This exhibition held by the Cadbury Research Library: Special Collections at the University of Birmingham included material from the archives of the Church Missionary Society held there, and some of its rare book collections. The accompanying information boards are featured here. The exhibition focused on the role of religion in the abolitionist movement, the power of the African voice in literature, and the role played by Birmingham residents in the anti-slavery campaigns. A booklist on anti-slavery publications held at the library was also produced. The exhibition was part of a University-wide initiative, with additional involvement from academic departments and the Guild of Students. An online exhibition was also produced in collaboration with the Library of the Religious Society of Friends: 'Quakers and the path to abolition in Britain and the colonies'.
The African-American Panoramic Experience (APEX) Museum aims to accurately interpret and present history from an African-American perspective in order to help all visitors understand and appreciate the contributions of African-Americans to America and the wider world. It was founded in 1978, and in 2018 curated a programme of events to celebrate its 40th anniversary.
The museum contains a range of exhibitions. These begin with a chronological display exploring the history of Africa. Another examines the experience of enslaved Africans in Georgia during the eighteenth and nineteenth centuries. Other displays bring the narrative up to date, looking at women in STEM (science, technology, engineering and mathematics), and the history of the local district Sweet Auburn, which has become a hub for African-Americans in Georgia. The museum has many artefacts including photographs, art, and traditional African material culture.
There are an estimated 61,000 people living in modern slavery in Saudi Arabia (GSI 2018). It is a source and destination country for men and women trafficked from South and South East Asia and Africa. People voluntarily migrate to the country to work in a variety of sectors including construction and domestic service; many of these workers are vulnerable to forced labour. Traffickers and brokers often illegally recruit migrants to work in Saudi Arabia and subsequently forced them into domestic servitude or debt bondage. Female domestic workers are particularly at risk of trafficking due to their isolation inside private residences. Non-payment or late payment of wages remains a complaint from foreign workers, while employer's withholding of worker's passports remains a significant problem. Trafficking perpetrators include businesses of all sizes, private families, recruitment companies in both Saudi Arabia and labor-sending countries, and organized criminal elements.Amanthi K. travelled to Saudi Arabia for work where she was trapped in domestic servitude. She became pregnant after her employer raped her and was sentenced to nine months in prison for adultery in 2006. Amanthi K. reported that there was an interpreter between Arabic and Sinhala, but that she had no lawyer. The Saudi authorities did not provide her with an opportunity to notify the Sri Lankan mission about her case and she had no contact or assistance from them during her ordeal.
The Be Her Freedom campaign is part pf the A21 movement which comprises of individuals, organizations, government officials, and members of the public who are committed to abolishing injustice in the 21st century. The image replaces the shackled pleading hands of past antislavery campaigns with a clenched fist - a symbol of self-determination and self-liberation.
A play performed by Second Step Caribbean Women’s Group Agewell at The Library Theatre in Sheffield in October 2007. The play was funded by South Yorkshire Community Foundation.
Exploring the role of women and food from the Congo basin in the past and today, MAA’s first exhibition in our rebranded spotlight gallery is co-curated with the Congo Great Lakes Initiative.
Word of Mouth Media Production, based in Southwark, staged a production of Celia at New Players Theatre in London. The play was directed by Malcolm Frederick and written by Richard Nyeila, inspired by Melton A. McLaurin's biography 'Celia A Slave'. Based in the mid-19th century, the story revolves around Celia, an enslaved woman on trial for murdering her abusive owner.
Inspired by the bicentenary, the Distorted Image exhibition at Hereford Cathedral explored how distorted perceptions throughout history have resulted in prejudice, discrimination and enslavement. Incomplete or misleading images of human beings, who are black or female or in some way considered 'other', have resulted in unjust behaviour against them, particularly in the case of restricted legal and political rights. Alongside the example of slavery, this exhibition also looked at the invariably inferior position of women within church teaching. Distorted Image was part of the ongoing Mappa Mundi and Chained Library exhibition. The Hereford Mappa Mundi is a 13th century map featuring drawings of the history of humankind and the natural world, which records how medieval scholars interpreted the world in spiritual as well as geographical terms.
