The industrialist Sir Henry Tate was the early benefactor of the Tate Collection, rooted in the art of the 18th and 19th centuries. Tate's fortune - much of which was spent on philanthropic initiatives in Britain - was founded on the importation and refining of sugar, a commodity inextricably linked to slave labour in the Caribbean. There were a number of initiatives across the Tate galleries to explore these connections. 'Tracks of Slavery' at Tate Britain displayed a selection of images from the Tate's collections which provided a commentary on the relationship of British society with slavery. Displays at Tate Modern included a selection of new acquisitions linked by their treatment of issues arising from slavery and oppression. Tate Liverpool exhibited paintings by Ellen Gallagher. Special events included Freedom Songs at Tate Britain (workshops to create poetry and music by exploring themes of slavery and freedom) and a discussion at Tate St Ives looking at the links between Cornish maritime traditions, the slave trade and the Caribbean.
A special display at Tate Britain to mark the bicentenary focused on William Blake and the circle of radical writers and artists associated with the publisher Joseph Johnson in the 1790s and 1800s. Blake's poetry and art protested against mental, physical and economic enslavement and inspired generations of artists, writers and political dissenters. The display was accompanied by a variety of events, including talks, performances and music for adults, families and young people and schools.
Bluecoat Display Centre is a contemporary craft and design gallery in Liverpool. The 200 Years: Slavery Now exhibition aimed to draw attention to modern slavery, both within the UK and in the wider international context. It brought together ten artists whose work reflected these concerns, and who were committed to highlighting the existence of slavery today through the creation of artefacts and the development of personal narratives. Materials used included ceramics, mixed media installations and textiles. Some of the themes covered included the exploitation of migrant workers, sex trafficking, 'sweat shop' mass production, and commemorating the Middle Passage and the workers of Manchester's cotton mills. The exhibition was curated by Professor Stephen Dixon, with the support of the Craft and Design Research Centre, MIRIAD, at Manchester Metropolitan University.
Popular Painting is a genre traceable to the 1920s, which chronicles contemporary social and political realities in Congo (then Zaïre). This art movement remains very little known outside the continent. Scholars have dedicated their research activities to Popular Painting. They often knew the main actors of the movement in the early 1970s, and shared this knowledge by publishing articles, books and exhibition catalogues. “ During a brief period between the late sixties and the late seventies, popular genre painting bloomed in the urban and industrial Katanga region of the Democratic Republic of the Congo Artists, most of them self-educated, produced paintings (acrylics or oils on canvas reclaimed from flour sacking) for local use. Through a limited number of recurrent topics, they articulated a system of shared memories.
A Shared History, A Shared Future was a series of projects led by Birmingham Libraries to engage with different communities within Birmingham. The project as a whole identified archival materials, local historical documents and music with an emphasis on the diverse multicultural nature of historical and modern indentured slavery, and how it relates to everyday lives in Birmingham. Over 1000 participants from schools and community groups took part in over 150 workshops to create stories, artwork, banners, protests, games, films, dances, drama and performances. A resource pack, the liberty box, was produced to encourage community groups, youth groups and others to explore the issues of slavery. In August 2007, the project organised the March for Justice in Birmingham city centre, a recreation of the Quaker and philanthropist Joseph Sturge's march against slavery in August 1838. The day included an anti-slavery fashion show, a limbo performance, storytelling, African drumming, and a Slavery Question Time Special hosted by an actor representing Olaudah Equiano.
Five powerful murals against human trafficking and modern slavery are the basis of this lesson plan. The murals were created collaboratively by diverse groups and in different countries, to include university students, high school students, trafficking survivors and professional artists.There are two 55-minute lessons, depending on the level of your students, that are aimed at older teens, young adults and adults B2+ (upper intermediate to advanced)Materials include reading text about four murals, reading text about trafficking and modern slavery, student worksheet, Action Plan for collaborative project, autonomous learning resources, transcript of audio recordings, slides, Teacher’s Guide. Audio for this lesson plan can be found at https://youtu.be/h8yUtbCzPSA
Lancaster was the UK's fourth largest slaving port at the height of the transatlantic slave trade in the 18th century. Lancashire Museums worked with a range of partners to raise awareness of this largely hidden history - first from 2002 through STAMP (the Slave Trade Arts Memorial Project), and in 2007 through Abolished? This bicentenary project consisted of exhibitions, creative writing, radio broadcasts, and schools projects, one of which produced a Slavery Town Trail that explored some of the buildings made possible by the wealth the slave trade brought to Lancaster. At the heart of the project were commissioned installations and interventions by artists Lubaina Himid ('Swallow Hard: The Lancaster Dinner Service' at the Judge's Lodgings) and Sue Flowers ('One Tenth' at Lancaster Maritime Museum). Both were accompanied by outreach programmes and workshops with local schools. A touring exhibition was produced in partnership with Anti-Slavery International and Lancashire County Council Youth and Community, which looked at transatlantic slavery and modern day slavery. The exhibition toured throughout Lancashire.
