Commissioned by the US General Services Administration's Art in Architecture Program.In the form of a new classical representation, the sculpture pays homage to the African Burial Site and the transport of Africans to this land, their bondage and struggle for freedom. The work also expresses an interrelationship between all races and backgrounds of people in the United States. For this project, the Artist also composed a poem, of the same title, which chronicles the plight of the African slaves and honors their heroism.

Ted Weiss Federal Building

Africa Rising

This work is a mosaic that depict hexagonal skulls that merge into heads toward the top of the scene. The work is sited near a historic site: New York's African Burial Ground. In the 18th century, this space was the burial site for 10 to 20 thousand enslaved African Americans and working class citizens. It was discovered centuries later. Along with paying homage to those who were laid to rest on this site, Brown also remembers those who lost their lives to AIDS in his iconography.Roger Brown was a leading painter of the Chicago-Imagist style. For this project, Brown initially painted his image on canvass and then had the composition transformed by skilled artisans in Italy of special glass mosaics. All aspects of the work were accomplished to Brown`s satisfaction; assembled and installed under his guidance. Of his work, Brown said, &ldquo;On this ancient cemetery site below the modern skyline of New York City a contemporary tapestry of human faces, each made thin and hollow by the ravages of AIDS, descends like some medieval nightmare into a mosaic of death heads in memory of those of all races who have suffered and died too soon.&rdquo;

Located near the African Burial Ground National Monument.

Roger Brown 'Untitled' Mosaic

Commissioned by the US General Service Administration's Art in Architecture Program.This sculpture is Lynds` tribute to the history of the site and to all people who strive for freedom. It is an embodiment of American independence; by night, the sculpture is transformed by lighting effects that add visual radiance to the idea of freedom. America Song is a relief sculpture sited at the building`s main entrance. The cast concrete is embedded with fiber optics, which in the evening emit moving light across the surface of the image. Sandblasted on stone below the sculpture is the poem I want to be free/Want to be free,/Rainbow` round my shoulder/Wings on my feet, written by an anonymous African poet.

 The cast concrete is embedded with fiber optics, which in the evening emit moving light across the surface of the image.  

'I want to be freeWant to be free,Rainbow&rsquo; round my shoulderWings on my feet

Exterior wall at entrance to the building

American Song

This public art installation commemorates the 18th century African Burial Ground, partially excavated in 1992. In the tradition of world ceremonial markings, it features a forty foot diameter illuminated terrazzo and polished brass "dance" floor and is designed as a tribute to the thousands of Africans, Indians and Europeans buried there. Commissioned by the US General Services Administration's Art in Architecture ProgramThe design of the work is in the tradition of world ceremonial ground markings and the name is after the historical ring shout dance of celebration performed throughout North America and the Caribbean. The work contains a multi-layering of patterns, symbols and texts and languages and is intended to foster greater cultural awareness, racial harmony and understanding.

Commemorating the eighteenth-century African Burial Ground.&nbsp;The design of the work is in the tradition of world ceremonial ground markings and the name is after the historical ring shout dance of celebration performed throughout North America and the Caribbean. The work contains a multi-layering of patterns, symbols and texts and languages and is intended to foster greater cultural awareness, racial harmony and understanding.

The New Ring Shout

Commissioned by the US General Services Administration's Art in Architecture Program.Through a series of overlapping silkscreen images, Arai draws the viewer`s attention to relevant activities, events, and
symbols pertinent to the 18th and early 19th century. There are
images from the 1600s-1827; however, these images are not
in chronological order.
The main image in the mural is of a mountain, flanked by two pillars. The mountain, as a symbol of land, appears as a sacred site and a place of spiritual truth. The image of the mountain rising from
the water can also refer to the history of New York as a thriving harbor, as well as one of the major
centers of the British slave trade in America. The pillars, through which the mountain is viewed,
represent the past and present. The Middle Passage and the watery holocaust of the Atlantic Ocean
are represented in the pillar on the mural`s right. The pillar on the left contains a sky line of New
York. Below the skyline is a foundation of bricks which contain the names of the first eleven Africans
brought to America through the Dutch slave trade. These pillars can be seen as the foundation for
the city of New York`s success. Also seen in the mural are: figures representing the different types of
labor Africans endured, the African Free School, Freedom`s Journal, Mother A.M.E. Zion church, and
Frances Tavern. At the center of the mural is a reproduction of an 18th century map of the Burial
Ground. Above the map, artifacts unearthed at the burial site-buttons, coins, shroud pins, and beadsbecome a tangible connection to the past; and the talismans for a renewed vision of the future.

Renewal

 This piece, made of finished bronze with patina, is made by Frank Bender, a sculptor renowned for his work on forensic facial identifications. Bender used human remains discovered in an African Burial Ground in 1991 and selected three skulls to work with. Said Bender, "I held the eldest woman's skull in my hands and felt that she had endured the most. The younger woman with the bandana had been shot in the back. The young man in the background, the youngest and tallest of the three, is rising for a hope-filled future. The three hands joined together in the earth convey the idea that "we are all one in death." 

