The Be Her Freedom campaign is part pf the A21 movement which comprises of individuals, organizations, government officials, and members of the public who are committed to abolishing injustice in the 21st century. The image replaces the shackled pleading hands of past antislavery campaigns with a clenched fist - a symbol of self-determination and self-liberation.

'House Slave - Field Slave: A Portrait of Contemporary Slavery' by Nicola Green was first exhibited at the Dulwich Picture Gallery in October 2007. It was then exhibited as part of Haringey's Black History Month at Bruce Castle Museum in October - December 2010. Nicola's triptych is now in the permanent collection at the International Slavery Museum in Liverpool.

Nicola Green's portrait of contemporary slavery 'House Slave - Field Slave' was made for and in collaboration with Anti-Slavery International to commemorate the anniversary of the abolition of the slave trade in 2007. The exhibition consists of a large 'altarpiece' scale triptych with preparatory studies. These are set alongside artefacts of contemporary slavery from the International Slavery Museum in Liverpool and the extraordinary photos and text from Anti-Slavery International, which inspired this work. The painting tells the story of contemporary slavery. There are an estimated 12 million people in the world today who are still enslaved - even though the British slave trade was abolished 200 years ago.

The Scarlet Cord by Pamela Alderman is an installation that examines child sex slavery. Her website describes it 'As visitors step inside a 40-foot storage container filled with thirty doors, they enter a secret world. This dark world crosses religious and social economic borders to sell our children for sex. The twisting scarlet cord depicts the trauma bond that connects the children to their traffickers. The weathered doors represent these abused children whose youthful minds have become knotted. Alderman’s art—dedicated to these suffering children tethered within the sex industry—calls for compassionate action.'

In February 2016, at a hearing entitled Ending Modern Slavery: Now is the Time, "Leah" testified before the Senate Foreign Relates Committee. She was enslaved in forced prostitition for seven years, and trafficked across the United States, in South Carolina, Florida, Texas, California, Louisiana, Arizona, Illinois, Ohio and Colorado. "Leah" is now an advocate for A21, an organization working against modern slavery.

An orphan who was tricked into leaving her village in northern Nigeria in 1998, Joy Ubi-Ubi fashions the turning-point from freedom to slavery as the moment when she drank blood during a voodoo ritual. Afterwards, once Joy was in Europe, her captors said this ritual meant the “juju” would kill her if she tried to escape. As Joy explains, she was thereby “forced to do the work” of a prostitute. She was enslaved for three years in the deprived Bijlmer district of Amsterdam—home to many West African immigrants. But the narrative also includes a parallel turning-point from slavery to freedom: the moment when Joy was asked to drink something again: a liquid that would make her bleed, and miscarry. This time, she refused to take the drink. Not wanting to abort her pregnancy, she made the decision to escape, then was helped by a West African Pentecostal minister who operates mission houses in Amsterdam. This use of native West African voodoo is a common feature of the slave experience for Nigerian women held in Western Europe (of whom there are around 10,000). The women and girls undergo an initiation ritual before leaving their country: for Joy this included the marking of her face and hands, and laying hands on a “juju” (statue), as well as drinking blood. They are often made to swear to the gods that they will work hard for their employers, and will never mention their real names, run away, or contact the police. Captors threaten the women with punishment by the gods for any disobedience, and warn that any attempt to escape will awaken a curse on their families. Once in Europe they are drugged, then resold. Held in brothels, they have sex with customers but are not paid: Joy notes that all money changed hands before the clients reached her room. Any pregnancies are aborted.

