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. Zinab and her children were kidnapped by ISIS from her village. She was taken to Syria and sold four times, subjected to sexual violence and forced religious conversion. Zinab used a smuggling network to escape Syria after 20 months.
The Democratic Republic of the Congo has been plagued by conflicts over control, extraction and distribution of natural resources such as coltan, diamonds and oil. In this exhibition, photographers Isabel Muñoz, National Photography Award 2016, and Concha Casajús present the struggle of Congolese women in the face of the use of sexual violence as a weapon of war. The show is a series of portraits and testimonies of women from Bukavu, in the province of South Kivu, in the east of the country. The exhibition aims to make the situation of these women visible, as well as the violence they suffer. But at the same time, it invites us to reflect on the way in which these women face such suffering, rejecting in many cases the status of victims and trying to survive with dignity. Many have managed to get rid of this stigma and have struggled collectively to become activists and successful women. All a song to those women who have broken the silence and, from mutual support and sorority, have become true heroines of this twenty-first century.
Women and Abolition was a collaborative project exploring the role of women in the abolition movement, led by CETTIE (Cultural Exchange Through Theatre in Education) and Yaa Asantewaa Arts and Community Centre. The event in March 2007 included a panel debate, presentations by women activists, poetry and performances of the theatre productions 'Sugar n Spice' and 'Splendid Mummer'.
In 2005, Artmakers Inc. created a large-scale political mural titled When Women Pursue Justice. During the genesis of the mural, it seemed like an overly ambitious project with little funding, and a heavy reliance on the generosity of its collaborators. Located in Brooklyn, at the busy intersection between Nostrand and Greene Avenue, the mural is populated with women who worked towards justice and social change over the last 150 years. The most visually noticeable figure on the mural is the thirty-five-foot image of Shirley Chisholm astride a golden horse and dressed in armour of African mud and kente cloth. Surrounding Chisholm are 90 women who risked their lives and liberty to achieve voting rights, civil rights, racial justice, health and reproductive rights, and environmental justice and protection – including the abolitionists Harriet Tubman and Sojourner Truth, as well as Angela Davis, Wilma Mankiller, Margaret Sanger, and Dorothy Day.
An exhibition by Manchester City Council held at Manchester Town Hall commemorated the contributions of Black service people during World War II. The exhibition also included the Bicentenary Freedom Flag, to mark commemorations of the Abolition Act of 1807. Alongside exploring the efforts of women, West Indian men, and African men in wartime, the exhibition also told the story of the 761st Tank Battalion of the US Army, known as the Black Panthers Tanker Battalion. Primarily made up of African-American soldiers, the squadron was said to be deployed as a public relations effort to maintain support for the war effort from the Black community.
The Towards Understanding Slavery: Past and Present initiative by Glasgow City Council aimed to increase understanding of the human effects of the transatlantic slave trade, and explore its impact on Scotland's national heritage and Glasgow's history. A series of events, exhibitions and education programmes ran across the city throughout 2007. These included an exhibition of William Blake's works relating to the idea of slavery at the Burrell Collection, and a photographic exhibition by Graham Fagen, 'Downpresserer', at the Gallery of Modern Art, examining the cultural heritages of Scotland and Jamaica. There was a series of performances and talks at Kelvingrove Art Gallery and Museum, and events at the People's Palace and Winter Gardens focused on links between Glasgow's tobacco trade and slavery through the family portrait of the 'tobacco lord' John Glassford (there is said to be a figure of a young black man behind Glassford's chair that has been deliberately obscured or painted over). A year-long programme of lectures, schools events and exhibition highlighting the life of African communities in Glasgow took place at St Mungo Museum of Religious Life and Art.
In Autumn 2007, the opera 'The Woman Who Refused To Dance' by composer and conductor Shirley J Thompson was performed at Westminster Palace, Houses of Parliament. The piece was based on a 1792 print by Isaac Cruickshank - entitled 'The abolition of the slave trade, or the inhumanity of dealers in human flesh exemplified in the cruel treatment of a young negro girl of 15 for her virgin modesty' - depicting a woman who refused to dance on board a slave ship, and who was hung from one leg as punishment. The opera has recently been re-premiered to mark the 210th anniversary of the abolition of the transatlantic slave trade.
The Quaker Quilters of Norwich Quaker Meeting held the Slave Quilts Exhibition at the Friends Meeting House in Norwich in May 2007. By the 1860s in the United States there were organised flights to freedom for enslaved people from the southern plantations via the Underground Railroad – a network of paths leading to the North and Canada. The ‘safe houses’ where assistance was offered on the way were often the homes of Quakers. This exhibition looked to reproduce some of the secret codes said to be hidden within the symbols and patterns featured in quilts made by slaves, to pass on directions to those looking to escape.
