‘Am I Not a Man and a Brother?’, an online exhibition to mark the bicentenary, was launched by the Bodleian Library of African and Commonwealth Studies at Rhodes House. Some of the items were also on view in an exhibition at Rhodes House in April and May 2007. The exhibition included manuscripts and books from the Library, among them the manuscript journal of Rev. James Ramsay, who wrote and worked against slavery after seeing for himself the conditions on board a slave ship while a Royal Navy surgeon. Also exhibited were related artefacts from the collection of Franklin Smith, including a tobacco jar and a clay pipe bowl, both in the shape of the head of a slave (indicating that their owners may have been slave owners), and the late 18th-century engraving of a slave market in the West Indies, published by an anti-slave trade body.
Bath Preservation Trust curated a series of exhibitions across five of their sites, with a focus on ‘unlocking the legacies of the slave trade'. Beckford’s Tower & Museum hosted Big Spenders: The Beckfords and Slavery; displays here and at the Holburne Museum were designed to explore the Beckford family connections to plantations in Jamaica, through objects, paintings and furniture. The Herschel Museum's Slaves to Fashion exhibition, and Number 1 Royal Crescent's Elegance and Exploitation trail looked at how involvement with the slave trade enhanced the luxury of 18th century life in Bath. At the Building of Bath Museum, Selina’s Web revealed the complex attitudes of Selina, Countess of Huntingdon, who sought to promote the publications of free slaves whilst also being a slave owner. A lecture series ran alongside these exhibitions.
The Bittersweet exhibition was held during the summer of 2007 at Tissington Hall, Derbyshire, home of the FitzHerbert family since the 17th century. The exhibition and accompanying booklet by Frances Wilkins describe life, work and slavery on four Jamaican sugar plantations inherited by the FitzHerbert family in the 18th century - Blue Mountain, Forrest, Grange Hill and Vere, plus the coffee plantation of Retrieve Mountain - and subsequently managed from Tissington Hall. Research of the FitzHerbert papers held at Derbyshire Record Office revealed evidence about the lives of the enslaved and the overseers, the sugar production process and the connections to plantation owners in England. The exhibition was housed at Tissington during 2007 and then was available on loan to other houses in Derbyshire and to local schools. The exhibition coincided with Tissington’s annual Well Dressing celebrations. The special 2007 design to commemorate the bicentenary was by Wendy Greatorex (photographer Glyn Williams). Tissington Hall was one of several member houses of the Historic Houses Association to mark the bicentenary.
A community project organised by SOS Immigration, a support organisation for asylum seekers and refugees based in Derby. In December 2007, Derbyshire Record Office held workshops for volunteers, designed to introduce archival and analysis skills when studying historical documents relating to slavery. The project’s aims were to co-ordinate research into links between Derbyshire and slavery, and to communicate the results to the public.
An exhibition exploring the connections between the Scottish region of Dumfries and Galloway and the transatlantic slave trade toured Dumfries Museum, the Stewartry Museum in Kirkcudbright and Stranraer Museum. At each venue, the exhibition was accompanied by displays of material and a lecture. The catalogue of new research to supplement the exhibition by Frances Wilkins set out to correct misunderstandings about the role of people from the region in the transatlantic slave trade, to prove a history of connections independent of Glasgow or anywhere else. Evidence suggests that men from smaller towns such as Dumfries and Kirkcudbright were involved in the transatlantic slave trade as merchants, slave traders or plantation owners. For example, in the late 18th century, plantation supplies were sent from Kirkcudbright to the island of Grenada; the vessels returned with rum, sugar, and cotton wool.
The Freedom Roads exhibition at Guildhall Art Gallery was one of several initiatives led by London Metropolitan Archives to mark the bicentenary. The exhibition featured contemporary photographic portraits of people of African origin whose work has contributed to the continuing struggle for human rights in different fields. Colin Prescod, Shirley Thompson, Eric and Jessica Huntley and Rudolph Walker were amongst the individuals featured. Others like the young people from BEAT (Black Experience Archive Trust) were engaged in a project to find out about significant people in their local community. Each person was photographed with an image of an object or place which has a special significance to them. The other part of the exhibition focused on relevant archival materials held by London Metropolitan Archives, including the South African Bill of Rights and a copy of the Constitution signed by Nelson Mandela, Cyril Ramaphosa, F. W. De Klerk and Roelf Meyer. Other material relating to slavery and abolition included a letter from John Julius, a plantation owner on the island of St. Kitts.
