1 10 4 https://www.slaverymonuments.org/files/original/54d94709792e70123c25adea44a98550.jpg 23bc8de5deead109bfb5a4cc0fbb3f55 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource African American History Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials grouped under this theme acknowledge the important contributions of African Americans to American history. Slavery is anchored in the commemorative works as part of the larger story of Black existence in the United States. Some monuments, such as <a href="https://www.slaverymonuments.org/items/show/1133" target="_blank" rel="noopener">South Carolina African-American History Monument</a> and the <a href="https://www.slaverymonuments.org/items/show/1134" target="_blank" rel="noopener">Texas African American History Memorial</a>, include bas-reliefs of enslaved men and women, signaling these states' role in slavery. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1183" target="_blank" rel="noopener">Truths that Rise from the Roots Remembered</a>, honor the ability of ordinary Black people in Alexandria, Virginia (a slave trade center in the United States) to survive and thrive despite slavery, racism, and white supremacy.  Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Obelisk and pedestal: 276 in. (701.04 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource South Carolina African-American History Monument (Columbia, South Carolina) Subject The topic of the resource Subject (Topic) African Americans--History Enslaved persons--Emancipation Public art Public sculpture Slave ships Slavery--South Carolina South Carolina--Columbia Subject (Object Type) Commemorative sculpture Description An account of the resource Two semicircular gray granite walls, inlaid with twelve bronze panels illustrating 300 years of African American history, frame an obelisk and pedestal. The twelve scenes of African American history include images of the Middle Passage, an African American family on an auction block, enslaved laborers working in a field, men and women celebrating the Emancipation Proclamation, the Jim Crow era, the Great Migration, and images of contemporary African Americans’ important contributions to engineering, law education, sports, politics, and space exploration. At the base of the monument’s obelisk are four rubbing stones from regions of Africa where people were captured - Senegal, Sierra Leone, the Republic of Congo, and Ghana. In front of the memorial, Dwight included a bronze cast of the famous print of the British slave ship Brookes (1787). Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Date A point or period of time associated with an event in the lifecycle of the resource March 29, 2001 Contributor An entity responsible for making contributions to the resource African American History Monument Commission; South Carolina Arts Commission; State House Committee; Citizens' Advisory Committe; Design Committee; Fundraising Committee; private donors Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant South Carolina State House Grounds, 1100 Gervais Street, Columbia, South Carolina, 29201, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque on front of monument: African American History Monument Dedicated - 2001 Ed Dwight - Sculptor Bronze plaque on back of monument: South Carolina African-American History Monument Dedicated to the people of South Carolina Monument Commission Chairman Senator Glenn F. McConnell Vice-Chairman Representative Gilda Cobb-Hunter Senator John E. Courson Senator Robert Ford Senator Darrell Jackson Senator McKinley Washington, Jr. Representative Daniel T. Cooper Representative James S. Klauber Representative John L. Scott, Jr. Honorable Jesse Washington, Jr. State House Committee Senator J. Verne Smith, Chairman Citizen's Advisory Committe Dr. Mac Arthur Goodman, Chairman Design Committee Dr. Terry K. Hunter, Chairman Dr. Henry G. Michaux Mr. James Wakefield Fundraising Committee Governor Jim Hodges, Honorary Chairman Mr. John S. Rainey, Chairman Ms. Juanita W. Brown, Co-Chairman Mr. E. Perry Palmer, Co-Chairman Extent The size or duration of the resource. Obelisk and pedestal: 276 in. (701.04 cm) Medium The material or physical carrier of the resource. Granite; Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Botsch, Carol Sears. “The African-American Monument.” African Americans and South Carolina: History, Politics, and Culture. University of South Carolina-Aiken. Accessed April 15, 2019. https://polisci.usca.edu/aasc/African-AmericanMonument.htm (site discontinued). Davenport, Jim. “A Slave Memorial Now Stands Amid State's Tributes to Confederacy.” Los Angeles Times, March 25, 2001. Accessed April 15, 2019. https://www.latimes.com/archives/la-xpm-2001-mar-25-mn-42494-story.html. