This exhibition in Westminster Hall told the story of the pressures and events, at home and abroad, which influenced Parliament's abolition of the British slave trade in 1807. The Act itself was displayed alongside petitions sent to Parliament by the public. Also on display was Thomas Clarkson's African Box, used on his abolition tours.

As part of the wider project, the Parliamentary Education Service appointed poet and writer Rommi Smith as Parliamentary Writer in Residence to the exhibition. In a series of workshops, Rommi worked with secondary school pupils to explore the historical, social and emotional issues around the transatlantic slave trade in poetry and prose. This included letters and statements that they would have sent to the prime minister of the time, to Olaudah Equiano and other key figures. To mark the UNESCO International Day for the Remembrance of the Slave Trade and its Abolition on 23 August 2007, the Parliamentary Education Unit asked people to submit squares for a commemorative quilt. Some of these designs are available to view on the Parliamentary Archives website, which also uses original source material to tell the story of Parliament's complex relationship with the British slave trade.

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.

A touring exhibition exploring Hampshire's links with slave ownership and the abolition campaign was produced by (and featured material from) Hampshire Museums and Archives Service and Hampshire Record Office. The exhibition was on show in the Record Office foyer, before travelling to museums, schools and community centres around the county. The exhibition revealed that there were slave owners living in places in Hampshire such as the village of Hurstbourne Tarrant, and told the story of a slave-trading voyage in 1700 led and financed by men from the Titchfield area. Black servants, very likely former slaves, could be found in unlikely places such as Martyr Worthy and Bramdean. The abolition campaign was fought in the columns of the Hampshire Chronicle and the Hampshire Telegraph, and communities as diverse as Portsmouth, Whitchurch and Fordingbridge sent in petitions to Parliament on the subject. The exhibition also mentioned white slaves taken from the English coast by Barbary pirates, and the testimony of a group of emancipated slaves from Cuba who arrived in Southampton in 1855 on their way to Lucomi in Africa.

Swellendam Drostdy Museum is one of 28 museums affiliated with the Western Cape Provincial Government's Museum Service. The museum is located in the former court complex in Swellendam, built in 1747 when Swellendam was situated on the frontier of the Dutch Cape of Good Hope. It was founded in 1939 and its displays are somewhat dated and offer a Eurocentric interpretation of the past. The collective heritage of Swellendam is represented through a magistrate's chamber, court room, and a number of domestic settings where the landdrost and his family would have relaxed between the important duties of enforcing European jurisdiction. A safe, the only original item from the building not destroyed in an 1865 fire, occupies a prominent place as a tangible link to this past.

A display opened in one of the barn outbuildings in 2006 seeking to imagine what this outbuilding may have been like two hundred years previously when it may have functioned as slave quarters. The Drostdy Museum's display illuminates a possible surviving link, doing this through a number of straw sleeping mats, food props, and carts. A series of interpretation panels explain slavery at the Cape and give the names and roles of several people enslaved/indentured at Swellendam Drostdy. In light of this, it is somewhat problematic that the museum created controversy in 2015 when it leased one of its buildings to an upmarket eatery. This was given the name 'The Whipping Post' by its owner in reference to the whipping post which formerly stood adjacent to the jail. Activists and local politicians highlighted the links between slavery and the original whipping post, and the outlet was ultimately renamed 'The Trading Post'.

Remembering Slavery 2007 involved museums, galleries and other cultural organisations across the North East of England in a programme of exhibitions, events, performances, lectures and activities to explore the themes of slavery and abolition, and identify connections with the region.

In Sunderland, the Museum and Winter Gardens hosted a varied programme of activities under the Remembering Slavery 2007 umbrella, including African drumming sessions, African inspired textile crafts, poetry workshops and storytelling. There were also guided walks around the sites associated with James Field Stanfield, the leading Sunderland campaigner against the slave trade. Elsewhere in the city, The Power of Words: an Image of Africa Past and Present was a creative writing project in collaboration with the Sunderland African Association. Participants worked with poet and writer Sheree Mack to produce poems exploring slavery and its relevance in contemporary times.

This exhibition explored the links between industry in the West Midlands and the commercial gains of slavery. Wolverhampton's role as a manufacturer of iron was crucial to the economy of slavery, as implements of restraint and punishment were needed to repress those who fought their enslavement. The exhibition emerged from a collaboration between photographer Vanley Burke and blacksmith Lofty Wright. They re-created 40 cast iron instruments used in the slave trade: forked wooden yokes that controlled captives; irons, muzzles and braces that were used to constrain and as punishment. Each of the metal items was symbolically coated in sugar.

Penrhyn Castle on the outskirts of Bangor in Wales is owned by the National Trust. In 2007, the bicentenary was marked with a special exhibition and accompanying events exploring the connections between the Castle and the fortune of its former owners, the Pennant family, built on Jamaican sugar from one of the largest estates on the island. The exhibition featured the story of Richard Pennant, 1st Lord Penrhyn, a wealthy merchant and MP for Liverpool who fought against abolition in Parliament. Some of the research was carried out by members of the local community, who were trained in archival research by exploring the Penrhyn Jamaica papers held at Bangor University, which included Richard Pennant's letters as absentee landowner.