Freedom Song involved young people from Derby, Leicester and Nottingham creating their own digital musical video shorts to express contemporary social and cultural experiences. The group in Derby looked to develop links to regional history and culture through the study of the songs of oppression and freedom of the slave trade and its musical legacies today. A heritage project involved participants researching music of their ancestors and predecessors in the cultural tradition, exploring the Windrush migrations, oral traditions and the impact of female artists on music cultures in the UK.
The Wilberforce Women project was launched by the Hull Women's Centre with the support of Wilberforce 2007. Hull based photojournalist Lee Karen Stow worked with groups of women from the twinned towns of Hull and Freetown (Sierra Leone), through photography and messages of friendship. Women from Hull were invited to think about themes of Pride, Freedom, Belief and Change and contribute a photograph on the chosen theme to send as greetings to women in Freetown. To return the greetings, women in Freetown were taught basic photography skills in order to interpret their own thoughts on the themes. A selection of the images were displayed at the Humber BBC Open Centre and on the BBC Humber website, as well as a dedicated exhibition at the Ferens Art Gallery and at the Wilberforce Institute for the Study of Slavery and Emancipation. A second stage of the project saw the images and messages being collated into a photographic book and DVD.
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.
'House Slave - Field Slave: A Portrait of Contemporary Slavery' was created in 2007 by Nicola Green in collaboration with Anti-Slavery International and first exhibited at Dulwich Picture Gallery. The artwork explored the concept of contemporary slavery and the stories of those still enslaved. The exhibition consisted of a large 'altarpiece' scale triptych set alongside artefacts of contemporary slavery from the International Slavery Museum and photos and text from Anti-Slavery International. It was later exhibited as part of Haringey's Black History Month at Bruce Castle Museum in 2010. The triptych is now in the permanent collection at the International Slavery Museum in Liverpool. Workshops were held at Dulwich Picture Gallery, The Prince’s Drawing Clubs, and International Slavery Museum in which students developed their skills in reading a work of art as a narrative, and responded by creating artworks that told their own personal story.
‘I Dream of Congo: Narratives from The Great Lakes’ is a unique exhibition combining words and images from renowned international creatives alongside a groundbreaking exhibition of photos taken by women in eastern Congo. The exhibition celebrates the hope and optimism that pervades in the region despite years of war. It poses hard questions around the international community’s inaction in the face of the conflict, the continuing illicit trade in minerals from Congo and the failure to stem the tide of sexual violence.
During the February 2013 exhibition launch, The Frontline Club, Women for Women International, One Billion Rising and Save the Congo held events in the space that related to the theme. The exhibition was first shown in February 2013 at Conway Hall London, before moving on to other venues in the UK, including a conference on the Democratic Republic of Congo at St Andrews University in April 2013. In 2014, 'I Dream of Congo' formed part of the 'Brutal Exposure' exhibition at the International Slavery Museum in Liverpool. Most recently, the exhibition appeared at the June Global Summit to End Sexual Violence in Conflict in London's Excel Centre, spearheaded by William Hague and Angelina Jolie. At this Summit we hosted an exclusive event and film screening with Dr Denis Mukwege.
The In Stitches project was led by the African Families Foundation (TAFF) and brought together British, African and African-Caribbean women's quilting groups meeting in London, Liverpool, Bristol, Manchester and Birmingham. The In Stitches Quilt, designed by Janice Gunner, included 60 squares of embroidered images, texts and symbols, depicting historic figures, scenes and artefacts associated with the transatlantic slave trade and its abolition. The Quilt used several of the Adinkra symbols from Africa, originally printed on fabrics worn at funerals by the Akan peoples of Ghana. The accompanying work pack was designed to support learning about slavery based on the four themes of the Quilt: Capture, the Middle Passage, Life in the 'New World', and Proscription of Slavery. The Quilt was unveiled at City Hall in London, and then toured to the British Empire and Commonwealth Museum (Bristol), Central Library (Liverpool), Soho House (Birmingham), the International Quilt Festival (Birmingham) and Central Library (Manchester).