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: Flickr, <a href="https://www.flickr.com/photos/22711505@N05/7917139800" title="African-American History Monument -- State Capitol Grounds Columbia (SC) 2012" target="_blank" rel="noopener">"African-American History Monument -- State Capitol Grounds Columbia (SC) 2012" by Ron Cogswell, CC BY 2.0</a> Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. African American History Monument Rights Information about rights held in and over the resource South Carolina State House, 1100 Gervais Street, Columbia, South Carolina 29201, United States bas-relief bronze figurative granite obelisk slave ship https://www.slaverymonuments.org/files/original/2902ee1d6e78b859129e9bdf72705989.jpg d0bb08dcacdd43cecdafe17f70560a41 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource African American History Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials grouped under this theme acknowledge the important contributions of African Americans to American history. Slavery is anchored in the commemorative works as part of the larger story of Black existence in the United States. Some monuments, such as <a href="https://www.slaverymonuments.org/items/show/1133" target="_blank" rel="noopener">South Carolina African-American History Monument</a> and the <a href="https://www.slaverymonuments.org/items/show/1134" target="_blank" rel="noopener">Texas African American History Memorial</a>, include bas-reliefs of enslaved men and women, signaling these states' role in slavery. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1183" target="_blank" rel="noopener">Truths that Rise from the Roots Remembered</a>, honor the ability of ordinary Black people in Alexandria, Virginia (a slave trade center in the United States) to survive and thrive despite slavery, racism, and white supremacy.  Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 408 x 324 in. ( 1036.32 x 822.96 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Texas African American History Memorial (Austin, Texas) Subject The topic of the resource Subject (Topic) Abolition of slavery African Americans--History Enslaved persons--Emancipation Juneteenth Public art Public sculpture Slavery--Texas Texas--Austin Subject (Object Type) Commemorative sculpture Description An account of the resource The monumental work includes two bronze walls featuring figural scenes celebrating 400 years of African Americans’ contributions to Texas history. Decorated on both front and back, Dwight includes depictions of African Americans engaged in the cattle, cotton, and oil industries as well as tributes to Mickey Leland, Medgar Evers, Buffalo Soldiers, President Barack Obama, and African American Medal of Honor recipients. The two embellished walls meet at a central column. Scores of African American figures, seemingly comprising the base and shaft of the column, gaze outward at the viewer. The top of the column is adorned with two figures standing on a base that reads “Emancipation.” Both figures, one male, one female, have the cuffs of broken manacles and chains around their wrists. The former raises a lit torch over his head, while the latter holds a copy of the Emancipation Proclamation. The monument also serves as a memorial to Juneteenth (June 19, 1865), when hundreds of Union troops arrived in Texas and announced the abolition of slavery in the US. The memorial sits atop a granite base, which features bronze plaques with didactic text. Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Date A point or period of time associated with an event in the lifecycle of the resource November 19, 2019 Contributor An entity responsible for making contributions to the resource Texas African American History Memorial Committee; Texas Legislative Black Caucus; State of Texas. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Texas State Capitol Grounds, 100 West 11th Street, Austin, Texas, 78701, United States Has Part A related resource that is included either physically or logically in the described resource. Panel 1: First Contact and the Spanish Colonial Era 1528-1820 The first recorded people of African descent arrived in Texas with Spanish explorers and settlers. Estevanico, a Moorish slave from Azamor, Morocco, arrived in Texas in 1528 with a party of Spanish explorers who were shipwrecked on the Gulf Coast near Galveston Island. With three other survivors, Andres Dorantes de Castillo, Alvar Nunez Cabeza de Vaca and Alonso del Castillo Maldonado, he walked across southern Texas and northern Mexico, showing a talent for Indian languages and acting as an interpreter for the party. Estevanico was later pressed into service by the Viceroy of New Spain, Antonio de Mendoza, to guide an expedition into what is now Arizona. He was killed at Zuni Pueblo in 1539. His death may have been due to a sacred rattle given to him by Texas Indians, which the Zuni considered an offensive object. Estevanico was one of the thousands of Africans who helped settle Spanish Texas over the course of 300 years. By 1792, African people in Texas comprised 13 percent of the population. Most arrived enslaved. The African-American cultural heritage is a significant legacy that has shaped both our state and national heritage. Panel 2: Slavery During the Mexican National Era 1821-1836 During the Mexican national era, enslaved people of African descent were brought to Texas by the Anglo-American settlers introduced into Texas by Stephen F. Austin and other empresarios, land agents authorized by the Mexican government to help settle Texas. In 1830, Mexican lawmakers prohibited further