Abolition was an art project devised and led by artist Jack Brown, in collaboration with Tidemill Primary School in Deptford. It took place during Black History Month 2007, and aimed to commemorate the abolition of the transatlantic slave trade while recognising the existence of modern day slavery. Every child in the school made a 'step', an artwork representing their perspective on the writing, discussion and petitioning that drove abolition. The children visited the Laban Building at Trinity Laban Conservatoire of Music and Dance and laid their step on the studio theatre floor. Taken together, the steps were conceived as a 'stairway to change'.
Hackney Museum's Abolition 07 exhibition told the story of British involvement in the transatlantic slave trade, the resistance to it, and its abolition, and in particular emphasised the involvement of Hackney's residents in the abolition movement. The display included new artwork by Godfried Donkor in collaboration with young Hackney artists. A film of interviews with Hackney residents, Hear My Voice, was produced. Over 1200 children from Hackney Primary Schools took part in poetry workshops at the museum with poets Adisa and Baden Prince. Their poems and responses were published in the booklet 'And Still I Rise'.
The research into Hackney's connections to the transatlantic slave trade continued in 2013-2015 with 'Local Roots / Global Routes', a collaborative project between Hackney Museum and Archives and the Legacies of British Slave-ownership project.
Bristol was major trading port for the transatlantic slave trade in the 18th century. The city of Bristol marked the bicentenary of the Abolition Act with more than 100 events across the city - exhibitions, plays, debates, talks, concerts - under the umbrella organisation Abolition 200. In January 2007, city leaders signed a declaration of regret for the city's role in the trade. Over the weekend of 24-25 March, bells rang out across the city and a Service of Remembrance and Reconciliation was held at Bristol Cathedral, organised by a partnership of the Cathedral and the Council of Black Churches. 2007 was themed as the Year of Black Achievement, aiming to bring better provision of black heritage resources to schools in Bristol, with a particular focus on black attainment. Over 30 creative community projects were funded by Abolition 200 - including art installations, educational projects and community theatre - to reflect the themes of education, commemoration and legacy.
Featured here are some of the events from Abolition 200.
Nottingham Castle Museum held two exhibitions in 2007. Inspired by the anti-slavery medallion produced by Josiah Wedgwood in the 1790s, a group of young people from Nottingham’s African Caribbean community worked with artist Katherine Morling to explore issues surrounding slavery and the representation of black people in art. The group worked under the name Sankofa. The ceramic Globe of Freedom was fired at the Wedgwood factory in Staffordshire, and was displayed at Nottingham Castle Museum alongside the Wedgwood medallion. The word ‘FREEDOM’ is impressed on one side and ‘EQUALITY’ impressed on the other. A replica sculpture is still used as part of a handling collection loaned to schools and community groups in the Nottingham region. A second exhibition, in collaboration with the Open University in the East Midlands, looked at the British slave trade using slave narratives, telling the story of three survivors of slavery: Mary Prince, Robert Wedderburn and Quobna Ottobah Cugoano.
In this exhibition the artists Sammy Baloji and Patrick Mudekereza present us with a contemporary take on the colonial past. As artists in residence in the museum they got carte blanche in the museum collections. In dialogue with scientists from the museum they have started working with a few collection pieces dating from the beginning of Congo’s colonial history. These collection pieces exhale the atmosphere of the conquest of Congolese territory by the West. The leitmotif of the exhibition ‘Congo Far West’ refers not only to this territorial conquest, but also to the contemporary Congolese artists who artistically and intellectually recapture the collection pieces conserved in the West.
Patrick Mudekereza is a writer and poet but he also writes texts for comic strips, exhibitions and audiovisual art. During his time in the museum he is working on a hybrid sculpture entitled L’art au Congo which raises a whole host of questions, and treaties signed with a cross which sealed the transfer of land from the local chefs to Leopold II. Photographer Sammy Baloji is working on a series of photographs and watercolours from a colonial exhibition led by Charles Lemaire. He has already exhibited in cities such as Paris, Bamako, Brussels, Cape Town and Bilbao. A Beautiful Time, his first solo exhibition in the United States, taking place in the Museum for African Art in New York, will be on show in in the Smithsonian National Museum of Natural History in Washington in 2012. Sammy Baloji and Patrick Mudekereza both live and work in Lubumbashi in DR Congo. Together they are organising the photography biennale Rencontres Picha in Lubumbashi, the third edition of which will take place in 2012.
A place of extraordinary cultural vitality, the creative spirit of the Democratic Republic of the Congo will be honored in the exhibition Beauté Congo – 1926-2015 – Congo Kitoko presented at the Fondation Cartier pour l’art contemporain with André Magnin, Chief Curator.
Modern painting in the Congo in the 1920s: Taking as its point of departure the birth of modern painting in the Congo in the 1920s, this ambitious exhibition will trace almost a century of the country’s artistic production. While specifically focusing on painting, it will also include music, sculpture, photography, and comics, providing the public with the unique opportunity to discover the diverse and vibrant art scene of the region.
