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'.
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.
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.
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.
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.
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.
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.
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.
‘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.
'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.
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.
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.
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.
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.
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.