An exhibition at the Royal Naval Museum at Portsmouth Historic Dockyard explored the role of the Royal Navy squadron established after 1807 to patrol the West African coast and suppress the transatlantic slave trade. Using illustrations, contemporary accounts and original diaries of Royal Navy personnel, the exhibition examined key aspects of the campaign against Atlantic slave traders. It also looked at the Royal Navy's efforts against human trafficking and in the pursuance of humanitarian rights today. There was an accompanying programme of schools workshops and community events. Two specially produced films discussed the legacy of the squadron's work and recreated the abolition debates of the time.

Dark Heritage from Bee Arts Community Interest Company comprised The DARK, a sonic art installation, and accompanying participatory educational activities. The DARK touring installation is a pitch black space designed to bring home the horrors of the transatlantic slave trade in the 18th century. The three dimensional soundscape uses ghosts as metaphors for the hidden aspects of the past, based on the Liverpudlian slave-ship worker Edward Rushton, slave ship Captain John Newton, and Kunie, an African man who met Rushton aboard an American ship. A programme of public sessions and creative educational workshops aimed at schools, colleges, youth and community groups were produced in collaboration with Kingswood Primary School in Lambeth. Dark Heritage travelled to six locations in the UK in 2007-08 starting in Greenwich, travelling to Ipswich, Gloucester, University of Hertfordshire, Norwich and finishing in Manchester.

An evening of presentations and music organised by Fife Workers' Educational Association, examining Fife and Scotland's role in the slave trade and abolition, and efforts to end contemporary slavery.

Down at the Bamboo Club was organised by Picture This, an artists' film and video commissioning agency in Bristol. The project was an exhibition of artists' video exploring Bristol's cultural histories and ideas of legacy. Contemporary artists worked with community groups to develop films and events that used the device of re-enactment to explore subjects such as community relations, identity, the legacy of slave trading in the city and histories of division and solidarity. One such film was 'Bamboo Memories' by Barby Asante. The Bamboo Club was a legendary Bristol nightclub in the 1960's and 1970's which holds great significance for older generations in the city as a place where first groups of African-Caribbeans socialised with white Bristolians.

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.

Emancipation of the Dispossessed was a local community project exploring the local history of Deptford and the surrounding areas and the connections with the transatlantic slave trade. Community groups and students from Lewisham College worked with theatre educators to research and develop 'Blood Sugar', a promenade performance through the Queen's House, Greenwich. The play, written and directed by John Turner, tells the story of slavery and abolition from a local angle, and the script was built around first-hand and eyewitness accounts, campaign pamphlets and reports to parliament. The project also produced learning resources aimed at Key Stage 3 History and Citizenship.

A guided walk explored Deptford’s links to the history of the transatlantic slave trade, uncovering stories of some of the local people who played an important role in the beginnings of the slave trade or the campaign for its abolition. London was an important slave trading port before Bristol and Liverpool dominated the trade. The trade and British colonies were protected by the Royal Navy, whose ships were built and prepared for voyages at the Royal Dockyards at Deptford.

An exhibition to mark the bicentenary was developed by Enfield Museum Service in partnership with the British Museum and Enfield Racial Equality Council. The exhibition looked at West African culture, the development of the local African community, the links between the transatlantic slave trade and Enfield, wealthy landowners and Quaker abolitionists who lived in the area. Free family days held during school vacations offered traditional Ghanaian story-telling, dancing and drumming, crafts and object handling. Living History Days gave visitors the opportunity to meet actors portraying William Wilberforce and Olaudah Equiano. School workshops included a drama session and performance about a runaway slave developed from material from Lambeth Archive. The museum service also produced a book, edited by Valerie Munday, which explored further the links between Enfield and the slave trade. The book was sent to all schools in the borough, and formed the basis of a teaching resource aimed at Key Stages 2 and 3. Loan boxes and handling collections provided by the museum service include Ghanaian artefacts and items relating to the slave trade. In 2011, Enfield Racial Equality Council unveiled a plaque to commemorate abolition at the Enfield Civic Centre.

The Leyton and Leytonstone Historical Society led a number of commemorative events to mark the bicentenary. In March 2007 an oak tree was planted in the churchyard of St John’s Church Leytonstone. At the ceremony there were a number of speeches, after which community nurse and local campaigner Mrs Zena Edmund-Charles was invited to plant the commemorative tree. There was also an art exhibition at St John's featuring artefacts and mementos of the period. A commemorative ‘Freedom Walk’ was led by local historian Peter Ashan, following a route around Leyton, Leytonstone and Walthamstow. The exhibition was shown again during Black History Month, alongside a video story of Olaudah Equiano.

Everywhere in Chains was an umbrella project created for the bicentenary commemorations in 2007, by a collaboration between Amgueddfa Cymru - National Museum Wales, the National Library of Wales, University of Wales, Bangor and CyMAL: Museum Archives and Libraries Wales (part of the Welsh Assembly Government). An exhibition explored Welsh involvement in slavery, especially focusing on the transatlantic slave trade and its abolition, the Black presence in Wales, and legacies of slavery. This was shown at the National Waterfront Museum in Swansea from May to November 2007 before touring to Wrexham County Borough Museum. The touring version of the exhibition was funded by the Welsh Assembly Government. The exhibition in Wrexham included discussion of the painting 'A Negro Coachboy', thought to commemorate a black servant of John Meller, owner of the Erddig estate in the 18th century.