Precursors: As early as the mid-1920s, when the Congo was still a Belgian colony, precursors such as Albert and Antoinette Lubaki and Djilatendo painted the first known Congolese works on paper, anticipating the development of modern and contemporary art. Figurative or geometric in style, their works represent village life, the natural world, dreams and legends with great poetry and imagination. Following World War II, the French painter Pierre Romain-Desfossés moved to the Congo and founded an art workshop called the Atelier du Hangar. In this workshop, active until the death of Desfossés in 1954, painters such as Bela Sara, Mwenze Kibwanga and Pili Pili Mulongoy learned to freely exercize their imaginations, creating colorful and enchanting works in their own highly inventive and distinctive styles.
Popular painters: Twenty years later, the exhibition Art Partout, presented in Kinshasa in 1978, revealed to the public the painters Chéri Samba, Chéri Chérin, and Moke and other artists, many of whom are still active today. Fascinated by their urban environment and collective memory, they would call themselves “popular painters.” They developed a new approach to figurative painting, inspired by daily, political or social events that were easily recognizable by their fellow citizens. Papa Mfumu’eto, known for his independent prolific comic book production and distribution throughout Kinshasa in the 1990s, also explored daily life and common struggles throughout his work. Today younger artists like J.-P. Mika and Monsengo Shula, tuned-in to current events on a global scale, carry on the approach of their elders.
As part of the Wilberforce 2007 programme, ArtLink Exchange, a community arts organisation in Hull, worked with local schoolchildren to produce an exhibition of artwork inspired by the bicentenary. This included artwork created by pupils from Sir Henry Cooper School and Endeavour High with artist Isaac Acheampong.
The Bitter Aftertaste project included a range of schools’ workshops, an inter-generational outreach project, and a web-resource exploring the material culture and legacies of the transatlantic slave trade in art and society today. There were also two related exhibitions. For 'From Courage to Freedom', the gallery commissioned three leading visual artists from West Africa - El Anatsui, Romuald Hazoumè and Owusu-Ankomah - to create works to mark the bicentenary. 'Voyages' saw works by four artists - Julien Sinzogan, Tapfuma Gutsa, Pierrot Barra and Gérard Quenum - reflecting on the notion of voyages, in particular the movement of enslaved Africans across the Atlantic Middle Passage.
Several one-day events to mark the bicentenary and Black History Month were organised by the Griffon Area Partnership, a creative arts group in North Walsham. Totem poles were created and displayed at a community festival, which also featured crafts, mask-making, storytelling, dance and colour therapy healing.
The sculpture Blue Earth 1807-2007 by African artist Taslim Martin was permanently installed in the newly updated African Worlds Gallery at the Horniman Museum in 2007, to mark the bicentenary. The large iron globe, inscribed with the 18th century image of the slave ship Brookes, traces the routes along which enslaved Africans were transported to the New World, alongside the movement of the products of enslaved labour. The major British ports of Liverpool, London and Bristol are depicted, as well as ports in West Africa and some of the destination ports in North America, the Caribbean and South America. Visitors are encouraged to spin the globe to view slave routes across the world. In 2007-2008, the Horniman Museum also hosted 'La Bouche du Roi' by Romuald Hazoumé.
Curated by Predrag Pajdic, BOUND was an exhibition of works by international contemporary artists representing personal perspectives on the physical and psychological impact of slavery on humanity, in historical and modern contexts. BOUND incorporated archival material, conceptual work, photography, video, live art performance, interventions and installations. It was a partnership project between the Open Eye Gallery, FACT (Foundation for Art and Creative Technology) and Tate Liverpool. The exhibition opened at Open Eye Gallery and then ran at various venues across Liverpool. Associated events included open table discussions, talks and film screenings.
Breaking the Chains opened at the British Empire and Commonwealth Museum to coincide with the bicentenary, and told the story of the British transatlantic slave trade and its abolition. Developed in partnership with Bristol City Council's Museums, Galleries and Archives' Service, the exhibition used artefacts, film and testimony to challenge perceptions about Britain's involvement in the slave trade and its legacy today. It featured a multimedia gallery of digital memories and feelings on the contemporary legacies of the slave trade; interactive sound stations to see and hear personal testimonies and the power of black music; and the ‘Me deya’ gallery, led by Firstborn Creatives, a collection of work from artists and communities who wished to share their creative pieces about the legacies of the slave trade. Associated events included African music for children, community dance events and public debates.
As part of the Abolition 200 programme, the Bristol 1807 project set out to explore the lives of ordinary Bristolians in 1807. An exhibition in the Central Library, and a series of touring exhibitions in Bristol's libraries and community centres explored society, culture, trade and travel in 19th century Bristol, a city and port with many ties to transatlantic slavery. The project collaborated with local schools to provide creative art workshops for children around themes of slavery and freedom. There were also 'Treasures in Store' hands-on sessions with rare library artefacts concerned with the period of abolition including books, newspapers and everyday objects. A book emerging from the project, 'Bristol in 1807: Impressions of the City at the Time of Abolition' by Anthony Beeson, was published in 2009.