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entitled ‘A Giant with One Idea,’ but this was reduced following the end of the commemorations as funding was withdrawn.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 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.

Vergelegen is a wine estate, founded in 1700 and presently owned by Anglo-American subsidy AmFarms. As with the majority of South African wine farms of such a vintage, its early labour force rested on enslavement. Historical interpretation on the estate can be traced to an archaeological dig conducted by a team of academics from the University of Cape Town between 1990 and 1992. At a time of burgeoning scholarly enquiry into Cape slavery, this work excavated the former slave lodge on Vergelgen with the explicit intention of unearthing items which might hint towards the existence of slave culture. A number of personal items including coins and buttons were discovered, whilst the most significant find was of the skeletal remains of an enslaved woman who was affectionately named ‘Flora’ by estate staff.

The results of the archaeological work were displayed in the estate’s foyer together with contextual information. This made Vergelegen probably the first location in South Africa to mount a detailed exhibition relating to Cape slavery. The existence of the archaeological objects can be considered particularly significant, given that few tangible links with Cape slavery exist in museum collections. A second exhibition focussing on Vergelegen’s historical owners was developed several years later in the former manor house, and both exhibitions were subsequently amalgamated prior to being refreshed in 2016.

Presently, the names of people known to have been enslaved on Vergelegen are listed on the wall/ceiling of the first gallery, whilst the origins of enslaved people and their role on the estate are made clear. The objects unearthed during the early 1990s are displayed as tangible links with a past described by text. Additional historical context focuses on wine farming and the early Cape economy, historical estate owners, and notable visitors to Vergelegen.

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.

The Tropenmuseum of World Cultures (direct translation; Museum of the Tropics) is an ethnographic museum, founded in 1864. Housed in one of the 'most impressive buildings in Amsterdam', the museum features eight permanent exhibitions and a series of temporary exhibitions. The key theme of the museum is people, with all of the exhibitions making use of the museum's vast collections of over 150,000 objects, paintings and photographs, to showcase universal human themes, including celebration, mourning and conflict.

In the 'Afterlives of Slavery' exhibition, visitors are confronted with the legacies of slavery and colonialism in contemporary Dutch society. Developed in collaboration with scientists, artists and activists, the exhibition tells the history of slavery with the experiences of the enslaved, and their descendants, at its heart. Video portraits provide the perspectives of four key figures in the contemporary debates about colonial legacies for Dutch black people.

The key link between past and present here is the continuation of inequality and prejudice. Collections, both historic and contemporary, highlight this, as well as illustrating how times have changed. These include testamonies of enslaved people, books, portraits, 'relics of slavery' and examples of African art.

Widely claimed to be the first museum in America to solely address slavery, the Whitney Plantation is a plantation estate, museum and memorial outside New Orleans, on Louisiana's famed River Road. During the eighteenth and nineteenth centuries, the plantation was home to the Haydel family, and their enslaved workers. The site was bought in 2000 by a retired lawyer, John Cummings, who funded the renovation and redevelopment of the site, which opened to the public as a museum in 2014. On arrival, visitors must join a guided tour to see the majority of the site, but the museum is open to all.

On the property visitors will find a range of exhibits, including the Mansion House, slave quarters, a blacksmith's shop and a Baptist church. There is also a 'Wall of Honour' which features the names of all those enslaved at the plantation, as taken from the site's archives. In addition, there is a sculpture installation created by American artist Woodrow Nash called 'The Children of Whitney,' that seeks to remind visitors that slavery affected children as well as adults.

The site houses a significant collection of artefacts too. These range from plantation tools and house furniture. There is even the largest collection of sugar kettles in the whole of Louisiana. Much of this collection has been purchased at auctions around the USA, in a bid to redisplay the site as it was during the antebellum period. There are three archaeological sites which also contribute collections of material linked to the lives of the enslaved themselves. All of this provides visitors with a unique perspective of plantation life, and helps to break down the ignorance still surrounding histories of American enslavement.

‘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.

The National Great Blacks in Wax Museum opened in 1983. It was set up by Drs. Elmer and Joanne Martin as a cultural and educational institution that focusses solely on the study and preservation of African American history. It is a unique organisation as it represents the histories it interprets through the use of life size wax figures, presented in historical settings. The museum has several objectives, including to increase interest in African American history, to use inspiring examples from history to motivate young people to achieve, and to improve race relations by dispelling myths of racial inequalities. The museum attracts around 300,000 visitors annually.