Gentlemen Slavers was a project to explore the connections between the transatlantic slave trade and the London Borough of Sutton, particularly through the activities of one family – the Taylors of St Kitts. George Taylor, and later his brother John, lived on the Carshalton Park estate, funded by a family fortune made on slave-worked sugar plantations on the islands of St Kitts and Nevis. The project also looked in detail at the story of Samuel Mudian, a black man who worked at Carshalton Park as a butler for George Taylor, and likely a native of St Kitts. The project consisted of an exhibition, booklet, education pack and activity sheets.
This project was a collaboration between the Dales Countryside Museum in Hawes and North Yorkshire Record Office to research people and places of the Yorkshire Dales connected with Africa, the Caribbean and India. 'Hidden History' collected local stories of slave owners and traders, abolitionists, Africans and Asians who moved to the Dales, and others like the actor Ira Aldridge who passed through. The project included various community activities. Working with actor Joe Williams, pupils from the Wensleydale School explored the life of Olaudah Equiano and performed alongside Joe at the exhibition opening. There were drop-in sessions on exploring family history, carnival costume making, talks and music. The exhibition toured to other locations in Yorkshire, including Boroughbridge Library. The Dales Countryside Museum has continued to collect information relating to individuals who were connected with the Yorkshire Dales and the wider world.
A collaborative project between Barnsley Archives and Local Studies, the Cooper Gallery and Cannon Hall exploring local connections to the slave trade. Cannon Hall is the ancestral home of the Spencer Family, who made their fortune in the local iron industry. In the mid-18th century, Benjamin Spencer became involved in the slave trade, and owned a slave ship called ‘Cannon Hall’; in contrast, Walter Spencer-Stanhope, who inherited the hall in 1775, supported the abolitionist movement. Pupils from local primary schools explored the hall’s connections to the slave trade and abolitionism, and produced artwork in response to the hidden histories, some of which were exhibited in the Cooper Gallery’s exhibition, ‘Witness’.
The ‘Hidden Stories’ project also explored the Crossley Family archive held by Barnsley Archives and Local Studies (Benjamin Crossley owned a sugar plantation in Jamaica). Barnsley Archives worked with the Barnsley Black and Ethnic Minority Initiative on a project to encourage black and minority ethnic groups in the Barnsley area to discover more about their roots. Other partners included Barnsley Out of School Study Support Network, Foulstone City Learning Centre and Just Addictive Music.
This exhibition and booklet were produced as part of South Gloucestershire's Engage 2007 project, in partnership with Yate and District Heritage Centre. Both the exhibition and booklet explored local connections with the history of slavery and anti-slavery in South Gloucestershire. Links identified included the career of Robert Jenkinson of Hawkesbury (later Prime Minister Lord Liverpool), the Caribbean plantations of the Codrington family, the campaign efforts of abolitionist Joseph Sturge and, looking further back in history, St Wulfstan's attempts to abolish the trade in slaves to Ireland in the 11th century. The booklet was written and edited by Lorna Brooks and David Hardill. The exhibition toured the local area, including Thornbury and District Museum, pictured here.
This exhibition at the Museum of Edinburgh explored the city's links to the slave trade and, in particular, trading connections with the Americas. Imports to the Port of Leith from North America and the West Indies included tobacco, rum, sugar, cotton, rice and indigo. The exhibition looked at Scots who sought fortunes in the West Indies, as well as Black residents who made their homes in Edinburgh. It also explored Edinburgh's connections to the abolition movement.
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 Museum of London Docklands opened the London, Sugar and Slavery gallery in 2007, and it 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 looks at the various stages of the transatlantic slave trade, including life and trade on the West India Dock, and conditions for the enslaved on the Middle Passage and the Caribbean plantations. The final section of the gallery focuses on the legacies of the slave trade for British society today. Community collaborations also helped shape the gallery.
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 which played a part in the transatlantic slave trade and the fight to end it. A schools programme that accompanied the opening of the exhibition included drama performances and workshops. Courses that ran alongside the exhibition in 2007 included ‘Resistance and Achievement: the story of African and Caribbean people in Britain’, in partnership with Middlesex University.
In 2018, the museum reflected on the 10 year anniversary of London, Sugar and Slavery with a workshop to explore the significance of the gallery, with contributions from artists, museum practitioners and emerging artists.
Myrtilla’s Trail was developed at Leamington Spa Art Gallery & Museum in partnership with poet Brenda Tai Layton, using objects, images and texts to explore local links with the slave trade. Myrtilla, 'Negro slave to Mr Tho. Beauchamp', is buried in the village of Oxhill in Warwickshire. Apart from her gravestone (dated 1705), she remains anonymous. Warwick District has connections with slave owners, such as the Greatheed family of Guy's Cliffe, sugar plantation owners in St Christopher (St Kitts). This trail around the galleries offered a starting point for exploring these complex and often hidden histories, including busts and documents of the Greatheed family, abolitionist coins, protest songs, and travel posters.