Faith was taken from her home country of Zimbabwe into South Africa in 2004. Like many young Zimbabwean women, she was trafficked through the false promise of employment. Other Zimbabwean women are tricked into slavery through promises of marriage and education, and some are simply abducted. Zimbabwean women are also forced into prostitution in the UK, the US and South East Asia, and some are trafficked internally from rural to urban areas for forced domestic labor. High levels of poverty and unemployment are factors in Zimbabwe’s trafficking problem, and the low status of women in Zimbabwean society perpetuates gender violence. The situation worsened after 2005, when the Zimbabwean government began Operation Murambatsvina (“Operation Clean-Up”), a campaign to forcibly clear slum areas. This displaced hundreds of thousands of people, and left an estimated 223,000 children vulnerable to trafficking. In South Africa, where Faith was still in slavery as she narrated her story, the number of trafficking victims remains unknown but the International Organization for Migration reports that trafficked women and children arrive from the Democratic Republic of the Congo, Malawi, Mozambique and Zambia (trafficked through Zimbabwe), and that several major criminal groups in South Africa now traffic women: Bulgarian and Thai syndicates, the Russian and the Chinese Mafi, and African criminal organizations, mainly from West Africa.

Shandra Woworuntu graduated from college with a major in Finance and Bank Management in her native Indonesia. Looking for an opportunity to work in the US, she responded to an advertisement for a job that promised a six month position in the hotel industry in Chicago. But the agent who met her at New York City’s JFK airport drove her to the brothel and took control of her passport and identification. When she tried to protest, he put a gun to her head. She was forced to work for 24 hours a day at different brothels throughout New York and Connecticut and eventually escaped by jumping out of a bathroom window in Brooklyn. Her traffickers were prosecuted and Shandra now works with anti-human trafficking advocacy groups and is a legislative lobbyist in Washington DC.

Almasi was enslaved within Kenya. She was deceived by a childhood friend who said she could work as a cleaner in Mombasa. But instead she was taken to a house that served as a brothel and enslaved for six months. She escaped by jumping out of a moving vehicle. She later discovered that she was HIV positive. As part of the process of narrating her story, she also created artwork. Her narrative explains the images of a wing and a tortoise. Almasi is a fictional name to protect the narrator's identity.

In 1993, Dina Chan was exploited in northern Cambodia. Women are internally trafficked for sexual exploitation in Cambodia, usually from rural areas to the country’s capital, Phnom Penh, and other secondary cities. Cambodian women are also brought to Thailand and Malaysia for commercial sexual exploitation. An orphan who got into debt for overdue rent payments and tuition fees, Dina was trafficked from Phnom Penh to Stroeung Treng at the age of 17. Her narrative describes police corruption, starvation, and gang rape. She points out the irony that she fought for others’ freedoms as a soldier, “only to become enslaved,” and rejects the response of “pity” to her story. She also issues a call for prostitutes to unionize and “fight for basic rights.” On behalf of herself and her “sisters,” Dina demands recognition of her humanity: “We are people, we are women and we want to be treated with respect.”

Hull Truck Theatre supported Wilberforce 2007 with two specially commissioned productions, Slavers and Sold, and a playwright festival. For one week in August 2007, Hull Truck Youth Theatre presented Slavers, set in 2007, which told the story of abolition through the eyes of young people in Hull. Written by Rupert Creed and directed by Karen Dainty, the play followed a group of school leavers and their potentially prosperous business-start up, trading in human cargo. When some started questioning the morality behind the business, the audience was transported back to the debates of Wilberforce and his allies two hundred years previously. Another play, ‘Sold’, in conjunction with Liverpool Hope University, sought to raise awareness about the victims of human trafficking and sexual exploitation today.

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.

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.

Testament to a Trade was a play produced to mark the bicentenary, with close reference to Oxfordshire. Written by three local writers, the play was produced by Oxford Theatre Guild in collaboration with Oxfordshire Record Office and the Oxford Playhouse. Testament to a Trade weaves accounts of past and present slavery, and is situated in historical and contemporary contexts, notably 18th century Africa and Oxford, and contemporary Eastern Europe and Oxford. A number of archive materials relating to slavery and abolition are held by Oxfordshire Record Office, information on which inspired elements of the story. A teachers pack was produced to inform similar projects. The play opened at Burton Taylor Theatre in Oxford, and toured venues across Oxfordshire.

