The Democratic Republic of the Congo has been plagued by conflicts over control, extraction and distribution of natural resources such as coltan, diamonds and oil. In this exhibition, photographers Isabel Muñoz, National Photography Award 2016, and Concha Casajús present the struggle of Congolese women in the face of the use of sexual violence as a weapon of war. The show is a series of portraits and testimonies of women from Bukavu, in the province of South Kivu, in the east of the country. The exhibition aims to make the situation of these women visible, as well as the violence they suffer. But at the same time, it invites us to reflect on the way in which these women face such suffering, rejecting in many cases the status of victims and trying to survive with dignity. Many have managed to get rid of this stigma and have struggled collectively to become activists and successful women. All a song to those women who have broken the silence and, from mutual support and sorority, have become true heroines of this twenty-first century.
Women and Abolition was a collaborative project exploring the role of women in the abolition movement, led by CETTIE (Cultural Exchange Through Theatre in Education) and Yaa Asantewaa Arts and Community Centre. The event in March 2007 included a panel debate, presentations by women activists, poetry and performances of the theatre productions 'Sugar n Spice' and 'Splendid Mummer'.
One major trope in 19th-century antislavery visual culture was the auction block, which featured in the Liberator masthead from 1831 to 1865 as a scene with crowds of onlookers. In 21st-century antislavery imagery, the auction block is back. In 2010, the Task Force on Human Trafficking opened an installation called “Woman to Go,” featuring real women sitting or standing on blocks behind glass in a shopping center in Tel Aviv, each with a price tag and barcode.
There are an estimated 136,000 people living on conditions of modern slavery in the United Kingdom (Global Slavery Index 2018). According to the 2017 annual figures provided by the National Crime Agency, 5, 145 potential victims of modern slavery were referred through the National Referral Mechanism in 2017, of whom 2,454 were female, 2688 were male and 3 were transgender, with 41% of all referrals being children at the time of exploitation. People are subjected to slavery in the UK in the form of domestic servitude, labour exploitation, organ harvesting and sexual exploitation, with the largest number of potential victims originating from Albania, China, Vietnam and Nigeria. This data however does not consider the unknown numbers of victims that are not reported. Witness B was brought to the United Kingdom by her employer to work as a domestic worker to support her family. Upon arrival, Witness B was not fed, was subjected to physical abuse and was not paid for their work. After 12 weeks she ran away, scared for her life. Though Witness B was helped by a charity organisation under the National Referral Mechanism, she was still unable to work in the UK and provide for her family. Witness B tells of her experience of the current support system in place in the UK for human trafficking survivors, believing it inadequate for trafficked domestic workers such as herself.
There are an estimated 136,000 people living on conditions of modern slavery in the United Kingdom (Global Slavery Index 2018). According to the 2017 annual figures provided by the National Crime Agency, 5, 145 potential victims of modern slavery were referred through the National Referral Mechanism in 2017, of whom 2,454 were female, 2688 were male and 3 were transgender, with 41% of all referrals being children at the time of exploitation. People are subjected to slavery in the UK in the form of domestic servitude, labour exploitation, organ harvesting and sexual exploitation, with the largest number of potential victims originating from Albania, China, Vietnam and Nigeria. This data however does not consider the unknown numbers of victims that are not reported. Witness A was trafficked for commercial sexual exploitation in the UK as a minor. Witness A tells of the numerous organisations and agencies who failed to recognise that she had been trafficked, resulting in her continued exploitation. Subjected to sexual and physical violence, Witness A often found herself in contact with A&E, the police and child services who did not help her escape her exploiters and, on occasion, placed the blame upon herself. Witness A states that it was not until she reached out to the Salvation Army that she was able to escape her exploitation and was placed in a safehouse. However, Witness A talks about the lack of support available even after she was rescued from her traffickers.
Withelma Ortiz Walker Pettigrew grew up in the U.S. foster care system. Between the ages of 10 to 17 she was subjected to commercial sexual exploitation in Oakland, California, on the streets and in strip clubs and massage parlours. She now serves on the boards of the Human Rights Project for Girls (Rights4Girls), and the National Foster Care Youth and Alumni Policy Council, and is a consultant for the National Center for Missing and Exploited Children. She founded the Still Alive Initiative in 2009, which provides mentoring and counseling for survivors of commercial sexual exploitation, and consulting and training for government agencies, institutions, and nonprofits on youth policy and service provision.
The Wisbech and Fenland Museum is one of the oldest, purpose-built museums in Britain. With its origins dating back to 1835, visitors are welcomed into a real ‘treasure house,' with collections housed in original nineteenth century cases. The museum is free to enter and focusses on local history, housing the vast and varied collection of the town’s literary and museum societies. Using these, the museum presents displays on a range of themes relating to key local industries, wildlife, archaeological finds and important people from the area.
One of these important people is Wisbech-born Thomas Clarkson, and it is through him that the theme of antislavery fills several of the largest cases in the main gallery. Using a combination of personal collections, archive material and objects linked to the wider slave trade (notably whips and a manacle), the museum follows Thomas Clarkson’s contribution to the abolition campaign, both in Britain and abroad. The museum also exhibits the narrative of Thomas’ brother John Clarkson who was instrumental in facilitating the movement of freed-slaves from Nova Scotia, Canada, to Sierra Leone.
This display was developed as a larger, standalone exhibition for the 2007 bicentenary entitled ‘A Giant with One Idea,’ but this was reduced following the end of the commemorations as funding was withdrawn.