immigration into Texas from the United States and explicitly banned the introduction of enslaved people into the territory. This ban contributed to increasing tensions between United States settlers and the Mexican government, and was one of the causes of the Texas Revolution from 1835 to 1836. By the time Texas declared independence, there were approximately 5,000 enslaved Blacks in the region. Panel 3: Slavery During the Republic and Early Statehood 1836-1860 Between 1836 and 1860, the slave population in Texas grew from 5,000 to 182,566. The greatest increase in the number of slaves brought to Texas occurred from 1850 to 1865. Among the expanding slave population were children who were purchased and brought to the State, or born in captivity to enslaved parents. Enslaved children typically wore slave cloth shirts made of homespun cotton or wool and were expected to do chores until they were old enough for field work. Enslaved women were expected to bear children and take care of their home life in the slave quarters, and to help farm cotton and other crops. Cotton produced by slave labor was the most important staple in the Texas economy, but slave labor was also integral to the economic growth of Texas in the lumber and construction industries. Several iconic Texas buildings including the 1853 limestone Texas Capitol, the 1856 Governor’s Mansion, and the 1853 Pease Mansion were built with Black slave labor. Most slaves showed skills in farming, animal husbandry, construction, masonry, cooking and blacksmithing. Panel 4: Civil War, Emancipation and Juneteenth, 1861-1865 On the eve of the Civil War, the number of enslaved people in Texas totaled 30 percent of the state’s population. This number continued to grow as slaveholders from other areas of the Confederacy came to Texas as refugees to escape the fighting and brought their enslaved property with them. Scholars estimate that more than 30,000 enslaved people were brought into Texas during the Civil War years alone. The conflict did not readily change the Black experience in Texas, as most African-Americans continued to be held in bondage and forced to labor. Federal troops occupied Texas in June 1865 after the Civil War. General Gordon Granger issued General Order Number 3 at Galveston on June 19, 1865 to enforce the Emancipation Proclamation previously signed by President Abraham Lincoln. That day soon became recognized as Juneteenth or Emancipation Day, although many slaves in Texas were not freed until much later. Juneteenth was officially declared a state holiday in Texas in 1980, and today it continues to be celebrated here and in other states as a milestone of the African-American struggle for freedom. After Emancipation , the former slaves entered the new stage of freedom with a mixture of joy, despair, elation, fear, hope, doubt, certainty and confusion. With little social infrastructure other than their families, they sought to make their way in a nation and state they helped to create, but in which they had very little ownership, input or power. Panel 5: Reconstruction and the Post Slavery Experience 1865-1900 After emancipation, Blacks in Texas, as in other southern states, became members of a society that was unwilling to accept them as equals. Despite efforts to be included in the fabric of Texas society, violence by hostile groups, the lack of access to courts and the ultimate withdrawal of federal troops resulted in the loss of equal protection under the law. In 1866-1867, Blacks could be arrested if they did not have employment, and once jailed, their labor could be forced. Prisoners, the majority of whom were African-Americans, were leased to contractors as convict laborers. These leased prisoners were used much like slaves, including during the construction of the current State Capitol. Although Blacks did serve on juries, vote and hold office for a few years from the late 1870s until the turn of the 20th century, their rights were constantly threatened at the local level and taken away statewide soon after 1900. During the era of Reconstruction, African-Americans sought to live and prosper in the aftermath of slavery. Fifty-two African-American men served Texas as either state legislative members or Constitutional Convention delegates during the last half of the 19th century. They built communities with churches and schools. Some former slaves served in Texas in four African-American regiments with white officers formed in 1866, the 9th and 10th Cavalry and the 24th and 25th Infantry. Native Americans gave these men the title of “Buffalo Soldiers.” Some African-Americans, including Bob Lemmons, Bill Pickett and Tige Avery became successful cowboys and horse wranglers on many Texas ranches, in part due to skills learned during their years of slavery. Panel 6: Post Reconstruction Challenges and Achievements 1877-1954 The end of Reconstruction proved an uncertain and violent time for African-Americans living in Texas. Riots and lynchings were common occurrences. By the early 20th century, Texas ranked third in the nation for lynching. Violence, however, did not deter Texans of African descent from seeking to improve their economic, political