Unearthed

Located in a historic loft building in Lower Manhattan facing City Hall Park, the school and performance space includes seven dance studios, individually designed to meet the particular requirements for various dance forms as well as yoga and pilates, a flexible performance/studio space with theater seating, a gallery, café, dressing rooms, and offices. An open stair of wood and steel links the reception space and café on the ground floor to a sky-lit gallery on the floor above. This gallery atrium is the heart of the school, functioning as an informal gathering space and theater lobby. It is surrounded by studios, dressing rooms and school offices. Every dance studio is located to get maximum natural light, with south facing windows opening over City Hall Park, or skylights bringing daylight from above. The studio corridor borrows light from the studios, with full-height glass windows offering views of the classes within. The large studio on the north side of the building converts to a theater and production space.

The&nbsp;GSA Art in Architecture&nbsp;Program oversees the commissioning of artworks for new federal buildings nationwide. These artworks enhance the civic meaning of federal&nbsp;architecture&nbsp;and showcase the vibrancy of American visual&nbsp;arts.Artworks commissioned to honor the discovery of the African Burial Ground and installed in the Ted Weiss Federal Building include American Song, Renewal, The New Ring Shout, Untitled

Dance New Amsterdam

The burial ground in use for New York Town residents in the late 1600s was located at what is now the north graveyard of Trinity Church (of the Anglican / Church of England &ndash; today the Episcopal Church U.S.A.). The public burial ground was open to all for a fee, including to enslaved Africans. Some burials of deceased slaves were made just south of the public burial ground to avoid the fee.After Trinity was established as a parish church in 1697, the vestryman of the church began taking control of land in Lower Manhattan, including existing public burial grounds. When Trinity purchased the land at Wall Street and Broadway for the construction of their church, they passed a resolution on October 25, 1697: "That after the Expiration of four weeks from the dates hereof no Negro's be buried within the bounds &amp; Limitts of the Church Yard of Trinity Church, that is to say, in the rear of the present burying place &amp; that no person or Negro whatsoever, do presume after the terme above Limitted to break up any ground for the burying of his Negro, as they will answer it at their perill &amp; that this order be forthwith publish'd."This prohibition against the burial of those of African descent necessitated finding another area acceptable to the colonial authorities. What would become the "Negro's Burial Ground" was located on what was then the outskirts of the developed town, just north of present-day Chambers Street and west of the former Collect Pond (later Five Points). Labeled on old maps as the "Negros Burial Ground," the 6.6-acre area was first recorded as being used around 1712 for the burials of enslaved and freed people of African descent. The first burials may date from the late 1690s after Trinity barred African burials in the former city cemetery.After the city closed the cemetery in 1794, the area was plotted for development. The grade of the land was raised with up to 25 feet (7.6 meters) of landfill at the lowest points covering the cemetery, thus preserving the burials and the original grade level. As urban development took place over the fill, the burial ground was largely forgotten. In October 1991, the United States Government agency, the General Services Administration (GSA) announced the discovery (or rediscovery) of intact burials during an archaeological survey and excavation for the construction of a new $275 million federal office building planned at 290 Broadway between Reade and Chambers Streets.

Mayor David Dinkins (center), Peggy King Jorde (Mayor&amp;rsquo;s Liaison), and Howard Dodson (Chief, Schomburg Center) (front) are briefed on the excavation by Michael Parrington (Principal Archaeologist for HCI and John Milner Associates)  

African Burial Ground

Peggy King Jorde, Principal at King Jorde Cultural Projects Consulting, speaking at ‘It Happened Here - 1600’s Symposium: The Beginning of the City’ on July 3, 2025

Architectural historian Gail Cornell talks about the history of Foley Square and the African Burial Ground.

An African Burial Ground was established in 1690, eventually containing 15000 graves of free and enslaved Africans; it was rediscovered in 1991 when construction was beginning on the Federal Building.Historians estimate there may have been as many as 10,000&ndash;20,000 burials in what was called the "Negroes Burial Ground" in the 1700s. In 1794 2nd African Burial Ground replaced the first African Burial Ground after original ground was decommissioned by the Common Council. In 2010 African Burial Ground National Monument Rodney Leon's winning competition entry design was dedicated as the African Burial Ground National Monument.The current site of the African Burial Ground consists of the outdoor monument, adjacent to the Ted Weiss Federal Building at 290 Broadway, which holds an interpretive center on the first floor for the burial ground. The center features 5 public artworks commissioned and funded by the General Services Administration. "Unearthed" by Frank Bender, sculptor and forensic artist, is a bronze sculpture inspired by three of the individuals removed from the burial ground. "America Song" by Clyde Lynds is a sculpture composed of granite, concrete and fiber optics, and features an Indian headdress and feathers. At night, the sculpture is illuminated by the fiber optics.

