The National Museum Afroperuano (or National Museum of Afro-Peruvian History) opened in 2009. Housed in the 'House of Thirteen Coins', in Lima, the museum is dedicated to acquiring, preserving and interpreting objects relating to African history in Peru.

The exhibitions begin by examining the arrival of Africans in Peru, via the Portuguese slave trade. The interpretation explores the process of enslavement and transportation alongside the nature of plantation work and the treatment of the enslaved by the Portuguese. A range of artefacts, artist representations and artefacts visually present these issues to visitors.

The exhibition examines the abolition of slavery in 1856 following the rise of Simon Bolivar and the independence of Peru. Objects and photographs then depict the influences of African culture in different aspects of Peruvian life, including music, dress, art and food.

The House of Negritude and Human Rights opened in 1971 in the former Champagney town hall. It relocated to its present site in 1995. The museum was founded after local historian René Simonin discovered a document in the Haute-Saône departmental archives. This document is known as 'Article 29' of the Champagney Register of Grievances. In 1789, the inhabitants of Champagney, drew up their list of grievances at the request of King Louis XVI. This document would be used to prepare the meeting of the Estates General that would open the process of the French Revolution. 'Article 29' was a one-of-a-kind request to abolish black slavery on humanitarian grounds.

The museum is a tribute to the "Champagnerots" (people of Champagney) who made this extraordinary request. Text interpretation explores the context of the request, examining the french slave trade and the movement for abolition in other European countries in the nineteenth century. There are artefacts that highlight the terrible conditions faced by the enslaved, including a replica slave ship and items recovered from plantations in Haiti.

The interpretation also goes on to examine other forms of slavery in the contemporary world. This is embedded into the museum's popular education programmes that reflect on the development and importance of human rights around the world.

The Museum of Saint Helena originated as a small natural history collection in 1854. Over the last 150 years it has moved three times before being officially opened in its current site in 2002 to mark the 500th anniversary of the island's discovery. It is housed in an eighteenth-century former power station in the island's capital, Jamestown. The museum explores the history of St Helena and it's position in the world. It has a large collection of physical artefacts supplemented by a digital archive of images, videos and audio.

The permanent exhibition offers a chronological view of Saint Helena's history, beginning with its geological development. The displays then explore the discovery of the island by European's, the role of the East India Company and migration. There is also a display about Napoleon Bonaparte's exile to Saint Helena.

Within the displays about colonisation and the East India Company are mentions of enslaved Africans brought to the island. Abolition and emancipation are also examined, as the interpretation moves on to explore the diverse make up of Saint Helena's population into the twentieth century. These displays are supported with artefacts and finds from recent archaeological digs on the island.

The Harriet Tubman Underground Railroad National Historical Park was established in 2003, the 100th anniversary of Tubman's death, in rural Dorchester County. In 2017 the Harriet Tubman Underground Railroad Visitor Centre was officially opened. The visitor centre was a collaborative project between the US National Park Service and the Maryland Park Service. The building houses exhibition space, a research library and gift shop. Also on location is a public pavilion and legacy garden.

The design of the site was built around the importance of northward movement in the slave's quest for freedom. The legacy garden stretches out north between the buildings, offering an expansive and hopeful view. The view south is more enclosed and fragmented, reflecting the intolerable existence for those enslaved. The visitor centre houses an exhibition that chronicles the life and accomplishments of Tubman; her birth into slavery, escaping and subsequently returning to free friends and family, her work as a Union spy and her activism after the Civil War. The story is told through a combination of interpretive text, videos, murals, dioramas and her own powerful words.

The park and visitor centre are open seven days a week and are free to the public. The visitor centre also provides further information on the Harriet Tubman Underground Railroad Byway Driving Tour, which has 36 stops throughout the Eastern Shore of Maryland linked to Tubman's life.

The National Museum of St Kitts is housed in the Old Treasury Building, built by the British colonial administration in 1894 and known as the 'gateway to Basseterre' due to its imposing size. The museum opened in 2002 and charts the history of St Kitts from its earliest, indigenous populations to its independence from colonial rule in 1983.

