Nsala of Wala with the severed hand and foot of his five year old daughter murdered by ABIR militia. (Anglo-Belgian India Rubber company). This image formed part of the Harris Lantern Slide Collection. Under King Leopold II the Congo Free State used mass forced labour to extract rubber from the jungle for the European market. As consumer demand grew King Leopold II's private army - the Force Publique - used violent means to coerce the population into meeting quotas, including murder, mutilation, rape, village burning, starvation and hostage taking. Alice Seeley Harris and her husband Reverend John H. Harris were missionaries in the Congo Free State from the late 1890s. Alice produced a collection of images documenting the horrific abuses of the African rubber labourers. Her photographs are considered to be an important development in the history of humanitarian campaigning. The images were used in a number of publications. The Harrises also used the photographs to develop the Congo Atrocity Lantern Lecture which toured Britain and the the USA raising awareness of the issue of colonial abuses under King Leopold II's regime.Source: Antislavery International and Panos Pictures.

Nsala of Wala with the severed hand and foot of his five year old daughter murdered by ABIR militia. (Anglo-Belgian India Rubber company). Sketch based on a photograph taken by Alice Seeley Harris. This image formed part of the Harris Lantern Slide Collection. Under King Leopold II the Congo Free State used mass forced labour to extract rubber from the jungle for the European market. As consumer demand grew King Leopold II's private army - the Force Publique - used violent means to coerce the population into meeting quotas, including murder, mutilation, rape, village burning, starvation and hostage taking. Alice Seeley Harris and her husband Reverend John H. Harris were missionaries in the Congo Free State from the late 1890s. Alice produced a collection of images documenting the horrific abuses of the African rubber labourers. Her photographs are considered to be an important development in the history of humanitarian campaigning. The images were used in a number of publications. The Harrises also used the photographs to develop the Congo Atrocity Lantern Lecture which toured Britain and the the USA raising awareness of the issue of colonial abuses under King Leopold II's regime.Source: Antislavery International and Panos Pictures.

Lomboto of Bolumboloko shot in the wrist and hand by ABIR Anglo-Belgian India Rubber Company sentries. Information taken from the Special Congo supplement to the West African Mail Sept 1905. This image formed part of the Harris Lantern Slide Collection. Under King Leopold II the Congo Free State used mass forced labour to extract rubber from the jungle for the European market. As consumer demand grew King Leopold II's private army - the Force Publique - used violent means to coerce the population into meeting quotas, including murder, mutilation, rape, village burning, starvation and hostage taking. Alice Seeley Harris and her husband Reverend John H. Harris were missionaries in the Congo Free State from the late 1890s. Alice produced a collection of images documenting the horrific abuses of the African rubber labourers. Her photographs are considered to be an important development in the history of humanitarian campaigning. The images were used in a number of publications. The Harrises also used the photographs to develop the Congo Atrocity Lantern Lecture which toured Britain and the the USA raising awareness of the issue of colonial abuses under King Leopold II's regime. Source: Antislavery International. This is possibly the same Lomboto whose experiences were documented in Evidence laid before the Congo Commission of Inquiry at Bwembu, Bolobo, Lulanga, Baringa, Bongandanga, Ikau, Bonginda, and Monsembe. Together with a summary of events (and documents connected therewith) on the A.B.I.R. concession since the Commission visited that territory (Liverpool, J. Richardson & Sons,1905), pp. 23-24.

Men of the Nsongo District (ABIR concession) with hands of two of their countrymen Lingomo and Bolenge murdered by rubber sentries of ABIR Anglo-Belgian India Rubber Company in May 1904. The two European men are Mr Stannard and Mr Harris of the Congo Balolo Mission at Baringa. This image (Neg. 119) formed part of the Harris Lantern Slide Collection. Under King Leopold II the Congo Free State used mass forced labour to extract rubber from the jungle for the European market. As consumer demand grew King Leopold II's private army - the Force Publique - used violent means to coerce the population into meeting quotas, including murder, mutilation, rape, village burning, starvation and hostage taking. Alice Seeley Harris and her husband Reverend John H. Harris were missionaries in the Congo Free State from the late 1890s. Alice produced a collection of images documenting the horrific abuses of the African rubber labourers. Her photographs are considered to be an important development in the history of humanitarian campaigning. The images were used in a number of publications. The Harrises also used the photographs to develop the Congo Atrocity Lantern Lecture which toured Britain and the the USA raising awareness of the issue of colonial abuses under King Leopold II's regime. Source: Antislavery International.

A young boy forced to collect rubber for the Anglo-Belgium India Rubber Company (ABIR). The rubber quotas imposed on the indigenous population were so great that, as in this picture, the rubber vines were cut down rather than waiting for them to be tapped. As a result hardly any vines were left around the rubber stations. This image formed part of the Harris Lantern Slide Collection. Under King Leopold II the Congo Free State used mass forced labour to extract rubber from the jungle for the European market. As consumer demand grew King Leopold II's private army - the Force Publique - used violent means to coerce the population into meeting quotas, including murder, mutilation, rape, village burning, starvation and hostage taking. Alice Seeley Harris and her husband Reverend John H. Harris were missionaries in the Congo Free State from the late 1890s. Alice produced a collection of images documenting the horrific abuses of the African rubber labourers. Her photographs are considered to be an important development in the history of humanitarian campaigning. The images were used in a number of publications. The Harrises also used the photographs to develop the Congo Atrocity Lantern Lecture which toured Britain and the the USA raising awareness of the issue of colonial abuses under King Leopold II's regime. Source: Antislavery International and Panos Pictures.

