A play by the Malcolm X Elders Theatre Company in Bristol, addressing issues of age, identity and heritage.

To commemorate the bicentenary, St Mungo Museum of Religious Art and Life (with support from the Scottish Museum Council) explored the social and economic legacies of slavery, including racism and cultural stereotyping. The museum worked with members of Glasgow's African and African Caribbean communities on reinterpreting objects from across Glasgow Museums. As part of the project, artist Beth Forde was commissioned to create an artwork to explore some of the issues raised, titled 'The shadow of the object fell upon the ego'. Voices from Africa was part of a year-long programme of lectures, schools events and exhibitions highlighting the life of African communities in Glasgow. This included a photographic project with photographer Roddy Mackay to represent African heritage in Scotland, and a series of free workshops exploring aspects of faith and belief.

This project worked with young people from Lambeth, South London, to examine the history of West Africa, its peoples and their rich heritage, culture and traditions, as well as the impact of slavery and the African diaspora. Using film production, creative workshops, and visits to heritage sites, the emphasis was on the positive impact of African history and its effect on the aspirations and self-esteem of young people.

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 Freedom Roads exhibition at Guildhall Art Gallery was one of several initiatives led by London Metropolitan Archives to mark the bicentenary. The exhibition featured contemporary photographic portraits of people of African origin whose work has contributed to the continuing struggle for human rights in different fields. Colin Prescod, Shirley Thompson, Eric and Jessica Huntley and Rudolph Walker were amongst the individuals featured. Others like the young people from BEAT (Black Experience Archive Trust) were engaged in a project to find out about significant people in their local community. Each person was photographed with an image of an object or place which has a special significance to them. The other part of the exhibition focused on relevant archival materials held by London Metropolitan Archives, including the South African Bill of Rights and a copy of the Constitution signed by Nelson Mandela, Cyril Ramaphosa, F. W. De Klerk and Roelf Meyer. Other material relating to slavery and abolition included a letter from John Julius, a plantation owner on the island of St. Kitts.

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.

The Hunterian Museum at the Royal College of Surgeons holds the human and comparative anatomy collections of the surgeon John Hunter (1728-1793). The Exhibiting Difference project was the Hunterian Museum’s contribution to the bicentenary, exploring the history of the transatlantic slave trade through the history of medicine and the experiences of those who lived on the margins of society. Exhibiting Difference focused on the hidden histories of Black Africans living with skin pigmentation conditions in the 18th and 19th centuries, and thus explored issues of identity, self-image and cultural distinctiveness. Curated by Temi Odumosu, the exhibition ‘A Visible Difference: skin, race and identity 1720-1820’ was opened at the Hunterian Museum, featuring portraits of Black African slave children, Mary Sabina and George Alexander Gratton, who both had the skin pigmentation condition piebaldism. The museum also worked with over 200 secondary school students and four professional artists to create a display of sculpture, painting, collage, photography, film and sound recording reflecting the themes of the project. Learning resources were produced to support citizenship education.

Liverpool is a port city with a long association with transatlantic slavery. Located on Liverpool's Albert Dock, National Museums Liverpool opened the new International Slavery Museum in 2007, the first stage of a two-part development. The museum aims to promote the understanding of slavery and the transatlantic slave trade and the permanent impact the system has had on Africa, South America, the USA, the Caribbean and Western Europe. It features displays about West African society, the transatlantic slave trade and plantation life, but also addresses issues of freedom, identity, human rights, reparations, racial discrimination and cultural change. The museum also has strong ties with Liverpool’s large Black community. The museum opened on 23 August 2007, designated by UNESCO as Slavery Remembrance Day.

Re:interpretation was a participatory media project carried out by Firstborn Creatives in partnership with the National Trust. The project explored transatlantic slavery and its connection with three National Trust properties in South West England: Clevedon Court, Dyrham Park and Tyntesfield. It focused on the feelings and opinions of invited community groups towards those histories, who produced a range of creative responses and commentaries to their findings and also their own personal emotional responses. The project produced a multi-layered interactive exhibit, available on DVD.

A’ Adam’s Bairns? is an educational resource pack produced in 2007 by a partnership of the National Library of Scotland and the Scottish Development Education Centre (Scotdec). The project explored equality and diversity both past and present, and looked at the attitudes and behaviours which underpinned slavery then and now, such as racism, sectarianism, prejudice and ignorance. The resources and reference materials are aimed at school children and also community and adult learning groups. They made use of material held by the National Library of Scotland and the National Archives of Scotland, and also included contemporary and traditional music produced by Scottish music expert Dr Fred Freeman, including a rendition of 'The Slave's Lament' by Robert Burns. Modules on the programme included slavery, forced movement of people and taking action for change.