The museum has three permanent galleries which cover St Kitts' history in a chronological timeline making use of a small collection of artefacts, alongside images and text panels. The first gallery examines the indigenous populations of the island, alongside exhibits relating to natural history and ecology.

The second gallery explores the arrival of Europeans to the island and the development of slavery and the plantation economy. There are artefacts showcasing the brutal nature of enslavement, including an iron slave collar. It also explains the processes involved in the cultivation of sugar, as used on the plantations during the eighteenth and nineteenth centuries. It also provides a narrative of abolition and emancipation.

The final gallery examines the colonial governance of St Kitts post emancipation, through to independence from British rule in 1983.

The National Abolition Hall of Fame and Museum occupies the upper floor of the former Presbyterian Church of Smithfield, built in 1820. In 1835 it was the site of the first complete meeting of the New York State Anti-Slavery Society, and it opened as a museum to represent the history of the abolition movement in 2004. The lower floor houses the Smithfield Community Centre. In 1994, the building was added to the New York State and National Registers of Historic Places. In 2004, it was designated as a site on the New York State Underground Railroad Heritage Trail.

The Hall of Fame and Museum honours abolitionists and their achievements, periodically inducting new members. It also aims to educate about the legacy of the movement and to inspire its visitors to engage in the 'new struggle' to end racism. The museum features an introductory film that provides background context to the abolition movement, regarding the transatlantic slave trade. Written text panels, archival materials and art are used to add further depth to the narrative of the American abolition movement.

The museum also runs a programme of visitor events, and education activities.

The Slave Haven Underground Railroad Museum opened in 1997 on the Burkle Estate- an historic house in Memphis. Originally built by a German immigrant, Joseph Burkle, the building is thought to have been part of the Underground Railroad, offering safe harbour to the enslaved on their escape route through the USA to Canada. Made up of period, nineteenth-century room settings, the museum documents the history of the Underground Railroad and the possible role of the house in that network. It also features displays about the system of transatlantic slavery, slave auctions and the everyday life of slaves in the wider Memphis area using collections of artefacts and archival material, including many advertisements from slave auctions.

The site's main feature is its secret cellar and trap doors that are thought to have offered refuge to runaway slaves. Visitors are invited to step down into the cramped cellar and kneel on the brick floor to get a deeper understanding of the plight of the enslaved. The museum also conducts guided tours around the site and the local area, highlighting the broader history of slavery in the USA.

The museum is housed within Ussher Fort, one of three European forts built in the Accra region of Ghana during the mid-seventeenth century. Developed by Ghana's Ministry of Tourism, with support and funding from UNESCO, the museum opened in 2007.

The museum aims to highlight the history of the transatlantic slave trade in Ghana. Beginning with the development of the trade in human beings, the museum covers the history through to British abolition.

The collection is varied and includes items once used by both captors and victims. There are weapons, African household items and a model of a slave vessel. The museum also contains paintings of several key abolition figures, including William Wilberforce and Harriet Tubman.

Elim Heritage Centre was opened in 2009 in the Moravian mission village of Elim. Situated in the former mission store, it relies on funding from a grant by SAN Parks which permits a modest salary for its sole member of staff. Elim was established in 1824 and, in common with other mission stations in the area, saw an influx of newly freed people following the end of the post-abolition apprenticeship period in 1838. The centenary of the ending of the apprenticeship period in 1938 was marked in Elim by a monument situated across the road from the Moravian Mission Church. A feasibility study for an Elim offshoot of UNESCO’s Cape leg of its Slave Route project in the late 1990s revealed that many Elim residents were unaware about their slave heritage. Although the feasibility study did not amount to a longer-term UNESCO project, the undertaking did encourage interest in slave history in Elim. The 1938 monument was rededicated in 2004, and the Heritage Centre’s foundation can be traced to the feasibility study. As well as featuring as a community repository including donated trade and home objects, photographs, and clothing, its collections include a series of display panels created by the Slave Route feasibility study.