The museum features thirty-five installations of 'great blacks' in a range of scenarios. These cover a large temporal and geographic span, beginning with representations of key figures in pre-slavery Africa, through to dioramas of the space race and modern science. The key focus is on black achievement through all sectors of society, including politics, the military, sport and business.

Many of these installations link to the history of slavery in the United States. They examine the Middle Passage and captivity, plantation life and resistance with graphic displays of the instruments of brutality utilised in the system of enslavement. Others depict key characters in African American journeys to freedom including Henry 'Box' Brown and W.E.B. Dubois. The abolition movement is incorporated into the installations with the characters of Frederick Douglass and Sojourner Truth. The Underground Railroad is also depicted in a display with Harriet Tubman, amongst others. Many of these dioramas also incorporate models of children.

The displays continue to chart the twentieth century, examining the Civil Rights Movement, Black Power, and the Jim Crow Laws. Some of these dioramas illustrate the abhorrent nature of the racial violence that dominated the United States, such as lynching, in graphic detail.

The Georgian House was built in around 1790 for a plantation owner and sugar merchant named John Pinney (1740-1818), who settled in Bristol when he left Nevis. Two black servants, one bought as a child, the other born on Pinney’s Nevis plantation, also lived and worked in the house: Pero Jones (c.1753-1793) and Fanny Coker (1767-1820). Fanny had been given her freedom at the age of 11, Pero remained enslaved.

The House was presented to the city in 1937 and Bristol City Council has operated the site as a period-house museum since 1939. Rooms are open to visitors across four floors, and it is divided into life above and below stairs. Life above stairs features rooms such as the Dining Room and Drawing Room across the upper three floors, while life below stairs has the kitchen and housekeeper’s rooms in the basement. Information cards provide details about the objects within the rooms including furniture and paintings, and some information on the people who lived there. It is located in central Bristol near the University and Cathedral.

On the second floor there is a small 2D exhibition, in a room next to the bedroom, giving information on the family, the Nevis plantations, and the black servants. Panels have been present in the room since the 1990s, but they were updated and re-installed in April 2018. A large board features the names of the known enslaved people on the Pinney plantations over 200 odd years, and a graphics panel covers nine topics including Bristol and Slavery, John Pinney, Pero Jones, Fanny Coker, Hard Labour and Resistance. They connect the site, and city, to Transatlantic Slavery, through the stories of individual people.

In addition to this display there are implicit and explicit references to slavery throughout the house. Slavery is included on the introductory board and first information card on John Pinney. There are also objects, particularly downstairs, including a sugar cone in the larder and a newspaper discussing the slave trade on the kitchen table. Further audio and information is planned to be added at the house, which will tell more about the slavery connections of the family and house.

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'.

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.

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.

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.

The Seychelles Natural History Museum explores the history of the Seychelles, from the island's geological development to the Second World War. It is located in Victoria, the capital city, next to the main post office. The museum covers botany, zoology, geology and anthropology, as well as military and social history. It receives around 1,500 visitors per year, largely from overseas.

The museum has one gallery that is divided into thematic areas. Seven prominent aspects of Seychelles’ natural heritage are showcased through displays with artefacts and small dioramas. These include the flora and fauna of the island, religious practices and the movement for independence. Other areas examine traditional crafts and innovative inventions.

One of the sections in the exhibition examines the system of slavery that thrived in the Seychelles during the eighteenth and nineteenth centuries. The majority of the enslaved were forcibly transported from Madagascar and Mozambique to work on the plantations. The display includes instruments of brutality, including an iron slave collar with bells that made escape impossible for the wearer. It also includes archival material, such as newspaper advertisements offering slaves for sale. The section finishes with an inspiring story of the enslaved resistance leader Pompey.

The Sendinggestig opened in 1977, situated in an old mission church which still functions for ceremonial purposes though lost its congregation – which mainly comprised poorer black and coloured people – when the terms of the Group Areas Act were applied to inner city spaces. The museum is colloquially referred to as the ‘Slave Church’, reflecting the presence of enslaved people in its original congregation founded in 1804. It is one of 28 museums affiliated with the Western Cape Provincial Government’s Museum Service. As well as providing funding, the Museum Service offers technical support in developing exhibitions. The Sendinggestig was originally conceived as a mission museum, and updated displays installed by the Museum Service in 2011 reflect this focus.

