Redbridge Museum's exhibition to mark the bicentenary examined the London Borough of Redbridge's connections to the slave trade and abolition. These links included local resident Josiah Child, once Governor of the East India Company, an investor in the Royal African Company and owner of plantations in Jamaica. The Mellish family of Woodford had connections with the West India Docks in London, built for the sugar trade. Alexander Stewart of Woodford owned Jamaican plantations and acted on behalf of owners of enslaved Africans in compensation claims after abolition. The exhibition also examined church records detailing some of the Black residents of Redbridge in the 17th and 18th centuries. Music from the Caribbean island of Dominica was included, as was a series of personal responses to the bicentenary by local residents.
The Museum of Fulham Palace is housed in the former palace of the Bishops of London, and former home of Bishop Porteus, the leading advocate for abolition within the Church of England in the late 18th and early 19th centuries. The Faces of Freedom exhibition featured Porteus alongside other individuals associated with slavery and abolition who had links with the area. The abolitionist Granville Sharp lived and is buried nearby, while Crisp Road was named after the slave trader and bead manufacturer Sir Nicholas Crisp. The exhibition included glass beads (very likely produced to be used for barter in Africa) excavated by the Museum of London on the site of Crisp's Hammersmith home. Also featured was the story of Ellen and William Craft, runaway slaves from Georgia, and the contributions of local residents Marcus Garvey, Jamaican Pan-Africanist, and nurse Mary Seacole. The exhibition included video footage and posters relating to slavery and freedom, created by pupils from the nearby Phoenix High School.
Curated by Predrag Pajdic, BOUND was an exhibition of works by international contemporary artists representing personal perspectives on the physical and psychological impact of slavery on humanity, in historical and modern contexts. BOUND incorporated archival material, conceptual work, photography, video, live art performance, interventions and installations. It was a partnership project between the Open Eye Gallery, FACT (Foundation for Art and Creative Technology) and Tate Liverpool. The exhibition opened at Open Eye Gallery and then ran at various venues across Liverpool. Associated events included open table discussions, talks and film screenings.
An exhibition at the British Museum exploring how the transatlantic slave trade functioned. The display examined the commodities involved - tobacco, guns, textiles, sugar, rum - and the ways in which Africa, Europe and the Americas were linked in a global trade network. The exhibition also looked at resistance leaders including Toussaint L'Ouverture, Olaudah Equiano and Nanny of the Maroons, and their struggles to end enslavement. The exhibition was accompanied by a varied public programme at the museum exploring the legacy of the slave trade as part of the Atlantic Trade and Identity season, featuring film screenings, panel discussions, seminars and lectures.
This photographic exhibition focused on human trafficking was produced by a partnership of Panos Pictures, Anti-Slavery International, Amnesty International, Eaves and UNICEF. Photographer Karen Robinson’s portraits and tales of women trafficked into prostitution explore the devastating impact on their lives. Also on display were David Rose's panoramic photographs of the ordinary British streets where the stories of modern-day slavery have been played out. The photographs were mounted on a cage-like structure which was specially designed for the exhibition at St Paul's Cathedral. The exhibition was also shown in Edinburgh, Hull and Warsaw, and in 2008, in York.
Uncomfortable Truths at the Victoria and Albert Museum sought to expose how embedded the transatlantic slave trade was within British culture during the 18th and 19th centuries through art and design. A series of five trails - 'Traces of the Trade' - explored the permanent collections on display through the following themes: Consuming the Black Atlantic, Black Servants in British Homes, Britain and the West Indies, Representing Slavery and Abolitionism, Gold and Slaves Transnational Trade Links. An exhibition of contemporary art examined the impact of the legacies of slavery on modern art and design. The Victoria and Albert Museum commissioned new works by Yinka Shonibare, Romauld Hazoume, Julien Sinzogan and Keith Piper. These and other contemporary interventions by a total of 11 artists were displayed throughout the museum. This exhibition later toured to Ferens Art Gallery in Hull.
The 'Truth and Rights' season of events highlighted often untold stories of Black British heroes, including focus on the actor Ira Aldridge. Visitors were also offered discussions, debates, displays and an eight week free art course. A two-day conference, 'From Cane Field to Tea Cup: The Impact of the Transatlantic Slave Trade on Art and Design' focused on V&A collections took place in February 2007.
Hackney Museum's Abolition 07 exhibition told the story of British involvement in the transatlantic slave trade, the resistance to it, and its abolition, and in particular emphasised the involvement of Hackney's residents in the abolition movement. The display included new artwork by Godfried Donkor in collaboration with young Hackney artists. A film of interviews with Hackney residents, Hear My Voice, was produced. Over 1200 children from Hackney Primary Schools took part in poetry workshops at the museum with poets Adisa and Baden Prince. Their poems and responses were published in the booklet 'And Still I Rise'.