The Heritage Centre’s displays are modest and consist mainly of photographs pinned to display boards. There is little on slavery itself, although one primarily photographic panel shows a clear pride in the 1938 memorial and the way in which it has functioned as a form of remembering slavery over time in Elim. Reference is made to 1 December Emancipation Day as a way of reconnecting with ancestors. Another display details the genealogical origins of Elim, giving the names of early settlers among whom formerly enslaved people are clearly evident. The Slave Route display panels are not on open display. Indeed, it is the behind the scenes work of the curator where the Heritage Centre’s connections with slavery become more apparent. It holds substantial church records, and the curator assists with genealogical enquiries from around the world, including from people researching their slave ancestry.

Stellenbosch Village Museum is one of 28 museums affiliated with the Western Cape Provincial Government’s Museum Service. The Village Museum consists of four period houses dating from the early eighteenth century to the Victorian era. It opened during the 1970s as part of what was then a larger complex of museums in Stellenbosch. The museum was partially redeveloped by Museum Service staff in 2015, with new exhibition panels and an interactive historical timeline installed in the foyer area. Focus is given to the historical origins of Stellenbosch with attention given to a diverse range of historical actors, from the enslaved to Khoi people. This is an important part of moving historical interpretation at the Village Museum away from the whites-only affair established in the apartheid years. Artefacts uncovered during excavations of the period houses and their outbuildings are displayed, though these lack contextual information in places.

Slavery is not referred to in great detail in the exhibition panels, however it does feature on the interactive timeline. Both the abolition of the slave trade in 1807 and abolition of slavery in 1834 are referenced. Efforts are made to posit the Bletterman family – original owners of the Village Museum’s late eighteenth century property - as slave owners. Particular attention is given to the case study of the enslaved woman Manisa who was owned by Stellenbosch resident Johanna Barbara van Biljon. This focus comes from the unusual level of surviving material which enabled a reconstruction of Manisa’s life, including separation from her family through public auction. There is even a full body portrait of Manisa, taken from a Cape Argus article published upon emancipation. Problematically, one of the outbuildings of Bletterman House which potentially functioned as slave quarters has been rented out by the museum and presently houses a number of eateries. No connection is made between references to the outbuildings as slave quarters in the historical timeline and their present use.

Musée d’histoire de Nantes (Nantes History Museum) was originally the residence of the Dukes of Brittany and the castle was restored in the 1990s. It opened to the public as a museum in February 2007. The museum is not wholly dedicated to looking at slavery, but explores the history of the castle and the city. However, it is acknowledged that the Atlantic slave trade is a key part of that history. The themes covered within the museum begin with the construction of the castle in the 13th century, and then follow the development of Nantes as part of Brittany through the ages until the 17th century. The museum also examines trade, the impact of the French Revolution, industrialisation, the two world wars and a contemporary look at Nantes as an ‘Atlantic City’. The museum added several rooms in 2016 that looked with greater detail at modern history. It has been designated a 'Monument Historique' by the French government. In addition to the historical artefacts housed in the museum, interactive and digital media is incorporated throughout as a part of the museum's aim to showcase the history of the city not only through objects and art work, but also contemporary technology.

Slavery is mainly addressed in the exhibition ‘Trade and Black Gold in the 18th Century’, where the displays address the role Nantes played as a key French port for vessels embarking on the Triangular Trade. Objects on display include maps, paintings and a collection of printed canvases produced in Nantes that would have formed a significant proportion of the cargo taken on the first leg of the trade voyage, from France to Africa. As well as examining France’s role in the logistical aspects of the trade, this exhibition also includes interpretation about Haiti. This interpretation has a dual focus, with Haiti as the destination for most of the ships originating in Nantes and the site of the most successful slave revolt in the western hemisphere.

Other exhibitions within the museum also look generally at the larger events in French history and how they changed Nantes’s relationship with slavery. Within the exhibitions on Nantes and the Revolution, the long process of abolition and then re-entrenchment of slavery under Napoleon are discussed in the interpretation. Until 1831 Nantes was still France’s largest slave trading port despite the activity being previously outlawed in 1816. Similar to the Memorial to the Abolition in Nantes, the Nantes History Museum intends to provide a reflection on local history both good and bad.