Alongside the exhibition, the Everywhere in Chains programme also included lectures, formal learning activities and performances. An educational pack was produced by CyMAL and distributed to every school in Wales in 2009-2010. A community project created a forum in which participants from many cultural backgrounds could voice their ideas about enslavement. The Everywhere in Chains Community Heritage Toolkit captured the learning from this project. The toolkit, launched in 2009, was produced to help individuals, groups and organisations to work with culture and heritage providers to undertake projects focused on the role of Wales in the transatlantic slave trade and issues of modern slavery.

The Historic Dockyard Chatham opened a new exhibition in 2007 to look at the history of Chatham in the context of the transatlantic slave trade. The exhibition examined dockyard ‘founder’ John Hawkins - the leader of the first English expedition to transport West African people to the Americas - the work of Chatham-built ships in policing the slave trade post-abolition, and the hidden history of people from ethnic minorities who served in the Royal Navy or worked in the naval dockyard, from the 18th century to the post-Second World War period. The exhibition also looked at Chatham's links to Indian shipbuilding. HMS Gannet (1878), preserved alongside two other historic warships at The Historic Dockyard, is the only surviving British warship to have taken part in the suppression of the slave trade off the coast Africa during the 19th century. Between 1885 and 1888 Gannet undertook anti-slavery patrols in the Red Sea, intercepting Arab slave traders operating off the East Coast of Africa, around the Gulf and the Indian Ocean.

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.

A display in the entrance foyer of Guernsey Museum in 2007 explored the island's connections with slavery and the slave trade. Relevant items from the museum's collection included a slave collar and chain from a slaver intercepted by a Guernsey captain on anti-slavery patrols, and a 17th-century portrait of Anne de Beauvoir and a slave child. Guernsey was involved in the transatlantic slave trade via islanders directly involved in the traffic (for example, Thomas Ebworthy of the ship 'Anne Galley'); ships known to be involved, such as the 'African' and the 'Fanny'; and islanders' involvement with the supply of goods or services.

Curated by artist Kimathi Donkor, and first exhibited at London’s Elspeth Kyle Gallery, Hawkins & Co referred to the Elizabethan mariner Sir John Hawkins, whose 16th century voyages to Africa and the Caribbean pioneered the British slave trade. In 2008, an expanded version of the project, featuring over 70 artworks from 15 contemporary artists, 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.

In 2017, a key work from the project - 'UK Diaspora' - was added to the permanent collections of the International Slavery Museum.

The dance-theatre production Heartbeat Riddim Chant was based on the horrors of the transatlantic slave trade. The production premiered at the West Yorkshire Playhouse in Leeds in July 2007, and mixed dance, live music and voice, including traditional Caribbean folk dancing blended with contemporary reggae. The show was choreographed by David Hamilton, and featured dancers from Regeyshun Dance and members of the community dance group Back Bone. There were also performances from youth dance groups and young voices from across Leeds, including LS7 Result, Northern School of Contemporary Dance, Gee4orce and Leeds Young Authors.

This partnership project, led by Hertfordshire Archives, investigated the links between Hertfordshire people, the slave trade and abolition through stories from original archival documents. Project outcomes included creative workshops, a booklist, a DVD documentary, a heritage trail booklet, and collaboration with the project for the restoration of the Thomas Clarkson monument in Thundridge. The monument was erected in 1879 to mark his involvement in the campaign to abolish slavery. The ceremony to re-dedicate the monument in November 2007 involved pupils from Thundridge Primary School performing a dance that they had developed with arts-led charity Theatre Is….

The Hidden Connections exhibition was a result of partnership between the Public Record Office of Northern Ireland (PRONI) and the Linen Hall Library in Belfast. The exhibition explored Ulster's links with slavery after 1807 via people, events and places, and looked at both the pro and anti-slavery debates in Northern Ireland. It drew on documents from PRONI’s archives, artefacts from the Ulster Museum and contemporary books and pamphlets from the Linen Hall Library and elsewhere. After its launch at Linen Hall Library, the exhibition toured Northern Ireland, travelling to Down Museum, the Harbour Museum in Derry, Lisburn City Library and the Ulster American Folk Park.

The wider Hidden Connections programme featured workshops exploring archival sources, performances and lectures by leading scholars. There was a panel discussion on ‘Slavery Now’, a walking tour of Belfast sites associated with the slavery issue, and a boat trip on the Lagan focusing on the port’s links with slave colonies. Gerry McLaughlin’s ‘Blood sugar’ is a drama documentary devoted to the literature of slavery, music and song. 'Freedom and Liberty' was the theme of the UK-wide Archives Awareness Event. PRONI organised special events and produced a catalogue, 'Ulster and Slavery', listing the references to slavery to be found in the archive.

An exhibition at Stockport Story Museum exploring the connections between the transatlantic slave trade and the town.

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.

Human Cargo was a partnership project between Plymouth City Museum and Art Gallery, and the Royal Albert Memorial Museum, Exeter. The project consisted of two main components. The first was a historical exhibition, which explored the development of the transatlantic slave trade and, in particular, the role of Plymouth as a port, the involvement of the City's dignitaries and the South West's links with the abolition movement. The second part was a contemporary art response to modern forms of slavery and historical legacies, including the flower picking trade, sweatshop labour and the Fair Trade Movement. This work was newly commissioned and included audio visual pieces, installations, hand-printed wallpaper and participatory objects. A variety of events and activities took place alongside the exhibition including education workshops, performances, African music and storytelling activities, and Elizabethan House re-enactment sessions.