The research into Hackney's connections to the transatlantic slave trade continued in 2013-2015 with 'Local Roots / Global Routes', a collaborative project between Hackney Museum and Archives and the Legacies of British Slave-ownership project.
In 2007 the Museum of London Docklands opened a new gallery - London, Sugar and Slavery – which remains a permanent exhibition. The museum, housed in an old sugar warehouse on London’s West India Dock, retold the narrative of the transatlantic slave trade from the perspective of London, once the fourth largest slaving port in the world. Through personal accounts, film, music, interactive exhibits and over 140 objects, the exhibition looked at London trade offices and warehouses, through the outward voyage and life in Africa, to the Middle Passage and life on the plantations. The final section of the gallery focused on the legacies of the slave trade, including multiculturalism and racism.
The museum also created a walking trail for the local area, highlighting key architectural features and buildings that had a role in the transatlantic slave trade. The Slave Map of London was developed in collaboration with three London museums: the Cuming Museum in Southwark, Bruce Castle Museum in Haringey and Fulham Palace Museum. Users navigated an online map to discover over 100 different locations throughout London involved in the transatlantic slave trade and the fight to end it. A schools programme that accompanied the exhibition included drama performances and workshops. Courses that ran alongside the exhibition included ‘Resistance and Achievement: the story of African and Caribbean people in Britain’, in partnership with Middlesex University.
This exhibition in Westminster Hall told the story of the pressures and events, at home and abroad, which influenced Parliament's abolition of the British slave trade in 1807. The Act itself was displayed alongside petitions sent to Parliament by the public. Also on display was Thomas Clarkson's African Box, used on his abolition tours.
As part of the wider project, the Parliamentary Education Service appointed poet and writer Rommi Smith as Parliamentary Writer in Residence to the exhibition. In a series of workshops, Rommi worked with secondary school pupils to explore the historical, social and emotional issues around the transatlantic slave trade in poetry and prose. This included letters and statements that they would have sent to the prime minister of the time, to Olaudah Equiano and other key figures. To mark the UNESCO International Day for the Remembrance of the Slave Trade and its Abolition on 23 August 2007, the Parliamentary Education Unit asked people to submit squares for a commemorative quilt. Some of these designs are available to view on the Parliamentary Archives website, which also uses original source material to tell the story of Parliament's complex relationship with the British slave trade.
The industrialist Sir Henry Tate was the early benefactor of the Tate Collection, rooted in the art of the 18th and 19th centuries. Tate's fortune - much of which was spent on philanthropic initiatives in Britain - was founded on the importation and refining of sugar, a commodity inextricably linked to slave labour in the Caribbean. There were a number of initiatives across the Tate galleries to explore these connections. 'Tracks of Slavery' at Tate Britain displayed a selection of images from the Tate's collections which provided a commentary on the relationship of British society with slavery. Displays at Tate Modern included a selection of new acquisitions linked by their treatment of issues arising from slavery and oppression. Tate Liverpool exhibited paintings by Ellen Gallagher. Special events included Freedom Songs at Tate Britain (workshops to create poetry and music by exploring themes of slavery and freedom) and a discussion at Tate St Ives looking at the links between Cornish maritime traditions, the slave trade and the Caribbean.
Hawkins & Co brought together over 70 works by fifteen contemporary artists. The title referred to Elizabethan naval commander Sir John Hawkins, whose 16th century voyages to Africa and the Caribbean pioneered the British slave trade. The show was curated by artist Kimathi Donkor, and first exhibited at London’s Elspeth Kyle Gallery. In 2008, an expanded version of the project was exhibited at Liverpool’s Contemporary Urban Centre. The display included artworks by Keith Piper, Barbara Walker and Raimi Gbadamosi, and a new commission from Jean-François Boclé. Each piece on show explored a different aspect of the culture and history of the transatlantic African-Caribbean diaspora affected by Hawkins’ legacy.
A special display at Tate Britain to mark the bicentenary focused on William Blake and the circle of radical writers and artists associated with the publisher Joseph Johnson in the 1790s and 1800s. Blake's poetry and art protested against mental, physical and economic enslavement and inspired generations of artists, writers and political dissenters. The display was accompanied by a variety of events, including talks, performances and music for adults, families and young people and schools.
The National Portrait Gallery created a new gallery trail to mark the bicentenary, written by Dr Caroline Bressey. The trail highlighted portraits of key individuals, ranging from Elizabeth I to William Wilberforce, linked to the slave trade and its abolition. Portraits included those who invested in the trade, or who owned slaves and supported slavery, as well as images of enslaved people themselves and of people who were prominent in the movement to abolish the trade. The trail ended with a series of contemporary portraits of individuals involved in preventing slavery today. A week of talks, music, film and family activities included a discussion of the painting 'The Anti-Slavery Convention, 1840' by Benjamin Robert Haydon.