M Shed opened in 2011 and is housed in a warehouse on Bristol’s dockside, a clear and tangible link to the history it interprets. The free-to-enter museum focuses on social history, exploring the development of Bristol as a city through people, places and daily life. It is a popular site, attaining over half a million visitors per year since 2013.

Through this local viewpoint, the museum explores Bristol’s involvement with the transatlantic slave trade and the abolition movement in its ‘Bristol People’ gallery which aims to ‘explore the activities past and present that make Bristol what it is.’ Voices from all factions of the slavery debate feature in the display, with proslavery, the enslaved, particularly those who fought for emancipation, and abolitionists all interpreted within dedicated cases. Each case contains a mix of objects, archive materials and text panels to tell the story. Quotations from key figures also bring to life the voices of those who were personally involved: for example, John Pinney, a plantation owner and sugar agent; Hannah More, a writer and Abolition campaigner; John Kimber, a slave ship captain accused (and acquitted) of murder; Silas Told, an ordinary sailor on slaving voyages. These Bristolian voices give different perspectives on how those involved in the trade saw it at the time. Quotations printed around the gallery also provide the views of today’s visitors to the trade. The exhibition also has sections about the legacies of the slave trade within Bristol, particularly in relation to the representation of African or Afro-Caribbean communities in popular culture, the presence of racism in the city, and the legacies of prominent slave owners in some of Bristol's public institutions.

The theme of antislavery also features as the starting point for a display on public protest movements. One case focusses on Thomas Clarkson’s visit to Bristol to collect information against the trade, another on the campaign to abstain from slave-produced sugar in the 18th century and the Bristol bus boycott against racist employment practices in the 20th century. This display then goes on to look at other popular campaigns and protest movements including women’s suffrage, riots, strikes and the Occupy movement. This perspective, situating the abolition campaign as the beginning of a British tradition of society campaigning, is a unique one across UK museums.

In the Bristol Life gallery, the stories of two Black Bristolians look at the new life for the runaway enslaved man, Henry Parker, and the Windrush generation Princess Campbell.

The Wedgwood company's founder, Josiah Wedgwood I, had the initial idea for preserving and curating a historical collection in 1774. A public museum dedicated to this purpose first opened in 1906, and moved to its present site in 2008. In 2009 the museum won the Art Fund Prize for Museums and Galleries. It underwent further redevelopment in 2015/16. The museum's rich collection of ceramics and archive material tell the story of Josiah Wedgwood, his family, and the business he founded over two centuries ago.

The collections at the museum make up one of the most significant single factory accumulations in the world. They contain a range of things from ceramics, archive material and factory equipment, to social history items that help interpret life in Georgian Britain. Key themes explored throughout the galleries include Wedgwood's links to royalty, the influence of nature on his work and his position as a successful entrepreneur.

On display in the museum also are a small collection of objects which relate to Wedgwood's prominent role in the campaign to abolish the British Slave Trade. Here, the display focusses on the production of the well-known antislavery medallion, which bears the 'Am I Not a Man and a Brother?' image. It also highlights Wedgwood's connection to Olaudah Equiano and the influence of proslavery factions in British society during the eighteenth and nineteenth century.

The American Museum in Britain is housed in a manor house, built in 1820 by English architect Sir Jeffry Wyatville. It is the only museum of Americana outside the USA and was founded to 'bring American history and cultures to the people of Britain and Europe'. It uses a rich collection of folk and decorative arts to interpret these traditions from America's early settlers to the twentieth century. Living history events bring these stories to life, in addition to changing temporary exhibitions which keep the narrative up to date. The museum opened to the public in 1961 as the brainchild of two antiques dealers.

The museum's collections are a rich source of furniture, portraiture and textiles from America, displayed thematically within period rooms acting as gallery spaces. The 'American Heritage' exhibition, charting the history of America through the narration of key events and people dominates a large proportion of this space. Key collections highlights in this exhibition include Martin Luther King's 'I Have a Dream' speech and a range of treasures from New Mexico.