Norfolk’s Hidden Heritage was a partnership project between the Norwich and Norfolk Racial Equality Council (NNREC), the Norfolk Record Office (NRO) and the Norfolk Museums and Archaeology Service (NMAS) which researched the links between Norfolk and transatlantic slavery. For example, many slaving voyages left England from King's Lynn, while the Dalling family of Norfolk owned the Donnington Castle plantation in Jamaica. The exhibition, curated by Norfolk Record Office, won an award for the Best Black History Project for the East of England from the Black History Society. The website provided an interactive timeline to trace Norfolk’s Hidden Heritage from 1670 to today. There was also a database to search for important people, places and dates. Workshops were run in a number of schools, and information packs distributed. More widely, the project worked with the University of East Anglia, Norwich City College, the Prison Service and the Youth Offending Team. As part of the project, Norwich Academy Drama Group put together the production 'Diary of a Son of Africa', about an enslaved African who eventually gained his freedom.
The Our Stories of Slavery events programme ran from May to October 2007, co-ordinated by the Arts Development team at Aberdeen City Council. The project examined all aspects of Aberdeen's links with slavery and the transatlantic slave trade, including the role of Aberdonian landowners as slave owners, as well as the impact of Aberdonians as abolitionists, such as the roles played by James Beattie and James Ramsay.
One focus of the project was on the role of Aberdonian magistrates in kidnapping children from the City and Shire and selling them into indentured service to plantation owners during the 18th century. Peter Williamson, known as 'Indian Peter', was one of up to 700 kidnapped in Aberdeen between 1735 and 1750. The project used his story, with archives at the University of Aberdeen, in a range of activities including storytelling, re-enactments, film making, workshops, creative writing and craft workshops. Kidnapped was a re-enactment set in and around The Tolbooth (Aberdeen's Museum of Civic History). In collaboration with artist Chris Biddlecombe, community knitting circles created 'Cast-offs', exhibited at Aberdeen's Kirk of St Nicholas, whereby an installation of 600 knitted jumpers represented the abducted children.
The Parallel Views exhibition and its associated community engagement programme explored the relevance of the bicentenary for communities in the London Borough of Richmond upon Thames, uncovering local associations with slavery and its abolition. It also told the parallel story of twin town Richmond, Virginia, USA, to broaden understanding of the transatlantic slave trade and the impact of its demise. The exhibition examined evidence of individuals of African origin who had come to Richmond, and residents with financial links to slavery and the slave trade, and to abolitionism. A film piece by choreographer and dance historian Dr Rodreguez King-Dorset explored the use of dance within the free Black community in London during the era of abolition. A display of contemporary artwork responded to the ideas of the exhibition. A sculpture by carnival artist Carl Gabriel linked consumers in Richmond and the conditions of production of slave-grown crops. The design was inspired by a series of workshops with local families. Artist-led workshops for children and young people led to the creation of a carnival costume piece which was included in the exhibition.
Re:interpretation was a participatory media project carried out by Firstborn Creatives in partnership with the National Trust. The project explored transatlantic slavery and its connection with three National Trust properties in South West England: Clevedon Court, Dyrham Park and Tyntesfield. It focused on the feelings and opinions of invited community groups towards those histories, who produced a range of creative responses and commentaries to their findings and also their own personal emotional responses. The project produced a multi-layered interactive exhibit, available on DVD.
This exhibition from Reading International Solidarity Centre (RISC) in collaboration with local communities uncovered Reading’s links with the slave trade, the campaign for its abolition and its aftermath. Exploring Reading’s involvement in historical slavery and the impact on the town’s development, the exhibition focused on, for example, wealthy families in the area, the role of the Royal Berkshires in Caribbean colonies, and the story of Mary Smart, the earliest known Sierra Leonean resident in Reading. The project also sought to raise awareness of modern forms of slavery and injustice. It included workshops, a conference, and a quiz.
In the Recovered Histories online resource, Anti-Slavery International digitised and made accessible for the first time a collection of over 800 pamphlets dating from the 18th and 19th centuries relating to the transatlantic slave trade. The resource captured the narratives of the enslaved, the enslavers, slave ship surgeons, abolitionists, parliamentarians, clergy, planters and rebels. An accompanying touring historical exhibition and an education pack featured testimonies and pictures from Africans subjected to slavery, those participating in the enslavement and those who fought against it. An outreach and resources programme included a series of free regional seminars in April and May 2008, which encouraged dialogue about the transatlantic slave trade and its legacies by bringing together a wide range of groups and organisations who worked on these issues. The workshops were held in Bristol, Edinburgh, Leeds, London and Manchester. A series of short stories were published, inspired by the Recovered Histories resource.