The project created links between a local school near the Castle, Banks Road school in Liverpool and Mavisville school in Kingston, Jamaica. All three schools provided art, prose and poetry to the exhibition. Workshops were held for all visiting schools. Accompanying events included art days where a local artist worked with visitors to explore the meaning of landscape painting in the context of slavery; a Caribbean weekend; and a day of activities and workshops with a multi-faith groups of teenagers from Liverpool. A DVD of all the information gathered was given free to schools and libraries.

Story Interrupted was an exhibition of jewellery and ceramics by visual orator Akosua Bambara at Bruce Castle Museum. Each piece was created in memory of African people who suffered and died in enslavement.

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.

The exhibition at the Library and Museum of Freemasonry to mark the bicentenary arose from a project to catalogue their historical collections relating to Masonic history in the West Indies and America between 1760 and 1900. This period covers the establishment of African Lodge, the first Masonic lodge for African-Americans. Its first Master was Prince Hall, a freed slave and respected Boston resident who had fought for the British. From 1847 his name has been synonymous with Prince Hall Masonry, the first major Black Masonic organisation in the world. The library holds eleven letters written by or for Prince Hall. The exhibition and cataloguing of this correspondence enabled the library to start compiling details of early Black and Asian Freemasons in its collections. The exhibition also looked at members in the 18th and 19th century who were both slave owners and abolitionists, and the establishment of lodges in the Caribbean.

The Centre for Contemporary Ministry (CCM) is an educational charity specialising in the study of contemporary social issues. The CCM established a slavery exhibition at their base, Moggerhanger Park in Bedfordshire, once country home of members of the Thornton family, cousins of William Wilberforce. A mobile travelling display toured local venues. ‘Free at Last?’ was also part of the Spirit of Wilberforce project. This initiative saw a replica of the 18th century slave ship ‘Zong’ sail into London on 29 March 2007. The replica ship was accompanied up the River Thames by HMS Northumberland as part of the Royal Navy’s contributions to the bicentenary. The ‘Slavery Past and Present’ exhibition on board the replica was opened by the Mayor of London – a virtual reality display depicted conditions on a slave ship. The exhibition continued at the church All Hallows by the Tower, exploring the work of the abolitionists and the legacy of slavery. HMS Northumberland also opened to the public - an exhibition on board explored the role of the Royal Navy in enforcing the 1807 Act.

Spier is a wine estate, situated east of Cape Town close to Stellenbosch. It was founded in 1692 and, as with the majority of South African wine farms of a similar age, its early labour force rested on enslavement. Spier was one of the first wine farms to develop itself as a tourist attraction during the 1960s and 1970s, reflecting a shift in the Winelands economy from just the production of wine. Presently, Spier offers visitors a number of restaurants, wine tasting, conferencing facilities, accommodation, a market, and a variety of estate tours including by Segway. Historical features have been preserved and form part of these tours.

Spier is quite open about its past involvement in slavery. The 1825 slave bell has been restored and is highlighted on the audio tour of the estate. In 2012, an art piece named ‘The Dying Slave’ was designed by the South African artist Marco Cianfanelli and installed at the base of the hotel car park at Spier. This large and imposing structure consists of nine columns which, when the viewer stands at a distance, combine to produce an image which was inspired by Michelangelo’s image of a ‘Dying Slave’.

More obvious local connections with slavery are evident in the ‘Gables' audio tour launched in 2012. This is narrated by a fictional enslaved woman named Sannie de Goede and set in 1836 on the eve of the ending of the apprenticeship period. Using the smartphone app VoiceMap, the narrator guides the visitor around the estate, drawing attention to historical features from the perspective of someone who was forced to work on the estate. Written by playwright Brett Bailey, it should be viewed as part of a genre of historical fiction including works such as Yvette Christianse’s Unconfessed which seek to fill gaps in the colonial archive by reimaging the voices of enslaved women.

Solms Delta is a wine estate, situated east of Cape Town in the heart of the Cape Winelands. It was founded as Zandvleit in 1690, with the name change coming in 2002 after purchase by University of Cape Town-based neurosurgeon Mark Solms who wished to distinguish it from other farms with the same name. As with the majority of South African wine farms of a similar age, its early labour force rested on enslavement. Solms approach to farm ownership has seen him attempt to eschew the well-worn white owner/black worker relationship by launching a socio-economic reform project. Money has been invested in new housing featuring satellite television, whilst an education project both for workers and their children has been established. Social enrichment activities based around music, sports, and performance have been encouraged in an attempt to improve the traditionally poor socio-economic circumstances of the workers, many of whom live on the estate just as their ancestors did. Solms has explained in interviews that this refreshed approach to wine farming arises from a perceived responsibility to acknowledge his own life privileges as a white South African. Crucially, workers have been given shares in a land equity scheme.