Also contained within the 'American Heritage' exhibition is a small display about slavery and abolition in America. The main focal point of this display is a quilt made by enslaved people on a plantation in Texas. Other themes addressed here include the Underground Railroad, prominent abolitionists and the importance of the Civil War in the eventual abolition of slavery.

The National Museum of the Royal Navy is located in Portsmouth’s Historic Dockyard. Its aim is, ‘to make accessible to all the story of the Royal Navy and its people from earliest times to the present.’ The museum, housed in a former naval storehouse, receives almost one million visitors per year.

Through five galleries, the museum charts the development of the Royal Navy and the experiences of the people who served in it. In the ‘Sailing Navy’ gallery, visitors can find out about the initial professionalisation of the navy during the eighteenth century. There are exhibits which discuss rations, health, hand-to-hand combat and available honours.

In this gallery, there is also a section of the display which discusses the other roles played by the Royal Navy, in addition to participation in conflict. The most striking exhibit in this section is a diorama model which depicts the use of the Royal Navy in the suppression of the slave trade, after the abolition of 1807. A little-known story in the British antislavery narrative, the model is accompanied by interpretive text which provides some context about the transatlantic slave trade and the campaign to abolish it. In addition, it also goes some way to outlining the prolonged involvement of Britain in eliminating other European slave trading in the years following 1807. While there are no artefacts used in narrating this story, the diorama itself provides a visualisation of the practice of suppression.

Birmingham Museum and Art Gallery has over forty display galleries that explore the development of Birmingham as a city, through its diverse communities. Since opening in 1885, the museum has built a vast collection of social history, art, archaeology and ethnographic items. It is one of nine sites managed by Birmingham Museums, the largest museums trust in the UK, whose vision for their service is, ‘to reflect Birmingham to the world, and the world to Birmingham.’ Housed within Birmingham's council buildings in the city's Chamberlain Square, the site welcomes around one million visitors a year.

Slavery and abolition feature as themed displays within the ‘Birmingham: Its People and Its History’ gallery, which dominates the third floor of the Victorian museum. Initially developed as part of the 2007 bicentennial commemoration activities, the displays highlight the contradictory nature of Birmingham’s relationship with the slave trade. Visitors are informed, through both interpretive text panels and collections artifacts on display, about the goods manufactured in Birmingham that were taken to Africa to trade in exchange for human beings. Simultaneously, the presence of antislavery activists in the city is explained, with digital interactives, portraits and abolitionist material culture all illustrating the role of Quakers and other prominent abolitionist figures, including Joseph Sturge and Olaudah Equiano.

The displays also alert visitors as to the existence of modern slavery by a panel headed with the words, ‘Around the world, people are still enslaved today.’ The visitors are then invited to leave their own comments as to how society can help to stop it in their community and around the world.

The Cowper & Newton Museum is a very small, local museum managed by a charitable trust and staffed predominantly by volunteers. The museum is situated in Orchard House, the home of poet and author William Cowper between 1768 to 1786. Since it opened in 1900, the museum has focussed on telling the story of Cowper’s life in the thriving Georgian market town of Olney, Buckinghamshire. The museum also examines Cowper's relationship with his friend and neighbour, slave-trader turned ordained priest and abolitionist, Reverend John Newton.

The museum’s mission is for visitors to ‘relive Georgian life in Olney.’ Using items of personal collections relating to both of the museum’s namesakes, the displays bring the house to life in the form of period room settings combined with display cases and interpretive panels. Both Cowper and Newton published writings against the slave trade and corresponded with other abolitionists, including William Wilberforce. The displays provide some context on the slave trade before outlining Cowper and Newton’s involvement in abolition. This is represented through a range of objects including archive material, portraits and furniture both from the museum’s collection, and loaned pieces from Wilberforce House Museum, Hull.

As well as being a theme which runs throughout the whole museum, with Cowper’s ‘The Negro’s Complaint’ on display in the Georgian History Room for instance, there is one particular room on the first floor of the house which focuses predominantly on the slave trade and abolition. Like most of the museums analysed here, the interpretive panels in this display were created using funds made available for the bicentenary in 2007.