and social status. This period saw major African-American contributions to aviation, sports and the arts--particularly in music. Folk music from the African-Americans in Texas made an important contribution to the development of blues, folk and country music in America. Blacks were barred from attending public schools with Whites in Texas until 1954, when the United States Supreme Court ended public school segregation in the United States. Despite being forced to attend inferior public schools, African-Americans were able to attain higher education at traditionally black colleges including Huston-Tillotson University, Prairie View A&M University, Texas Southern University and Wiley College. During and after World War II, Black Texans played a significant role in advancing Civil Rights. The landmark case Smith v. Allwright (1944) improved the voting rights for African-Americans in the South and Sweatt v. Painter (1950) paved the way for equal access to education by opening the doors of The University of Texas law school to African-American students. More groundbreaking changes followed. African-American voter registration peaked in the 1960s. Activists organized peaceful protests including lunch counter sit-ins, marches and business boycotts. Panel 7: Major Achievements African-American Texans have contributed to the state’s culture, and have gained prominence in a host of fields. Despite the tremendous challenges posed by the institution of slavery, Jim Crow segregation and discrimination, African-Americans overcame and continue to overcome great obstacles to make a place for themselves in the Lone Star State, and are an essential part of Texas history, life and culture. Scott Joplin, a world class composer and pianist, was known as the “King of Ragtime Writers.” Jack Johnson was the first Black heavyweight boxing champion of the world. Bessie Coleman broke historical barriers by becoming the first African-American woman aviator and one of the first licensed female pilots in the world. Navy Mess Attendant Second Class Doris “Dorie” Miller shot down four Japanese warplanes at Pearl Harbor and was awarded the Navy Cross. Barbara Jordan was the first African-American woman elected to the Texas Senate (1966) and later became the first African-American congresswoman from Texas (1972-1978). Congressman Mickey Leland held the office previously occupied by Barbara Jordan and was a champion for equal rights until his untimely death. From exploration of unchartered lands in Texas to exploration of outer space, people of African descent contributed significantly to Texas history. This memorial is dedicated to their struggle and their accomplishments so that both will not be forgotten. Back Panel 1: Battles for Texas Independence from Mexico 1836 Several notable individuals of African descent participated in the battles at the Alamo and San Jacinto in 1836. Joe, slave of William B. Travis, fought at the Alamo and survived. His account of the fighting is one of the most important Alamo narratives. Mack Smith, slave of Ben Fort Smith, and Dick the Drummer, a musician, both participated in the battle of San Jacinto. A story recorded in 1842 by William Bollaert, an Englishman touring Texas, claimed that the Mexican Army probably lost the battle of San Jacinto because of the influence of a mulatto girl named “Emily,” who belonged to Col. James Morgan and was “closeted” in Santa Anna’s tent, detaining him when the Texans charged the Mexican Army camp. No other account of the battle mentions this story, but in 1836 a free woman named Emily D. West, who came to Texas from New York in late 1835, was employed by Col. Morgan as a house worker in New Washington (now Morgan’s Point) on Galveston Bay. Morgan’s settlement was occupied and burned by Santa Anna’s army on April 20, the day before the battle. His servants, unable to escape, were captured by the Mexican Army. Emily, sometimes known as “the Yellow Rose of Texas,” may have been among the prisoners because in 1837, when seeking a passport to leave Texas, she said she had lost her free papers at San Jacinto in April 1836. Back Panel 2: Hendrick Arnold and Samuel McCulloch, Jr. Hendrick Arnold and Samuel McCulloch, Jr. played important roles in the Texas Revolution and the formation of the Republic of Texas. After Texas became independent, both were considered free Blacks, but they were placed under severe legal restrictions. Samuel McCulloch, Jr., who lived near the Lavaca River with his family, has been called “a genuine Texas hero.” McCulloch volunteered to serve in the Texas Army and was wounded at the Battle of Goliad, the only Texan to be injured. After the war in 1837, he petitioned the Republic of Texas for citizenship rights and land. His petition was rejected, but McCulloch performed other military duties for the Republic of Texas, including serving as a spy during the Mexican invasion of San Antonio in 1842. After twenty years of petitioning the Congress of the Republic of Texas and the Texas State Legislature, McCulloch finally received his land in 1858 and settled at Von Ormy in Bexar County, where he farmed and ranched until his death in 1893. Hendrick Arnold’s