Scratch the Surface at the National Gallery brought together two portraits, Johann Zoffany's 'Mrs Oswald' (1763-4) and Sir Joshua Reynolds's 'Colonel Tarleton' (1782), to explore the complex relationship between these sitters and slavery. Colonel Tarleton, as MP for Liverpool in the 1790s, argued in Parliament against the abolition of the transatlantic slave trade. Mrs Oswald, along with her husband Richard Oswald, owed part of their wealth to a number of plantations in the Americas. The artist Yinka Shonibare was invited to create a new installation in response to these two portraits, which was also on display. A varied programme of events and activities accompanied the exhibition, including tours, talks, workshops and films.
The Hunterian Museum at the Royal College of Surgeons holds the human and comparative anatomy collections of the surgeon John Hunter (1728-1793). The Exhibiting Difference project was the Hunterian Museum’s contribution to the bicentenary, exploring the history of the transatlantic slave trade through the history of medicine and the experiences of those who lived on the margins of society. Exhibiting Difference focused on the hidden histories of Black Africans living with skin pigmentation conditions in the 18th and 19th centuries, and thus explored issues of identity, self-image and cultural distinctiveness. Curated by Temi Odumosu, the exhibition ‘A Visible Difference: skin, race and identity 1720-1820’ was opened at the Hunterian Museum, featuring portraits of Black African slave children, Mary Sabina and George Alexander Gratton, who both had the skin pigmentation condition piebaldism. The museum also worked with over 200 secondary school students and four professional artists to create a display of sculpture, painting, collage, photography, film and sound recording reflecting the themes of the project. Learning resources were produced to support citizenship education.
An exhibition by the City of Westminster Archives Centre focused on the impact of the transatlantic slave trade and its abolition in Westminster, which drew on the Centre's archives and local studies collections. Links explored included the parish of St Anne's Westminster with St John's Antigua, and the large circle of planters living in Marylebone in the 18th and 19th centuries. The exhibition also documented the lives of the African residents of Westminster during the age of the slave trade. Some of the individuals looked at in the exhibition included James Somerset, Granville Sharp, Ignatius Sancho, Ottobah Cugoano, Olaudah Equiano, and the African activists who styled themselves 'Sons of Africa'.
Story Interrupted was an exhibition of jewellery and ceramics by visual orator Akosua Bambara at Bruce Castle Museum. Each piece was created in memory of African people who suffered and died in enslavement.
An exhibition at Bruce Castle Museum (in partnership with Euroart Studios) explored the transatlantic slave trade, Haringey's heritage relating to the trade and its legacy, and the historic Black presence in the borough from the 16th century onwards. There was a particular focus on the painting of Lucius and Montague Hare, sons of Lord Coleraine (former owner of Bruce Castle), with their African servant. The exhibition also looked at the extra-parliamentary popular movement against the trade by local Quakers such as Priscilla Wakefield and others. Contemporary dance workshops for secondary schools were led by dance company Movement Angol.
The Links and Liberty exhibition included 'Stolen', a life-size installation by artists at Euroart Studios (John Fowler, Lorraine Clarke and Nigel Young) of a section of a slave ship. School pupils were encouraged to climb inside to imagine conditions on board.
The Bitter Aftertaste project included a range of schools’ workshops, an inter-generational outreach project, and a web-resource exploring the material culture and legacies of the transatlantic slave trade in art and society today. There were also two related exhibitions. For 'From Courage to Freedom', the gallery commissioned three leading visual artists from West Africa - El Anatsui, Romuald Hazoumè and Owusu-Ankomah - to create works to mark the bicentenary. 'Voyages' saw works by four artists - Julien Sinzogan, Tapfuma Gutsa, Pierrot Barra and Gérard Quenum - reflecting on the notion of voyages, in particular the movement of enslaved Africans across the Atlantic Middle Passage.
Lest We Forget is a travelling exhibition commissioned by UNESCO (United Nations Educational, Scientific and Cultural Organisation) and created by The Schomburg Center for Research in Black Culture, The New York Public Library, and the UNESCO Slave Route Project. It toured several countries in Africa, Europe and North America before arriving in Camden. The exhibition was on display in Swiss Cottage Gallery, Swiss Cottage Central Library in May 2007. It focused less on enslaved Africans as victims and more on the ways in which they reshaped their place in history through the creation of distinct cultural contributions, including language, religion, music and institutions. Swiss Cottage Library also held poetry and discussion events to mark Black History Month in October 2007.