SCAWDI are a Birmingham-based community group specialising in working with local volunteers to research the early presence of Black people in the West Midlands. In collaboration with English Heritage, ‘Interwoven Freedom’ enabled a group of local women to visit archives, exhibitions and historic sites and explore the role of women in the abolitionist movement. The participants drew on traditions of abolitionist women such as Elizabeth Cadbury creating and distributing workbags filled with anti-slavery manifestos by making their own textile bags from fair trade cotton and African cloth. They wrote their own manifestos which mixed historical facts with fictional stories and poems. The accompanying exhibition of textiles, text panels and an audio documentary toured London and 11 regional venues. The exhibition included photographs documenting the project by photographer Vanley Burke.
Karibu provides information, advice and help service to African women and their families in Ipswich and Suffolk. Karibu women joined the celebrations marking African History Month in Suffolk in 2007. The event 'Reaching Out Promoting Cultural Values' was designed to reach out to other local communities. It featured a keynote speaker address, workshops on health and beauty, and parades of foods and culture from Africa. 'Our Children Our Pride' was an activity day featuring carnival arts and crafts, drumming sessions, dance, and stories from Africa.
The Living Memory Lab was a two-year project in which people from local communities of Plymouth made three-minute films on the subjects of slavery and abolition and local connections to the slave trade. A series of short training courses in basic film-making were offered as part of the project. The project was a partnership between Plymouth and District Racial Equality Council, BBC South West, the community arts agency Creative Partnerships, in collaboration with Plymouth City Museum and Art Gallery. The DVD was made freely available for use as a teaching aid and community resource.
ISIS has singled out the Yezidi minority, notably its women and children, for particularly brutal treatment. In August 2014, ISIS fighters abducted hundreds, possibly thousands, of Yezidi men, women and children who were fleeing the IS takeover from the Sinjar region, in the north-west of the country. Hundreds of the men were killed and others were forced to convert to Islam under threat of death. Younger women and girls, some as young as 12, were separated from their parents and older relatives and sold, given as gifts or forced to marry ISIS fighters and supporters. Madline was 17 years old when she was kidnapped by ISIS in her hometown of Sinjar, Iraq in August 2014. She was held for 3 months before she and the other Yazidi women were able to escape.
This image depicts 'Jadawati, a weaver, she is working on a 24 feet carpet which will take her nearly 40 days to complete. As a bonded labourer, she is paid 60 rupees a day, a rate nearly half the minimum wages entitled to her as per the law. The carpet that might sell for 25,000 rupees or more will have earned Jadawati less than 2,500.' The composition of the image gestures towards a sense of imprisonment; the woman is visible behind the fabric weave which acts as an intricate prison. As the rug fabric moves towards completion the figure of Jadawati slowly disappears behind the pattern, as the object of consumption obscures the human cost of production.
ISIS has singled out the Yazidi minority, notably its women and children, for particularly brutal treatment. In August 2014, ISIS fighters abducted hundreds, possibly thousands, of Yezidi men, women and children who were fleeing the IS takeover from the Sinjar region, in the north-west of the country. Hundreds of the men were killed and others were forced to convert to Islam under threat of death. Younger women and girls, some as young as 12, were separated from their parents and older relatives and sold, given as gifts or forced to marry ISIS fighters and supporters. Nadia was kidnapped by ISIS. when she was twenty-one years old. She was loaded on to a bus with other young women. Upon arrival in Mosul, the women were beaten, sold and forced to convert to Islam. She details how she feels about the complicity of ISIS women in the exploitation of Yazidis. After being passed from captor to captor, raped on a daily basis, and deprived of basic human comforts like food and companionship, Nadia managed to escape. She jumped over a wall, walked through the night, and knocked on the door of strangers who risked their lives hiding her until it was safe to get her to a refugee camp. From there, Nadia went to Germany.