Written by Ghanaian playwright Ama Ata Aidoo, The Dilemma of a Ghost deals with colliding cultures in 21st century Africa. An African-American woman accompanies her Ghanaian husband as he returns home, but the couple are haunted by ghosts of the inheritance of the slave trade. A collaboration between London theatre company Border Crossings and the National Theatre of Ghana, the production used music and dance to celebrate 50 years of Ghana’s independence and 200 years since the abolition of the transatlantic slave trade. The play was performed in Birmingham, Hull, Leeds, Leicester, London, Plymouth and Slough. The production was was accompanied by a new book from Border Crossings, working in collaboration with Anti-Slavery International. ‘Theatre and Slavery: Ghosts at the Crossroads’ explored the ways in which world theatre responds to key issues in modern society and politics, including the issue of contemporary slavery.
The image promotes the work of the Bakhita Initiative which is the Roman Catholic Church in England's response to the issue of contemporary human trafficking. The key stakeholders of the Bakhita Foundation are the Catholic Bishops' Conference of England and Wales, Caritas Westminster, and the Metropolitan Police. The image depicts Josephine Margaret Bakhita, F.D.C.C., (ca. 1869- 8 February 1947). Josephine was born in Darfur, Sudan. She was kidnapped into slavery as a girl in c.1877. In 1883, in Khartoum, Bakhita was purchased by the Italian Vice Consul Callisto Legnani. Bakhita eventually left Sudan with the family. She was taken in by the Canossian Sisters in Venice and refused to rejoin the Legnani family. On 29 November 1889 an Italian court ruled that Bakhita had never been legally enslaved because Sudan had outlawed slavery before her birth and because slavery was not recognised under Italian law. She became a Canossian sister and lived and worked in Italy for 45 years. She was eventually made a saint and has been adopted as the only patron saint of Sudan.
The Scarlet Cord by Pamela Alderman is an installation that examines child sex slavery. Her website describes it 'As visitors step inside a 40-foot storage container filled with thirty doors, they enter a secret world. This dark world crosses religious and social economic borders to sell our children for sex. The twisting scarlet cord depicts the trauma bond that connects the children to their traffickers. The weathered doors represent these abused children whose youthful minds have become knotted. Alderman’s art—dedicated to these suffering children tethered within the sex industry—calls for compassionate action.'
Kenwood House in North London is closely connected to the history of the slave trade through the lives of two of its former inhabitants. Lord Chief Justice Lord Mansfield made a milestone ruling in 1772 towards abolition of the transatlantic slave trade. Dido Elizabeth Belle - born to an enslaved mother - is believed to have been Lord Mansfield's illegitimate great-niece. This exhibition by English Heritage, and sponsored by the Friends of Kenwood, explored their relationship, and the social dimensions of the British slave trade intertwined with the history of Kenwood. Visitors to the exhibition were invited to leave a creative literary response. The Wall of Words, a literary mural in the form of a poem inspired by the recorded responses, was created by Beyonder, a multimedia artist and educator.
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.
The Society of Friends expressed its formal opposition to the slave trade in 1727, and from that date were vocal opponents of transatlantic slavery. A virtual exhibition of archived resources, ‘Quakers and the path to abolition in Britain and the colonies’, was launched online to commemorate the bicentenary. It traced the history of the anti-slavery movement from its Quaker beginnings and highlighted key events in the Quaker history of opposition to the slave trade, and was primarily based on material from the Library at Friends House. The exhibition also explained the important role played by Quaker women abolitionists through writing and poetry. The Quakers pioneered contemporary tactics such as boycotting, petitions, leafleting and poster campaigns.
Other resources to help people find out more about the bicentenary included ‘Abolition Journeys’, developed by Quaker Life Committee for Racial Equality with the Quaker Life Children and Young People’s Staff Team, designed to help people of all ages remember the slave trade and work to abolish its modern variations.
The African and African Caribbean Kultural Heritage Initiative (ACKHI) is a not-for-profit Black Afrikan-led community organisation, with the aim is to promote, protect and preserve the history, heritage and culture, of peoples of Black African heritage living or working in Oxfordshire. The Out of Africa programme of events in 2007 included an exhibition of books about slavery and the slave trade, which toured Oxfordshire libraries, and performances of African music and contemporary dance. The ‘Remembering Slavery’ commemorative service was held in Christ Church Cathedral. ‘Connections’ was a research project looking at Oxfordshire’s links to the system of slavery and the slave trade. ‘InTentCity’ was a visual arts project, in partnership with Fusion Arts, bringing together cultural groups, primary schools and artists to transform tents into works of art – one theme addressed was ‘Freedom’. Reflecting the legacy of the system of slavery and the slave trade, ‘Common Threads’ was an exhibition of textile work by the Textiles for Peace group, local women representing multi-cultural Oxfordshire. In ‘Ancestral Souls’, the African Women’s Art Collection (AWAC) collaborated with women of African descent to produce and exhibit 200 dolls to represent the diaspora of African peoples.
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.
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 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.
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.
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.