family resided in San Antonio. In 1835, Arnold and his father-in-law, Erastus Smith, went on a hunting trip. When they attempted to go home, Mexican soldiers, who had since occupied San Antonio, refused to let them return. Subsequently, both Arnold and his father-in-law joined the Texas Army under Stephen F. Austin and worked as soldiers, spies and guides. Arnold became known in military circles as an associate of Sam Houston, an efficient and brave spy, and was cited for his service in the Texas Revolution. With his commendation from the Republic of Texas, he acquired land outside of San Antonio where he is buried today. Back Panel 3: The 21st Century The State of Texas has thrived economically. Early history indicates that the development of the cotton industry, initially dependent on slave labor, as well as the cattle market and the discovery of abundant supplies of oil contributed to this economic wealth. These three profitable industries facilitated Texas’ economic progress. However, such achievements were often at the expense of African-Americans who rarely reaped the benefits of such growth. For 200 years, Texans of African descent struggled for economic, social and political success. They fought to gain access to basic judicial and human rights to secure their enfranchisement and their role in Texas society. In some cases, they achieved some success. In other areas, there is work yet to be done. This Memorial is dedicated to both the struggles and achievements of African-American Texans and the impact of both on the economic and cultural vitality of the State of Texas. Extent The size or duration of the resource. 408 x 324 in. (1036.32 x 822.96 cm) Medium The material or physical carrier of the resource. Granite; Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. “Texas African American History Memorial, Dedication Ceremony, South Lawn Texas Capital, Saturday, November 19, 2016, 10:00 am.” Program (PDF). Accessed April 15, 2019. https://lrl.texas.gov/scanned/blog/aam_program2.pdf. State Preservation Board, Texas Capitol. “Texas African American History Memorial.” Accessed April 15, 2019. https://tspb.texas.gov/prop/tcg/tcg-monuments/21-african-american-history/index.html. Legislative Reference Library of Texas. “New Texas African American Monument.” Accessed April 15, 2019. https://lrl.texas.gov/whatsnew/client/index.cfm/2017/2/14/New-Texas-African-American-Monument. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: Flickr, “<a href="https://www.flickr.com/photos/jpestana/31271259748" title="Texas African American History Memorial: Ed Dwight..." target="_blank" rel="noopener">Texas African American History Memorial: Ed Dwight...</a>” by <a href="https://www.flickr.com/photos/jpestana/" target="_blank" rel="noopener">José Pestana</a>, <a href="https://creativecommons.org/licenses/by-nc-sa/2.0/deed.en" rel="noopener" target="_blank">CC BY-NC-SA 2.0</a> Rights Information about rights held in and over the resource Capitol Historical Artifact Collection, State Preservation Board, 201 East 14th Street, Suite 950 (Sam Houston State Office Building), Austin, Texas, 78711, United States bas-relief bronze Civil War figurative granite https://www.slaverymonuments.org/files/original/7864b6655d7a95cdb7519ffbfabfccbc.jpg 15fef5faf61d8fe83f20b85d678dd1e4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource African American History Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials grouped under this theme acknowledge the important contributions of African Americans to American history. Slavery is anchored in the commemorative works as part of the larger story of Black existence in the United States. Some monuments, such as <a href="https://www.slaverymonuments.org/items/show/1133" target="_blank" rel="noopener">South Carolina African-American History Monument</a> and the <a href="https://www.slaverymonuments.org/items/show/1134" target="_blank" rel="noopener">Texas African American History Memorial</a>, include bas-reliefs of enslaved men and women, signaling these states' role in slavery. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1183" target="_blank" rel="noopener">Truths that Rise from the Roots Remembered</a>, honor the ability of ordinary Black people in Alexandria, Virginia (a slave trade center in the United States) to survive and thrive despite slavery, racism, and white supremacy.  Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Varied: 144 to 180 in. (365.76 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 Truths that Rise from the Roots Remembered (Alexandria, Virginia) 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 June 17, 1995 Contributor An entity responsible for making contributions to the resource EDAW (now AECOM); Norfolk Southern Corporation; Carlyle Development; 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 African American Heritage Park, 309 Holland Lane, Alexandria, Virginia, 22314, United States Medium The material or physical carrier of the resource. Bronze; Brick; Grey stone Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Description An account of the resource Truths that Rise from the Roots Remembered is located in the African American Heritage Park, a nine-acre memorial park. The park was the site of a historic Black Baptist Cemetery, established in 1885, and later desecrated when the City of Alexandria used the space as a landfill in the early 1960s. Through archaeological excavations, (1985–1992), six headstones were identified and remain in their original location. The park was designed to co-exist with the original landscape of the cemetery and to preserve the wetlands on the site. Truths that Rise from the Roots Remembered 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 Subject (Topic) African Americans--History Freedom Public art Public sculpture Resistance Virginia--Alexandria Subject (Object Type) Commemorative sculpture Extent The size or duration of the resource. 