Solms Delta hosts two museums. One of these, named Museum van de Caab with deference to Cape slave naming patterns, opened at the same time as the estate opened to the public in 2005, with a music museum opening in 2014. Acknowledgement of the past as a means of understanding how workers have been exploited over time is a crucial part of Solms’ project. Slavery is referenced in both museums, with songs as evidence of slave culture appearing in the music museum. In Museum van de Caab it forms a fundamental part of a general farm history which traces the story of the land to the origins of humankind. A memorial feature occupies a prominent position in one of two galleries, detailing the names of every person revealed by archival research to have been enslaved on the estate. Guided museum and estate tours are available, conducted by estate workers.

An exhibition developed by Cromarty Courthouse Museum in the Scottish Highlands recording the role of Highland Scots in the slave trade and slave plantations of the Caribbean and South America and, in particular, British Guiana. The striking illustrations were by John McNaught. The exhibition told individual stories of Scottish merchants, plantation owners and their slaves, such as a slave called Inverness, bought, sold, exploited and hunted as a runaway by Scots in Demerara. It also looked at the freed slaves who found a place in Scottish society. Connected to this project was the placing of a plaque in the former Royal Northern Infirmary (now the executive office of the University of the Highlands and Islands). It remains one of the few acknowledgements of the use of profits from the slave plantations to fund charitable public institutions, and the only known one in Gaelic.

An exhibition exploring the connections between Warwickshire and the transatlantic slave trade, using the collections held at Warwickshire Record Office. Several Warwickshire families owned plantations in the Caribbean, such as the Greatheed family of Guy's Cliffe who owned an estate in St Kitts. Vice Admiral Lord Hugh Seymour was prominent in the West Indies as Commander of Britain's naval forces in the Leeward and Windward Islands. Church of England parish registers reveal the presence of black people in Warwickshire's history.

Cambridge University Library held a small exhibition in 2007 showcasing its collections of rare books and manuscripts relating to slavery and abolition. These include records of the Greg family, who owned a sugar plantation in Dominica, and documents relating to slave compensation for the West India colonies. Other records held by the library relate to British Quakers, the abolition campaign, and the persistence of slavery in the 20th century and into the present day.

Kenwood House in North London is closely connected to the history of the slave trade through the lives of two of its former inhabitants. Lord Chief Justice Lord Mansfield made a milestone ruling in 1772 towards abolition of the transatlantic slave trade. Dido Elizabeth Belle - born to an enslaved mother - is believed to have been Lord Mansfield's illegitimate great-niece. This exhibition by English Heritage, and sponsored by the Friends of Kenwood, explored their relationship, and the social dimensions of the British slave trade intertwined with the history of Kenwood. Visitors to the exhibition were invited to leave a creative literary response. The Wall of Words, a literary mural in the form of a poem inspired by the recorded responses, was created by Beyonder, a multimedia artist and educator.

The Slave Lodge building was first constructed in 1679 by the VOC as housing for the people they enslaved. It was modified over time, and post-British settlement of the Cape was transformed into government offices. After passing through various stages of administrative use – most notably as the Supreme Court – it opened as the South African Cultural History Museum in 1967.

Typical of apartheid-era museology, its displays made no reference to the building’s connections with slavery. Post-apartheid, the museum was brought under the management of southern state umbrella Iziko Museums, and was renamed Slave Lodge in 1998. Although a number of its displays still date from the Cultural History Museum period, new exhibitions have been installed, and the museum now purports to serve as a centre where human rights abuses are discussed and exposed. There is a particular focus on slavery, and racial segregation under apartheid, both through permanent and temporary displays.

The main slavery exhibition is titled ‘Remembering Slavery’ and opened in 2006. This occupies the western wing of the ground floor of the museum. The exhibition offers a comprehensive overview of Cape slavery, with galleries focussing on contextual history, the Slave Lodge building, the middle passage, slave trading routes in the Indian and Atlantic Oceans, and a recreation of life in the eighteenth century Slave Lodge. Owing to the paucity of material remnants of slavery at the Cape, the exhibition relies on text to a large extent. Tapping in to the ‘reconciliation’ narrative of the early Mandela years, its overall effect is to portray slavery as a South African history which the country has learned from.

The opposite wing of the building hosts a changing selection of temporary exhibitions which have focussed on human rights abuses including the anti-apartheid struggle and women’s rights. The museum offers a comprehensive education programme with a particular focus on slavery.

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.

This photographic exhibition focused on human trafficking was produced by a partnership of Panos Pictures, Anti-Slavery International, Amnesty International, Eaves and UNICEF. Photographer Karen Robinson’s portraits and tales of women trafficked into prostitution explore the devastating impact on their lives. Also on display were David Rose's panoramic photographs of the ordinary British streets where the stories of modern-day slavery have been played out. The photographs were mounted on a cage-like structure which was specially designed for the exhibition at St Paul's Cathedral. The exhibition was also shown in Edinburgh, Hull and Warsaw, and in 2008, in York.