There are an estimated 518,000 people living in modern slavery in Egypt, 465,000 in Sudan and an estimated 451,000 in Eritrea (GSI 2018). Since 2006 tens of thousands of Eritreans fleeing widespread human rights abuses and destitution have ended up in Egypt’s Sinai Peninsula. Until 2010, they passed through Sinai voluntarily and generally without any problems and crossed in to Israel. However, since then, Sudanese traffickers have kidnapped Eritreans in eastern Sudan and sold them to Egyptian traffickers in Sinai who have subjected at least hundreds to violence in order to extort large sums of money from their relatives. Winta* escaped Eritrea to Sudan for the second time in 2012. However, she was kidnapped and held by smugglers, subjected to sexual abuse daily. Winta was held until her family paid a ransom to free her.
In 2005, an anonymous artist painted a mural in Los Angeles that depicted many heroes of African American history. The faces of antislavery leaders Sojourner Truth and Frederick Douglass, alongside Muhammad Ali, Martin Luther King Jr., Malcolm X and Rosa Parks, lined the street. By 2015, the building had fallen into disrepair and the mural had been destroyed.
Alongside commemorating the passing of the 1807 Abolition Act, the ‘William Wilberforce, Slavery and the East Riding’ exhibition at the Treasure House in Beverley also highlighted Wilberforce’s connections with the East Riding of Yorkshire. The exhibition traced the roots of the Wilberforce family back to the early 13th century, and narrated the story of William Wilberforce’s early life in a family of merchants, and later, his significant contributions to the abolition campaign. It also looked at the other links between the East Riding and slavery, in the family fortunes of the Beverley family and Watt family, founded on ownership of slave plantations, but also the anti-slavery societies established in the region. The exhibition ended by highlighting the plight of the millions of people still enslaved across the world today, and discussed some of the contemporary antislavery efforts.
William Wilberforce was a pupil of Pocklington School near York for five years, 1771-1776. In 2007 the School erected a full size bronze sculpture of Wilberforce as a school boy. The statue and memorial plaque were unveiled in September 2007 by the Archbishop of York, Dr John Sentamu.
In 1985 William Akoi Mawwin was captured and forced into slavery at the age of six years. During raids by Muslim militia from Northern Sudan on the villages of the Christian Dinka tribes during the 1980s, tens of thousands of other boys between the ages of four and ten had the same fate. As well, babies and toddlers were killed, and girls were raped, killed, or forced into slavery. Some boys who escaped capture headed to refugee camps in Kenya, but it is estimated that only one in three survived the journey.After seven years in slavery, William escaped and lived on the streets of the capital. He worked to earn money for a passport, and left for Cairo, Egypt, where he found work in a rubber factory before a machinery accident took his hands. In 2001 the US government granted 3600 Sudanese orphans refugee status. Some 500 boys, including 21-year-old William, were placed in Arizona.William fashions his capture as a sudden disappearance: “You’re gone for good.” But his narrative confronts this problem of erasure and offers a solution: “I’m here,” he insists. This assertion of ongoing presence is part of William’s call to action. While his family gave him up as dead after he disappeared—“[n]obody believed,” he observes—William refuses to give up, in turn, on other slave children: “I’m not going to give up. I believe,” he concludes. For while he still doesn’t feel entirely liberated (explaining that his “heart’s not free”), William seeks a final sense of freedom through activism that might lead to a large-scale liberation of Sudan’s slaves. Reminding his reader about “the kids who are slaves today,” he asks: “What are we going to do…?”
Wilberforce House Museum re-opened in 2007 after a significant redevelopment. In 1907 the 17th century building, and William Wilberforce’s birthplace and home in Hull’s Old Town, became Britain's first museum of the history of slavery. In 2007, the museum was fully refurbished with new displays. Some of these showcased existing collections, including those relating to the life of their famous patron, the slave trade and plantation life. Other displays engaged with themes considered absent from former interpretations, including the wider abolition movement. Another significant new feature was the inclusion of two galleries relating to modern slavery and human rights. These exhibits drew attention to local and global issues, with objects donated by members of the local community and contemporary antislavery campaign groups.
Wilberforce House Museum is one of the world's oldest slavery museums. It opened in 1906 after the building, the house where leading abolitionist William Wilberforce was born, was bought by the Hull Corporation to preserve it for reasons of learning and of civic pride. Initially a local history museum, at the centre of Hull's historic High Street, the collections soon expanded through public donations and, unsurprisingly, these donations focussed heavily on items relating to Wilberforce. Today the museum and its collections are owned by Hull City Council and managed by Hull Culture and Leisure Limited. It forms part of Hull's 'Museums Quarter' alongside museums on transport, local social history and archaeology. In addition to the Wilberforce displays, the museum also features period room settings, silver, furniture and clocks, as well as a gallery exploring the history of the East Yorkshire Regiment.
The galleries at Wilberforce House Museum tell many different stories. An exploration of the history of the house welcomes visitors into the museum, followed by displays about William Wilberforce from his childhood, to his work and his family life. These galleries have examples of costume, books, domestic items and even the 1933 Madame Tussauds wax model of Wilberforce himself. Up the grand cantilever staircase, installed by the Wilberforce family in the 1760s, the displays continue. Here they look at the history of slavery and the origins of the British transatlantic slave trade. One gallery contains items that illustrate the richness of African culture prior to European involvement, dispelling the traditional myth that Africa was empty and uncivilised before the intervention of the Western world. Following that, the exhibition narrative goes on to look at the process of enslavement, the logistics of the trading system, the Middle Passage and slave auctions. Again, a wide range of collections are used to illustrate the informative panels. This is repeated in the displays about plantation life and resistance.
Of course no museum about William Wilberforce would be complete without an exhibition on antislavery and the abolition movement. This is extended with two galleries which look at the legacies of such a campaign in terms of modern slavery and human rights today. There are opportunities in these galleries for visitors to provide their comments and opinions, through several interactives, as well as engage with ideas as to how they can actively participate in today's campaign to end modern slavery.