144 to 180 in. (365.76 to 457.2 cm) Source A related resource from which the described resource is derived Photographs by 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. Cressey, Pamela. “Sculpture Provides Inspriation.” Alexandria Gazette Packet, July 20, 1995. Accessed August 14, 2019. https://www.alexandriava.gov/historic/info/default.aspx?id=42988. Anderson, Adrian D. The African American Heritage Park, Alexandria, Virginia. Minneapolis, MN: Tellus Consultants, 1992. Accessed August 14, 2019. https://www.alexandriava.gov/uploadedFiles/historic/info/archaeology/SiteReportAnderson1992AfricanAmericanHeritagePark.pdf. Has Part A related resource that is included either physically or logically in the described resource. Plaque at the entrance to the African American Heritage Park (left): From the establishment of Alexandria in 1749 to the present time, African Americans have been a vibrant part of this city’s history. The City of Alexandria would not exist in its present form were it not for the economic, social, and cultural contributions of African Americans both slave and free. As Alexandria developed in the 19th century, African Americans began to establish enclaves with distinctive names and characteristics. Many of these areas such as: The Berg, The Bottoms, Cross Canal, Hayti, The Hump, Sunnyside, and Uptown survive today and retain historical significance for African Americans currently living in Alexandria. From these original African American neighborhoods, a sense of community developed, which led to the creation of churches, schools, civic and social organizations. these memorial sculptures in this park highlight people and institutions important to Alexandria’s African American heritage. The land for this memorial is of special significance. In 1885 this parcel of land was purchased by the Black Baptist Cemetery Association and a number of gravesites remain here. Hooff’s Run, which runs through this site provided access to the Potomac River and the town of Alexandria for a variety of traders and retailers. By the middle of the 19th century, railroads provided a new transportation system. Established about 1851, the first railroad in this vicinity was the Orange and Alexandria which passed through this land on its way from the town center to more western parts of Virginia. The Norfolk Southern Corporation has set aside this land as a memorial to recognize and celebrate and commemorate African American contributions to the Alexandria community. The Alexandria African American Heritage Park, a gift to the City from the Norfolk Southern Corporation, will contribute to the rich cultural heritage of Alexandria. The history and accomplishments of African American leaders will stimulate young people to develop esteem, hope, determination, and pride in themselves. The memorial park coexists with the original landscape of the cemetery and preserves the interesting and varied plant life on this site. The design creates an atmosphere suitable for nature walks or meditation. Plaque at the entrance to African American Heritage Park (right): Truths That Rise From The Roots — Remembered We bury more than our bodies at rest Deep within the forgiving soil We bury as well our  Our dreams, our legends, our revelry, our toil Here is where we enshrine our wisdom To be joined with that of our yesteryears And here is where our tomorrows are planted As lessons learned against future fears The artistic works incorporated into this Memorial/Park offer a symbolic testament to the efforts and accomplishments of a great many local individuals, institutions and organizations both past and present. The names and images etched upon these forms, as an acknowledgment of but some of those who have ’passed this way before’, represent the foundation, the builders, the source and substance of this historic and vibrant community. As a context in which history and art are joined this public-art setting serves as a cultural marker — a communal space in which the sons and daughters of the here and now celebrate and honor the heroes of their past. Jerome B. Meadows — Artist Zoe Briscoe — Research, Technical Assistant Park Design — EDAW Etching on the commemorative grave mound sculpture: Black Baptist Cemetery Association 1885 From the past they speak, in varied voice and familiar faces Mary Rome Matilda Gaines Sarah Hunter Abraham Hunter Julia Ann Washington Etching on the tree nearest to