 Wall of Remembrance, Ancestral Pillars, Memorial Wall, Ancestral Chamber, Circle of Diaspora, Spiral Procession Ramp, and Ancestral Libation Court.  

As one happens by the north wall facing Duane Street you are immediately struck by the scale and detail of a highly polished wall of granite inscribed with following libation text. For all those who were lost For all those who were stolen For all those who were left behind For all those who were not forgotten 

A path extends itself north to south from Duane Street. Along this path are seven burial mounds marking the locations of the seven large sarcophagi containing the remains of the 419 African descendants that were re-interred in October of 2003. In addition, a grove of seven trees create a natural buffer and shelter between the re-interment zone and adjacent building. The burial mounds serve as markers and the trees as guardians for the entrance to the Libation Chamber. It is appropriate to place flowers and other offerings along the path in front of the burial mounds.

 The Southern wall of the Libation Chamber shall be engraved with a map containing images and text describing the components of the African Burial Ground National Monument site in context of the burial ground's actual boundaries in lower Manhattan. This map will allow people to understand the extent and scope of the burial ground's actual size which extends significantly beyond the boundaries of the memorial site.&amp;nbsp;  

 Intended to reflect African cultural, spiritual and ancestral essence. This spiritual form rises out of the ground like an ancestral pillar and represents the soaring African spirit embracing and comforting all those who enter. The Ancestral Chamber is oriented towards the east and open to the sky above, allowing natural light to penetrate and illuminate the interior space. The interior of the Ancestral Chamber provides a sacred space for individual contemplation, reflection, meditation and prayer.  

 Signs, symbols and images of the African Diaspora are engraved around the perimeter wall encircling the Libation Court. These symbols come from different areas and cultures throughout the Diaspora, especially Africa, Latin America and the Caribbean. Symbolic meaning is described below the image. As one circumambulates around the perimeter of the court and spirals down the processional ramp, these symbols present themselves as a reminder of the complexity and diversity of African culture's manifestation. They all come together to form a communal place and a reminder of the Burial Ground being an international center of gathering.&amp;nbsp;  

 The Spiral Processional Ramp descends down 4' below street level thereby bringing the visitor physically, psychologically and spiritually closer to the ancestors and original interment level. The ramp and stairs serve as bridges between the living and the spiritual realm. They symbolize the process of transcendence from physical to spiritual and passage from profane to sacred. The process will evolve from the public "secular" space of the city to the spiritual space of the Libation Court and culminate in the sacred space of the Ancestral Chamber.&amp;nbsp;  

The Ancestral Libation Court is situated on axis with the Ancestral Chamber. It is located 4' below street level, providing a physical and psychological separation from the public activity of the surrounding urban environment. The Libation Court is a communal gathering place where small to medium-scale public cultural ceremonies may occur. This spiritual space is where reconsecration of the African Burial Ground National Monument will continually take place during the libation or other ceremonial rituals. The sacred ceremonial ritual of "libation" is the act which will serve as an offering and an acknowledgement linking past, present and future generations in the spirit of Sankofa {An Adinkra symbol of West Africa meaning 'learn from the past').&amp;nbsp;  

Includes text, location map, and color illustrations, part of an early map showing "Negro Burial Ground", small outline map of Africa 

African Burial Ground National Monument

Designed by Hellmuth, Obata &amp; Kassabaum, was designed to be among the most energy-efficient buildings in its class. Construction was delayed by the African Burial Ground which inspired the artwork commissioned for the building. The building is named for Ted Weiss, deceased Democratic member of the United States House of Representatives from New York. In October 1991, intact burials of human remains were discovered during an archeological survey and excavation. The agency had done an environmental impact statement (EIS) prior to purchase of the site, but the archeological survey had predicted that human remains would not be found because of the long history of urban development in that area.Initially, GSA had planned full archeological retrieval of the remains as full mitigation of the effects of its construction project on the burial ground. Within the year, its teams removed the remains of 420 persons from the site, but it had become clear that the extent of the burial ground was too large to be fully excavated. In 1992, activists staged a protest at the site about GSA's handling of the burial issue, especially when it was found that some intact burials were broken up during construction excavation at part of the site.GSA halted construction until the site could be thoroughly assessed. It provided additional funding to conduct a further archaeological excavation to reveal any other bodies on the site and to assess the remains. After controversy and negotiations, the plans were modified and the design for the pavilion was removed from the building plans. In lieu of the pavilion, a 50-foot high interior arcade with a vaulted top was constructed.

Foley Square Federal Office Building

 On the third stop of the tour, James Kaplan discusses the controversial life of Thomas Paine: his early life, the publishing of Common Sense and The Crisis, the Silas Deane Affair and Paine's downfall, his involvement in the French Revolution, and his death in 1809. 

Foley Square Federal Office Building

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