The displays installed in 2011 move beyond Eurocentric interpretations of history to offer a more inclusive history of mission activity and religious freedoms in the Cape Town area. Reference, for example, is made to the connections between slavery and the development of Islam in South Africa. In offering the building space to outside groups and performers, the museum also works to provide opportunities for alternative interpretation. This includes groups who identify with enslaved and Khoisan people as ancestors, and seek to reimagine their lives through song, poetry, and dance. A regular series of public events are held and attract sizeable audiences, whilst 1 December Emancipation Day is marked annually.

The San Diego Museum of Man is an anthropological museum that originated from the 1915 Panama-California Exposition that celebrated the opening of the Panama Canal. Over the last century, the museum has expanded and developed in its original buildings at San Diego's Balboa Park. It took its present name in 1978. The museum's mission is to inspire human connections by exploring human experiences, around the world and through the ages.

The museum features twelve permanent exhibitions that explore a range of themes linking to human development and cultures. These include 'Ancient Egypt', 'Living with Animals' which explores the human practice of keeping pets, and 'PostSecret' which examines the concept of secrecy throughout societies.

Another permanent exhibition, 'Race: Are we so different?' explores the distinctions of race and the origins of racism in America. A timeline maps instances of racism throughout the nation, and includes focusses on Native American communities, as well as enslaved Africans, Civil Rights and the Jim Crow era. Text interpretation also includes biological facts about race and genetics to address long held historic views about hierarchies of race.

Initially a temporary exhibition, it was so successful with visitors the museum decided to house it permanently. 'Race: Are we so different?' was developed in conjunction with the American Anthropological Association and the Science Museum of Minnesota. The exhibition features heavily in the museum's school programmes in providing a platform to promote discussion of feeling, thinking, acting, and reflecting on race and identity, and to raise awareness and build positive relationships across communities in America today.

The Rokeby Museum presents a 'nationally significant Underground Railroad story tucked inside a quintessential Vermont experience.' The museum was established in 1961, and covers 100 acres, with ten historic buildings. Originally a prosperous merino wool farm, Rokeby was owned by the Robinson family during the nineteenth and twentieth centuries. The family were abolitionists, and provided a safe haven for fugitive slaves from the American South.

The Underground Railroad Education Centre which marks the entrance to the museum houses the sites permanent museum exhibitions. 'Free & Safe: The Underground Railroad in Vermont' tells the stories of Jesse and Simon; two fugitive slaves who found shelter at Rokeby during the 1830s. Using a range of historic documents and artefacts the exhibition traces their journey from slavery to freedom. It also introduces the Robinson family and their support of the American abolition movement. The use of audio and film, recreating some of the voices of the exhibition's main characters, brings the history to life for visitors.

The rest of the museum is made up of historic buildings, including the main farmhouse, that have been restored and refurnished in order to provide visitors with a glimpse as to what life would have been like on the farm when Jesse and Simon were there. It is thought that both would have spent a significant length of time working on the farm before moving on towards Canada.

The River Road African American Museum (RRAAM) was originally housed at Tezcuco Plantation, and opened in 1994. Due to a fire, it was relocated to its present site, a restored Caribbean-style cottage from the 1890s, in 2003. Before the museum opened, there was nowhere that charted the narrative of African American experience in the rural counties along the Mississippi. It developed its collections through donations; of buildings, objects, family documents, photographs, maps and pieces of art. The RRAAM opened with the aim of educating its visitors about the lives of Africans Americans who lived and worked on the sugar and rice plantations in the region. It has since been recognised as an international repository for African American culture in Louisiana. It hosts a varied public programme alongside its permanent displays, including touring exhibitions, concerts, lectures and school workshops.

The museum's website outlines its focus as 'more than just a slavery museum'; its key themes throughout the permanent exhibits are freedom, resilience and reconciliation. Five of the museum's displays focus on the contribution of African influence in key areas of Louisiana culture, including jazz, cuisine, medicine, art and inventions.

One key exhibit features a collection of slave inventories from local plantations- the museum lists the names of over 5,000 enslaved people. 'Free People of Colour' follows on from this as an exhibit which showcases the hundreds of people who obtained their freedom in Ascension. Outside, the RRAAM has built a 'Freedom Garden' which reveals the history of Louisiana's involvement in the Underground Railroad using a range of plants that would have been cultivated by the enslaved, both in Africa and on the plantations.