commemorative grave mound, left side: Education Alexandria Academy Washington Free School Mt. Hope Academy 1837-1843 Alfred Perry Sylvia Morris Lancasterian School Society of Friends American Baptist Free Mission Society Mary Chase 1861 Saint Robe Institute 1881 Jane A. Crouch Miss Sarah Gray First Select Colored School 1862 Rev. and Mrs. Robinson Rev. G.W. Parker Amanda Borden The First Free Colored Mission Day School 1863 Union Town School 1863 Nancy Williams The Primary School 1863 William K. Harris Richard H. Lyles Newtown School 1863 Anna Bell Davis Leannah Powell The Sickles Barracks School 1863 The Jacobs Free School 1864 Louisa Jacobs Harriet Jacobs Miss S.Y. Lawton Miss E.M. Lawton First National Freedmen’s School 1864 Harriet Byron Douglass 1864 Second National Freedmen’s School Rev. M.F. Sluby Laura Phenix Miss M.F. Simms Mary M. Nickens The Washington St. School Miss L.V. Lewis Etching on the tree nearest to commemorative grave mound, right side: Education Pennsylvania Freedmen’s Relief Association 1865 Bureau of Refugees, Freedmen and Abandoned Lands Gustavus Lumpkins 1867 First Free School Society of Alexandria George Seaton George W. Bryant Anthony L. Perpener Hannibal King James Piper George P. Douglas John H. Davis Samuel W. Madden J. Mck. Ware Charles Watson George W. Parker Rev. Clem Robinson George W. Sims Snowden School for Boys William F. Powell Carrie Claggett John Parker Patrick H. Lumpkins Hallowell School for Girls Matilda A. Madden Parker-Gray School 1920 Henry T. White Laura Dorsey Susie P. Madden Margaret T. Young Sarah D. Gray Harriet Thornton James B. Howard Rozier D. Lyles Mamie  E. Anderson Rev. A.W. Adkins Wesley Elam William Pitts Ferris Holland Louis Johnson Edward L. Patterson John T. Butler Lyles-Crouch Elementary School Julia Pritchett Seminary School Geraldine Stevenson St. Joseph’s Catholic School The Oblate Sisters of Providence Sister Mary John Bearchmann Sister Mary Eusebius Charles Houston Elementary School Helen L. Davis Martha Millier-Kindergarten Saretta N. Cope-Kindergarten Etching on the second tree from the commemorative grave mound, left side: Religion Alfred Street Baptist Church 1801 Jesse Henderson Evans Williams Daniel Taylor Rev. Samuel Madden Rev. Alexander A. Truatt Rev. Andrew W. Adkins “Old Zion” Methodist Church 1832 Roberts Memorial United Methodist Church 1832 James Harper Francis Hoy James Evans Philip Hamilton Simon Turley Rev. James Thomas Rev. Robert H. Robinson Rev. James Howard Beulah Baptist Church 1863 Rev. Clem Robinson Zion Baptist Church 1864 Rev. Robert Woodson, Pastor Shiloh Baptist Church 1865 Rev. Charles H. Rodgers Rev. Leland Warring Second Baptist Church Third Baptist Church 1865 Rev. Samuel Stewart Rev. Samuel Ross Meade Memorial Espiscopal Church 1869 Rev. J.W.M. Powell Canon John G. Davis Ebenezer Baptist 1880 Rev. Field Cooke Rev. L. Henry Bailey Rev. W. Howard Stanton Rev. N.B. Hargraves Rev. Austin A. Booker Good Shepard Episcopal Chapel 1880 St. Cyprian’s Episcopal Mission Etching on the second tree from the commemorative grave mound, right side: Religion Mt. Jezreel 1890 Rev. Coleman Rev. O.L. Miles Oakland Baptist Church 1891 Rev. E.R. Jackson Clara Adams William Carpenter Brook Johnson William Jerrell John W. Casey Maggie Hall Smith Wahler Daniel Simms, Jr. Nancy Shepherd Harriet Short Matilda Woods Mollie Nelson St. Joseph’s Catholic Church 1915 Thomas Blair Katie Bowman Carrie Crouch John Johnson John Parker Tabernacle of God and Saints of Christ 1921 St. John’s Baptist Church 1926 Rev. and Mrs. J.G. West Deacon David Askew Deacon Raymond Deacon Holmes Bethel Presbyterian Church Community Presbyterian Church 1928 Rev. Richard B. Strong United House of Prayer Russell Temple C.M.E. 1941 Alleyne AME Zion Church 1949 Rev. Frederick Douglass Williams Rev. Grayson Kelch Etching on the third tree from the commemorative grave mound, left side: Civic Thomas Fuller - 1789 Bejamin Banneker - 1791 William Goddard Dominick Bearcroft Alexander Bryan - 1833 Mary Savoy - 1839 David Jarbour H. Dulany - 1850 Mary Cole John Williams Moses Hepburn John Hepburn Henry Anderson Charles Watson George Seaton John Seaton Nellie Whiting Magnus L. Robinson Norman B. Pinn Freeman N.M. Murray The Home News, 1900 Edmund Hill W. Walter Jackson Murray Brothers Printers, 1903 Raymond H. Murray F. Morris Murray Norman D. Murray Miss. Susie B. Buckner Florence Murray Lewis Smith Samuel A. Tucker L.H. Williams Alexandria Home Bakery John W. Jackson Margaret Evans Washington Jackson Thomas Arrington Laura Watson Harriet Ware Etching on the third tree from the commemorative grave mound, right side: Civic Professor T.E. Dulany C. William Gray W.C. Arnold Lloyd Lewis Richard N. Poole Henry Brooks Mrs. Mattie Brooks Mrs. Katie Skinner Mrs. Lorraine Funn Atkins Mrs. Annie B. Rose Mrs. Connie Chissell George Gaddis Arthur Bracey Library Sit-In - 1939 B. Wilbert Tucker Morris Murray Edward Gaddis Clarence "Buck" Strange Sgt. George Watson Doctors Albert Johnson - 1892 J. Milton Hopkins - c. 1894 Frederick P. barrier - c. 1917 Oswald Durant Henry Ladrey C. Aubrey Lindo Abe Penn Paul Piper Charles West Herbert G. Chissell James Carpenter Newman C. Taylor Frederick