Het Scheepvaartmuseum is the National Maritime Museum of the Netherlands. Housed in a seventeenth-century naval storehouse, the museum showcases the ways in which Dutch culture has been influenced by the sea. A vast array of collections, including paintings, maps, maritime instruments and weapons illustrate these stories. Just outside the museum, there is a replica of an eighteenth century ship, the Amsterdam, which once sailed between the Netherlands and the Dutch East Indies. With fifteen permanent exhibitions and a free audio tour, the museum's four million annual visitors are exposed to over five hundred years of both Dutch, and world, history.

Dutch involvement in slave trading is highlighted in the 'See you in the Golden Age' exhibition. The interpretation here focusses on the seventeenth century, a time when the Netherlands was one of the most economically and culturally rich countries in the world. While the exhibition reflects this boom period through a variety of collections, it also illustrates the darker side of Dutch prosperity. By making use of contemporary narratives, the museum provides its visitors a chance 'meet' historical characters including Amimba, a young African girl who was forced into slavery.

On the former site of a sugar factory, Guadelopue's Memorial ACTe stands as a cultural institution that aims to preserve the memory of those who suffered during slavery, as well as to act as a space for discussion on the continuing repercussions. Part of UNESCO's Slave Route project, its main focus is on the challenges of bondage in the Guadeloupe islands. Memorial ACTe was opened in 2015 by then French President, Francois Hollande, and nineteen other heads of state.

The Memorial ACTe is a unique museum, both internally and externally, through its architectural design. It is also a centre for live arts and debates. It aims to provide interpretation through a variety of viewpoints and disciplines, using not only history but ethnology, social anthropology and history of art as well. The history of slavery and the slave trade are explored through a range of archival material, images and artefacts, with visual and audio installations too.

The permanent exhibition space examines the history of slavery from antiquity to the present day, using objects, reconstructions, visual and audio installations and digital interactives. The temporary exhibition space focusses on contemporary forms of artistic expression in relation to slavery around the world. In addition, there is a research centre where visitors can look into their genealogy, as well as a library and a conference hall.

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.

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.

‘Rum Story: The Dark Spirit of Whitehaven’ is a museum housed inside the former warehouse, office and shop of the Jefferson’s Rum Company in Cumbria. During the eighteenth and early nineteenth century Jefferson's would have been in receipt of slave-grown produce from the Caribbean, which would have been stored and processed in the museum's building.The museum opened in 2000 as part of the town’s regeneration project and aims ‘to bring history to life.’

On entering the museum, visitors walk through a series of room settings, from the African jungle at the beginning of enslavement, to a reconstruction of a slave ship hold complete with mannequins, and finally plantation offices . These room settings offer a very immersive experience, complete with opportunities for total sensory engagement; scent boxes, samples for tasting on exit and soundtracks all the way through.

The collections consist mainly of archival material which illustrates the company's connection to the Transatlantic Slave Trade, and how that made Whitehaven a prosperous port town. Interpretive panels explain the room settings, and diorama scenes with mannequins illustrate to visitors the way things were during the period, for both the enslaved and the workers in Jefferson's factory. The greatest asset that the museum has is the building itself, which provides a true, tangible link to the trade and its legacy on the local community.

‘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.

With this exhibition, the RMCA aims to contribute to the highly topical debate concerning the colonial history of Congo and Belgium.

Visitors learn more about this controversial period through little-known objects, works of art, documents, films, and photographs. Filmed interviews with Belgians and Congolese give a voice to the past in a lively confrontation with memories and emotions. Memory of Congo, through specific themes and diverse narratives, revisits this turbulent chapter in history

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. 

The National Maritime Museum is the largest maritime museum in the world. It forms part of the Royal Museums Greenwich UNESCO World Heritage Site. The NMM houses ten galleries that all showcase Britain’s Maritime History. Its mission is 'to enrich people’s understanding of the sea, the exploration of space, and Britain's role in world history’. ‘The Atlantic Worlds Gallery,' launched in 2007 for the commemoration of the bicentenary, charts the interconnections between Britain, Africa and the Americas between 1600 and 1850. The gallery is about the movement of people, goods and ideas across and around the Atlantic Ocean from the 17th century to the 19th century. The connections created by these movements affected people across three continents, impacting on their cultures and communities and shaping the world we live in today. Four main themes are explored within the gallery, including exploration, war, enslavement and resistance. These displays benefited extensively from the museum's purchase of the Michael Graham-Stewart Slavery Collection in 2002. 'Atlantic Worlds' charts the triangular trade through African civilisations, enslavement and the Middle Passage, and the abolition movement. It recounts the stories of some of the people involved in the resistance movement and the campaign for the abolition of the transatlantic slave trade – including Toussaint l’Ouverture, Olaudah Equiano and Samuel Sharp whose acts of resistance and rebellion were crucial to the turning of European public opinion against the trade. Its narrative also goes beyond the achievement of legal abolition in Britain, to include discussions of the Royal Navy's involvement in suppressing the trade world wide.