The Wisbech and Fenland Museum is one of the oldest, purpose-built museums in Britain. With its origins dating back to 1835, visitors are welcomed into a real ‘treasure house,' with collections housed in original nineteenth century cases. The museum is free to enter and focusses on local history, housing the vast and varied collection of the town’s literary and museum societies. Using these, the museum presents displays on a range of themes relating to key local industries, wildlife, archaeological finds and important people from the area.

One of these important people is Wisbech-born Thomas Clarkson, and it is through him that the theme of antislavery fills several of the largest cases in the main gallery. Using a combination of personal collections, archive material and objects linked to the wider slave trade (notably whips and a manacle), the museum follows Thomas Clarkson’s contribution to the abolition campaign, both in Britain and abroad. The museum also exhibits the narrative of Thomas’ brother John Clarkson who was instrumental in facilitating the movement of freed-slaves from Nova Scotia, Canada, to Sierra Leone.

This display was developed as a larger, standalone exhibition for the 2007 bicentenary entitled ‘A Giant with One Idea,’ but this was reduced following the end of the commemorations as funding was withdrawn.

The People's History Museum (PHM) is Britain’s national museum of democracy, telling the story of its development in Britain; past, present and future. It is located in Manchester, the world's first industrialised city and aims to ‘engage, inspire and inform diverse audiences by showing there have always been ideas worth fighting for’. Attracting over 100,000 visitors a year, with free entry, the museum outlines the political consciousness of the British population beginning with the Peterloo Massacre in 1819. The British transatlantic slave trade and the abolition movement feature in this discussion early on in Main Gallery One. In a small display, the interpretation discusses the role of slave-produced cotton in the rise of Manchester as an industrial powerhouse. It goes on to describe the important role that the people of Manchester had in supporting the abolition campaign. The focus is on the local experience. This is also illustrated with one of the exhibition’s key interpretive characters, William Cuffay, a mixed-race Chartist leader whose father was a former slave.  In Main Gallery Two, the displays are brought closer to the present day, other issues explored include anti-racism and attitudes towards migration and multiculturalism. There is a clear link, although not explicitly expressed, in the interpretive text between these ideas and the lasting legacies of Britain's involvement in the slave trade. 

Wilberforce House Museum is one of the world's oldest slavery museums. It opened in 1906 after the building, the house where leading abolitionist William Wilberforce was born, was bought by the Hull Corporation to preserve it for reasons of learning and of civic pride. Initially a local history museum, at the centre of Hull's historic High Street, the collections soon expanded through public donations and, unsurprisingly, these donations focussed heavily on items relating to Wilberforce. Today the museum and its collections are owned by Hull City Council and managed by Hull Culture and Leisure Limited. It forms part of Hull's 'Museums Quarter' alongside museums on transport, local social history and archaeology. In addition to the Wilberforce displays, the museum also features period room settings, silver, furniture and clocks, as well as a gallery exploring the history of the East Yorkshire Regiment.

The galleries at Wilberforce House Museum tell many different stories. An exploration of the history of the house welcomes visitors into the museum, followed by displays about William Wilberforce from his childhood, to his work and his family life. These galleries have examples of costume, books, domestic items and even the 1933 Madame Tussauds wax model of Wilberforce himself. Up the grand cantilever staircase, installed by the Wilberforce family in the 1760s, the displays continue. Here they look at the history of slavery and the origins of the British transatlantic slave trade. One gallery contains items that illustrate the richness of African culture prior to European involvement, dispelling the traditional myth that Africa was empty and uncivilised before the intervention of the Western world. Following that, the exhibition narrative goes on to look at the process of enslavement, the logistics of the trading system, the Middle Passage and slave auctions. Again, a wide range of collections are used to illustrate the informative panels. This is repeated in the displays about plantation life and resistance.

Of course no museum about William Wilberforce would be complete without an exhibition on antislavery and the abolition movement. This is extended with two galleries which look at the legacies of such a campaign in terms of modern slavery and human rights today. There are opportunities in these galleries for visitors to provide their comments and opinions, through several interactives, as well as engage with ideas as to how they can actively participate in today's campaign to end modern slavery.