Leeds-born businessman Richard Oastler was a leading figure in the 19th century campaign to end child slavery in the factories and mills of Yorkshire. The University of Huddersfield Archives, West Yorkshire Archives, Huddersfield Local History Library and Kirklees Museums and Galleries hold significant sources relating to the Huddersfield centred campaign against 'Yorkshire Slavery'. This project devised an exhibition ('The Past and Present of the Slave Trade') and heritage trail, and ran workshops for school children, local societies and youth theatres. A conference was held, and the University of Huddersfield Press later published John A. Hargreaves and E. A. Hilary Haigh, 'Slavery in Yorkshire: Richard Oastler and the campaign against child labour in the Industrial Revolution' (2012).
The Whitworth Art Gallery was one of eight heritage bodies in the ‘Revealing Histories: Remembering Slavery’ partnership in Greater Manchester. The project set out to explore the history, impact and legacy of slavery on Britain through collections and community links in the North West.
'Trade and Empire: Remembering Slavery' explored the themes of trade and empire, commerce and collecting, and the impact of the experience of slavery and its legacy. Four invited artists and academics (SuAndi, Kevin Dalton-Johnson, Dr Emma Poulter and Dr Alan Rice) worked with Whitworth curators and learning staff to create the exhibition. It comprised of selections from the Whitworth's collections, contemporary works by Black artists, and objects on loan from Manchester Museum, John Rylands University Library Manchester, Bolton Museums and Archives Service and private collections. Areas of focus included a history of the Benin Bronzes, representations of Black people in British art, photographs of West Africa belonging to Tom Singleton Gardner, and printed textiles designed by Althea McNish. The exhibition was accompanied by a series of community engagement events.
The Museum of Science and Industry (MOSI) was one of eight heritage bodies in the ‘Revealing Histories: Remembering Slavery’ partnership in Greater Manchester. The project set out to explore the history, impact and legacy of slavery on Britain through collections and community links in the North West.
An exhibition and trail at MOSI explored the connections between Manchester’s economic success from the late eighteenth century onwards and its international trade, particularly the cotton trade with the USA, with its associated links to the transatlantic slave trade. Items identified in the collection included an American Civil War patriotic envelope from 1861, which satirised Britain's willingness to ignore the plight of American slaves. Other events included the creation of a series of terracotta figures depicting slaves on a slave ship by artist Annette Cobley. Workshop sessions to accompany this artwork were based on the theme of silence surrounding slavery.
Gallery Oldham was one of eight heritage bodies in the ‘Revealing Histories: Remembering Slavery’ partnership in Greater Manchester. The project set out to explore the history, impact and legacy of slavery on Britain through collections and community links in the North West.
A number of objects from Gallery Oldham's collections were identified as having links to the histories of the slave trade and slavery, focused on the themes of sugar, abolition, the American Civil War and the cotton industry. Two exhibitions also played a role in this trail. 'Cops and Bobbins', exploring Oldham's textile industry, illuminated the links with American slavery in the 19th century. 'Oldham Votes' looked at the significance of the election of 1832, during which slavery and abolition were debated. In collaboration with Touchstones Rochdale, Gallery Oldham also hosted a special day event, 'Slavery - what's it got to do with us?', featuring family activities, debate, and performances of African dance.
During the Industrial Revolution Nottingham was famous for the manufacture of lace. In 2007 British-Ghanaian artist Godfried Donkor, supported by The New Art Exchange and the Centre for Contemporary Art in the city, investigated the often-neglected connections between this luxurious commodity and the cotton picked by enslaved Africans in the Caribbean and American South. The research culminated in an exhibition, ‘Once Upon a Time in the West There Was Lace’, at the Yard Gallery at Wollaton Hall in early 2008. The Elizabethan manor is also home to the Industrial Museum which holds lace-making machinery. A key part of the display were outfits created from brightly coloured lace, now a prized material in West Africa. Donkor's paintings on pages of the Financial Times represented people, culture and goods crossing the Atlantic in different eras. The exhibition was accompanied by a series of public events which looked at the links between the city’s past lace-making industry and slavery, including lectures and a free symposium.
Hetty, Esther and Me was an original drama researched, written and performed by Trafford Youth Service and 15 African Caribbean girls from Stretford High School. The play was performed at Quarry Bank Mill, a working Georgian cotton mill on the outskirts of Manchester, owned by the National Trust. The play centred on connections between cotton produced by slaves and child labour in English mills, and the wider social issues of slavery and poverty during the Industrial Revolution. The story was told through the relationship between a slave girl (Hetty), a young mill worker (Esther) and a group of young women living in present-day Trafford.
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.