The main aim of the 2007 Bicentenary Cross-Community Forum (2007BCCF) was to facilitate space for dialogue and alliance building in areas of work connected to the legacies of enslavement, related global injustices today and contemporary forms of slavery. The forum was jointly convened by Rendezvous of Victory, Anti-Slavery International and the World Development Movement. The education initiative aimed to assist in discussion and alliance-building on issues arising from the legacies of African Enslavement such as Maangamizi (Afrikan Holocaust) Awareness, Afriphobia, reparations, global injustices today and contemporary forms of enslavement. Open meetings were held in London between 2005 and 2007, and the group produced the 2007 Cross-community e-bulletin three times a year, including comment pieces about the significance of 2007. Task Action Groups were set up, such as the Cross-Community Dialogue Action Group on Education (CCODAGE), jointly hosted by the Council for Education in World Citizenship and the School of Education at Kingston University. A Global Justice Forum was developed out of the 2007BCCF in order to advance work beyond 2007.

Set All Free: ACT TO END SLAVERY was a project of Churches Together in England, based in London. It was also a collaboration between church-related groups, societies and organisations around the UK working together with a Christian ethos to assess the relevance of the bicentenary, and in particular the legacies of slavery. The project aimed to highlight how the values of the abolitionists can transform relationships on an individual, community and society level. The project included building a network coalition, campaigning, producing research and resources for churches, schools and individuals. Set All Free also worked closely with Anti-Slavery International and Rendezvous of Victory, a leading African community-led organisation.

Down at the Bamboo Club was organised by Picture This, an artists' film and video commissioning agency in Bristol. The project was an exhibition of artists' video exploring Bristol's cultural histories and ideas of legacy. Contemporary artists worked with community groups to develop films and events that used the device of re-enactment to explore subjects such as community relations, identity, the legacy of slave trading in the city and histories of division and solidarity. One such film was 'Bamboo Memories' by Barby Asante. The Bamboo Club was a legendary Bristol nightclub in the 1960's and 1970's which holds great significance for older generations in the city as a place where first groups of African-Caribbeans socialised with white Bristolians.

The project to produce the booklet Myths, Facts and Feelings: Bristol and Transatlantic Slavery began in 2007. The Bristol Race Forum aimed to tackle some of the sensitivities, misunderstandings and popular opinions about the subject, and particularly in the Bristol area. The book's development went through a number of stages until it was published in 2012. The booklet and accompanying website for schools and communities across Bristol were produced with a view to sharing lessons from Bristol's past, and as a driver for future debate, activism and challenging prejudices. The contents were developed out of workshops with young people from the African Caribbean community and visits to community groups across Bristol.

COSTA stood for 'Commemoration of Slave Trade Abolition' and was a project of Sul'Art, a community art organisation in Bristol. Sul'Art delivered a programme of music, drama, art and dance to a number of schools and community groups to explore meanings of the bicentenary, working around themes such as migration, identity, celebration of difference, critiques of consumerism and intergenerational dialogue. Sul'Art also presented a number of performances of the professional jazz show ‘King Cotton’, dramatising the story of the cotton industry in music, song and film.

The Bristol Black Archives Partnership (BBAP) was set up to collect, protect and make available the heritage of Bristol's local black history. The partnership involved communities, heritage organisations and academic organisations coming together to collect and make accessible the archives - films, photographs, documents and objects - that reflected the experience and contribution of black people in Bristol. BBAP aimed to provide learning resources for a better understanding of Bristol's multicultural history: the 'Me, We, Making History' calendars celebrated local black achievers; 'My Legacy Journal' was made available for African-Caribbean people to record their own family identity, history and stories. A Black Bristolians Teaching Pack was produced, alongside a travelling exhibition based on the project's research entitled 'The Black Presence in Bristol - 16th Century to the Present Day'.

The Adisa project gave a group of 20 young people of African and African Caribbean heritage the chance to investigate their roots both in Bristol and Africa. The group researched the history and legacies of Bristol's involvement in the trade in enslaved Africans, and its impact on one African country: Ghana. This was a community partnership project in collaboration with the Bread Youth Project, Full Circle Youth and Family and the Mill Youth Centre. The group opened their own exhibition, 'Afrikan Footsteps' at the City Museum and Art Gallery, after a two-week research trip to Ghana to learn about the country's history and culture. The exhibition included short films made by the participants; a Quotes Wall, taken from young people’s interviews with members of their local community; a wall of their personal heroes; a photographic exhibition of their trip; and 'Ma’afa Journey', a film recording their personal reactions to places visited in Ghana.