikipedia Commons; Susan Cohn via High on Adventure
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70f1a7a5b85c917294d55cfc943a0ee2
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
<em>Jerry Rescue Monument</em> (Syracuse, NY)
Creator
An entity primarily responsible for making the resource
BuMann, Sharon; BuMann Studio
Subject
The topic of the resource
Subject (Topic):<br />Slavery<br />Resistance<br />Slavery-Emancipation<br />Slavery- Abolition<br />Northeastern United States<br />Public art<br />Public sculpture
Subject (Object Type):<br />Commemorative sculpture
Date
A point or period of time associated with an event in the lifecycle of the resource
1990
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
Clinton Square, 161 W Genesee St, Syracuse, NY 13202
Description
An account of the resource
A concrete four-pointed star serves as the sculpture’s plinth. Three brick and concrete walls form a niche, which viewers are invited to physically occupy. Affixed to the brick walls, the niche contains bronze plaques explaining the history of Jerry Henry’s rescue and the symbolism of the sculpture. Emerging from the central brick wall, on the side that faces outward, away from the architectural niche, are three life-size bronze figures. Rendered in high relief, the artist, BuMann, depicts an imagined scene of Jerry’s rescue. A shirtless Henry, with broken shackles on his wrists, is helped to safety with the assistance of<a href="https://www.harvardsquarelibrary.org/biographies/samuel-joseph-may/" target="_blank" rel="noopener"> Rev. Samuel J. May</a> and the <a href="https://docsouth.unc.edu/neh/loguen/summary.html" target="_blank" rel="noopener">Rev. Jermain W. Loguen</a> (who was himself a formerly enslaved person), men who were not actually present during Jerry’s escape.
Relation
A related resource
To learn more about Jerry Henry's rescue, checkout <a href="https://library.syr.edu/digital/exhibits/u/undergroundrr/case3.htm">"The Jerry Rescue and Its Aftermath,</a>" a digital exhibition curated by the Special Collections Research Center of Syracuse University.
Source
A related resource from which the described resource is derived
Waymarking.com
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2ae8ef7b2b5708d3d81750b7ae556a46
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
Varied: 144 in. to 180 in. (365.76 cm. to 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
<em>Truths that Rise from the Roots Remembered</em> (Alexandria, VA)
Creator
An entity primarily responsible for making the resource
Meadows, Jerome, 1951-
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: June 17, 1995
Contributor
An entity responsible for making contributions to the resource
EDAW (now AECOM); Norfolk Southern Corporation; Carlyle Development; and The City of Alexandria.
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
309 Holland Lane, Alexandria, VA 22314, United States
Description
An account of the resource
<em>Truths that Rise from the Roots Remembered</em> is located in the Alexandria African American Heritage Park. The memorial includes a group of three stylized bronze trees whose surfaces are etched with names, historical information, and photographs of the African American community in Alexandria; a commemorative grave mound sculpture with limestone supports; and a bronze bookstand. The trees and mound are contained within a circle surrounded by gray flag stone and a semi-circular brick wall. Embedded in the gray flagstone is a red limestone circle, marked with the compass points.
Subject
The topic of the resource
<p>Subject (Topic)<br />African American history<br />Alexandria (Va.)--History<br />American South<br />Freedmen--Virginia<br />Public art<br />Public sculpture<br />Resistance<br /><br /></p>
<p>Subject (Object Type) <br />Commemorative sculpture</p>
Source
A related resource from which the described resource is derived
Photographs by Renée Ater
African American history
civic
education
Jerome Meadows
religion
Virginia