Holly Austin Gibbs (formerly Smith) is a survivor of child sex trafficking and an advocate for survivors of all forms of human trafficking. In 2011, Holly submitted joint testimony to Congress with labour trafficking survivor, Ima Matul, in support of reauthorization of the Trafficking Victims Protection Act. Holly also testified before the U.S. Congressional Subcommittee on Africa, Global Health, Global Human Rights, and International Organizations on the connection between sporting events and sex trafficking. In 2015, Holly testified before the U.S. Senate Judiciary Committee on behalf of two bills: Justice for Victims of Trafficking Act and Stop Exploitation Through Trafficking Act. Another narrative by Holly can be found in the archive.

Barbara Amaya is an award winning author, advocate and survivor. From the age of 12 she was trafficked in Washington DC and New York for over a decade. A sought-after speaker and advocate for trafficking victims and survivors of trauma everywhere, Barbara has shared her story on television and college campuses as well as with multiple civic, legal, faith and women’s organizations. Barbara is called upon by law makers and law enforcement to train others and to add her expert testimony to aid in the passing of human trafficking legislation in her home state of Virginia as well as other states. In 2014 Barbara was awarded the James B. Hunter Human Rights Award. She is the author of the book Nobody's Girl: A Memoir of Lost Innocence, Modern Day Slavery and Transformation (2015).

Word of Mouth Media Production, based in Southwark, staged a production of Celia at New Players Theatre in London. The play was directed by Malcolm Frederick and written by Richard Nyeila, inspired by Melton A. McLaurin's biography 'Celia A Slave'. Based in the mid-19th century, the story revolves around Celia, an enslaved woman on trial for murdering her abusive owner.

Carissa Phelps is the Founder and Chief Executive Officer of the organisation Runaway Girl. She grew up in California and, enduring a troubled home life, dropped out of school when she was 12 and ran away. After meeting a pimp, she was forced into prostitution, and later arrested alongside him. After returning home she was arrested for joyriding and sent to a juvenile detention centre, where she began to receive therapy and an education. She went on to graduate from high school, university and obtain a law degree from University of California, Los Angeles (UCLA). A documentary about her story was released in 2008, named Carissa.

Born in Armenia, Farida was trafficked to Turkey, where victims also arrive from Ukraine and Moldova. As well as Turkey and the UAE, Armenian women and girls are trafficked for sexual exploitation to Russia, Greece, and other European countries. In this narrative, Farida discusses the pressures that led to her seeking out work in another country, and also reveals that fear of the immigration police in Turkey made it harder for her to leave her situation. Like many others who return to their home country after being trafficked abroad, Farida notes that her circumstances are still as precarious as before she left.

There are an estimated 784,000 people living in modern slavery in the Philippines (GSI 2018).  Men, women and children are subjected forced labour and sex trafficking both within the country and in destination countries. Women and children are subjected to sexual exploitation in brothels, bars, and massage parlours, online, as well as in the production of pornography. The Philippines is an international hub for prostitution and commercial sex tourism – a highly profitable businesses for organised criminal syndicates. The demand for sex with children among both local and foreign men has continued to fuel child sex tourism. Rising internet usage rates, the availability of mobile phones and poverty has fostered online child sexual exploitation. Immediately after graduating from high school, Julie was enslaved in Manilla where she danced and entertained customers. She escaped and returned home, but reflects on her friend Carmen who wanted to go to Japan, as they had originally been promised, where she was enslaved in prostitution.

The Democratic Republic of the Congo has been plagued by conflicts over control, extraction and distribution of natural resources such as coltan, diamonds and oil. In this exhibition, photographers Isabel Muñoz, National Photography Award 2016, and Concha Casajús present the struggle of Congolese women in the face of the use of sexual violence as a weapon of war. The show is a series of portraits and testimonies of women from Bukavu, in the province of South Kivu, in the east of the country. The exhibition aims to make the situation of these women visible, as well as the violence they suffer. But at the same time, it invites us to reflect on the way in which these women face such suffering, rejecting in many cases the status of victims and trying to survive with dignity. Many have managed to get rid of this stigma and have struggled collectively to become activists and successful women. All a song to those women who have broken the silence and, from mutual support and sorority, have become true heroines of this twenty-first century.