Perry W. Lee Harris Elijah E. Lacey T. Bernard Blue William Skinner Lawyers James Webster Thomas Watson William Macmurray J. Byron Hopkins Alfred Collins Judge Joseph Waddy James Raby Rights Information about rights held in and over the resource City of Alexandria, City Hall, 301 King Street, Alexandria, Viriginia, 22314, United States abstract bronze inscription names trees https://www.slaverymonuments.org/files/original/72f062626ca5c8065626573ba8186322.jpg 8d0138c991edbd2475e46f2aabd9bb47 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource African American History Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials grouped under this theme acknowledge the important contributions of African Americans to American history. Slavery is anchored in the commemorative works as part of the larger story of Black existence in the United States. Some monuments, such as <a href="https://www.slaverymonuments.org/items/show/1133" target="_blank" rel="noopener">South Carolina African-American History Monument</a> and the <a href="https://www.slaverymonuments.org/items/show/1134" target="_blank" rel="noopener">Texas African American History Memorial</a>, include bas-reliefs of enslaved men and women, signaling these states' role in slavery. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1183" target="_blank" rel="noopener">Truths that Rise from the Roots Remembered</a>, honor the ability of ordinary Black people in Alexandria, Virginia (a slave trade center in the United States) to survive and thrive despite slavery, racism, and white supremacy.  Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Approx: 132 in. (335.28 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 African-American Monument (Savannah, Georgia) Subject The topic of the resource Subject (Topic) African Americans--History Georgia--Savannah Public art Public sculpture Slavery--Georgia Subject (Object Type) Commemorative sculpture Description An account of the resource Situated on the tourist promenade of River Street, the monument depicts a Black family in contemporary dress. The father, mother, daughter, and son stand on broken chains, holding one another in a tight embrace. Along the base are engravings of ocean waves and two sets of manacled hands. Words by the poet Maya Angelou are inscribed on the granite base. Creator An entity primarily responsible for making the resource Spradley, Dorothy, 1946- Date A point or period of time associated with an event in the lifecycle of the resource July 27, 2002 Contributor An entity responsible for making contributions to the resource Abigail Jordan and the African American Monument Association. 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 John Rousakis Riverfront Plaza, Savannah, Georgia, 31401, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on granite base: “We were stolen, sold and bought together from the African continent. We got on the slave ships together. We lay back to belly in the holds of the slave ships in each other’s excrement and urine together, sometimes died together, and our lifeless bodies thrown overboard together. Today, we are standing up together, with faith and even some joy.” Maya Angelou Bronze plaque with inscription on base: Please help the African American Monument Association Cover the debt for the African American Monument CONTRIBUTIONS MAY BE SENT TO: National Bank of Commerce 2225 E Victory Drive Savannah, GA 31404 or call 912-354-4634 FEDERAL ID NO. 58-1944952 Plaque courtesy of the Savannah College of Art and Design Bronze plaque with inscription added in 2019: The African American Monument Dedicated July 27, 2002 In Honor Of Dr. Abbie H. Jordan (1925-2019) Educator, Leader, Trailblazer, and Community Activist Dr. Jordan’s vision, tenacity, and financial contributions were the driving force that ensured the Savannah Waterfront was the home of the first statue in Savannah that honors African Americans. The Consortium of Doctors, Ltd., an organization that Dr. Jordan founded in 1991, made significant contributions to this effort. Sculptress: Dorothy Spradley This plaque unveiled July 26, 2019 Extent The size or duration of the resource. 132 in. (335.28 cm) Medium The material or physical carrier of the resource. Bronze; Granite Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived <a href="https://en.wikipedia.org/wiki/File:African-American_family_monument,_Savannah,_GA,_US.jpg" title="African-American Monument Savannah" target="_blank" rel="noopener"></a>Photograph: <a href="https://en.wikipedia.org/wiki/File:African-American_family_monument,_Savannah,_GA,_US.jpg" target="_blank" rel="noopener">Wikipedia</a> Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Ater, Renée. “Slavery and Its Memory in Public Monuments.” American Art 24, no. 1 (2010): 20-23. Alderman, Derek H. “Surrogation and the Politics of Remembering Slavery in Savannah, Georgia (USA).” Journal of Historical Geography 36 (2010): 90–101. Rights Information about rights held in and over the resource Greenscapes Division, Public Works & Water Resources, City of Savannah, 2 East Bay Street, Savannah, Georgia, 31401, United States bronze chains figurative granite inscription shackles