A Giant with One Idea told the story of the anti-slavery campaign through the personal narrative of the abolitionist Thomas Clarkson, who was born and raised in Wisbech. The exhibition included an overview of the transatlantic slave trade, major campaigners in the abolition movement, the antislavery campaign after 1807, and details of Clarkson’s travelling chest, which he used to help illustrate the cruelty of the slave trade. The exhibition later travelled to other venues in the area. Accompanying the exhibition was a handling box based on Clarkson’s chest available for schools and community groups, as well as a children’s activity booklet led by the character of Clarkson himself. The museum also supported the publication of a number of books telling the life stories of Thomas Clarkson, and his less well known brother, the naval officer John Clarkson.

Threads of Strength and Fortitude was an exhibition of a series of textiles by artist Penny Sisto, created as a personal response to the bicentenary. The quilts were shipped over from New Albany, Indiana, and exhibited at the Royal Armouries in Leeds. Eight quilts explored the theme of slavery through depictions of servitude, emancipation and the flight to freedom. Pieces on show include 'Slave Ship 1,' which depicts eight enslaved Africans chained by their necks on a slave ship. Another quilt, 'Ran Away', showed a farmer leading Underground Railroad travellers by lantern light. The exhibition was accompanied by an interactive DVD, 'Ordinary People, Extraordinary Courage: Men and Women of the Underground Railroad in the Indiana and Kentucky Borderland'. There was also a series of events, including guest lectures and workshops on the subject of the abolition of slavery aimed at school and community groups. Art-based workshops explored the themes of peaceful resistance.

The African and African Caribbean Kultural Heritage Initiative (ACKHI) is a not-for-profit Black Afrikan-led community organisation, with the aim is to promote, protect and preserve the history, heritage and culture, of peoples of Black African heritage living or working in Oxfordshire. The Out of Africa programme of events in 2007 included an exhibition of books about slavery and the slave trade, which toured Oxfordshire libraries, and performances of African music and contemporary dance. The ‘Remembering Slavery’ commemorative service was held in Christ Church Cathedral. ‘Connections’ was a research project looking at Oxfordshire’s links to the system of slavery and the slave trade. ‘InTentCity’ was a visual arts project, in partnership with Fusion Arts, bringing together cultural groups, primary schools and artists to transform tents into works of art – one theme addressed was ‘Freedom’. Reflecting the legacy of the system of slavery and the slave trade, ‘Common Threads’ was an exhibition of textile work by the Textiles for Peace group, local women representing multi-cultural Oxfordshire. In ‘Ancestral Souls’, the African Women’s Art Collection (AWAC) collaborated with women of African descent to produce and exhibit 200 dolls to represent the diaspora of African peoples.

An exhibition at the Royal Naval Museum at Portsmouth Historic Dockyard explored the role of the Royal Navy squadron established after 1807 to patrol the West African coast and suppress the transatlantic slave trade. Using illustrations, contemporary accounts and original diaries of Royal Navy personnel, the exhibition examined key aspects of the campaign against Atlantic slave traders. It also looked at the Royal Navy's efforts against human trafficking and in the pursuance of humanitarian rights today. There was an accompanying programme of schools workshops and community events. Two specially produced films discussed the legacy of the squadron's work and recreated the abolition debates of the time.

The Bicentenary Freedom Flag was displayed alongside an exhibition about Wartime Black History at Manchester Town Hall. The project was a collaboration between staff from Manchester City Council Corporate Services Black Staff Group and pupils of Trinity Church of England School in Manchester. The flag recognised the work, struggles and sacrifices of those who brought the slave trade to an end, and featured images of prominent individuals on the background of the Sierra Leone flag. Those featured on the flag included Toussaint L'Ouverture (General of the Haitian Uprising), the abolitionist Olaudah Equiano, the anti-slavery orator Frederick Douglass, the statue in Barbados of 'Bussa', the unknown slave, guide of the Underground Railroad Harriet Tubman, and Joseph Cinque, leader of the Amistad slave ship revolt. The accompanying exhibition included pupils' articles and creative writing. It also examined the history and role of the West India Regiments, British colonial infantry regiments largely recruited amongst freed slaves from North America and slaves purchased in the West Indies.

The Bittersweet exhibition was held during the summer of 2007 at Tissington Hall, Derbyshire, home of the FitzHerbert family since the 17th century. The exhibition and accompanying booklet by Frances Wilkins describe life, work and slavery on four Jamaican sugar plantations inherited by the FitzHerbert family in the 18th century - Blue Mountain, Forrest, Grange Hill and Vere, plus the coffee plantation of Retrieve Mountain - and subsequently managed from Tissington Hall. Research of the FitzHerbert papers held at Derbyshire Record Office revealed evidence about the lives of the enslaved and the overseers, the sugar production process and the connections to plantation owners in England. The exhibition was housed at Tissington during 2007 and then was available on loan to other houses in Derbyshire and to local schools. The exhibition coincided with Tissington’s annual Well Dressing celebrations. The special 2007 design to commemorate the bicentenary was by Wendy Greatorex (photographer Glyn Williams). Tissington Hall was one of several member houses of the Historic Houses Association to mark the bicentenary.

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.

Trading Faces: Recollecting Slavery was a consortium project developed by Future Histories (a non-profit organisation set up to maintain archives of African, Caribbean and Asian performing arts in the UK), Talawa Theatre Company (a leading Black-led touring theatre company) and V&A Theatre Collections. Trading Faces made use of archive documents, video and audio material to explore the legacy of the transatlantic slave trade in British performing arts and society. By promoting the use of primary resources, the online exhibition aimed to stimulate creativity, critical thinking, individual responsibility and participation. Highlights of the exhibition included a performance timeline featuring recently archived material from the past 200 years, narratives of slavery from both the past and present and a series of virtual rooms, which explored ritual, religion, carnival and masquerade amongst other aesthetic themes. On the Open Doors section of the site, users contributed material and ideas to promote a critical debate on the subject. As part of the project, the 'Retrace: Identity and Heritage' educational resource pack from Talawa Theatre Company is about the exchange of culture between the UK and other countries linked by the transatlantic slave trade and colonialism, and the impact of these relationships on the performing arts.

London Shakespeare Workout presented a new 21-song musical, celebrating the life of the African-American poet Paul Laurence Dunbar. Dunbar's parents were freed slaves and he used some of their tales of plantation life in his work. Set backstage in a British theatre in 1897, the play explored themes such as love and loneliness, racial interactions, and the abolition of the slave trade. With an original score by Tim Williams, the play opened in Westcliffe, and toured 26 venues around the UK. Each performance was followed by a ‘talk-back’, allowing audience members to share their views on the issues raised by the production. Special interactive workshops were also created for schools and community groups to bring the concepts of slavery and abolition to life through history and literature.

A carnival of dance held at Moggerhanger Park in Bedfordshire in Summer 2008 to mark the bicentenary. The project was led by arts organisation T. Hop (The H'art of Performance) with schoolchildren from Stephenson Lower and Moggerhanger Lower School. The theme was the history of carnival and slavery in Trinidad.

Dark Heritage from Bee Arts Community Interest Company comprised The DARK, a sonic art installation, and accompanying participatory educational activities. The DARK touring installation is a pitch black space designed to bring home the horrors of the transatlantic slave trade in the 18th century. The three dimensional soundscape uses ghosts as metaphors for the hidden aspects of the past, based on the Liverpudlian slave-ship worker Edward Rushton, slave ship Captain John Newton, and Kunie, an African man who met Rushton aboard an American ship. A programme of public sessions and creative educational workshops aimed at schools, colleges, youth and community groups were produced in collaboration with Kingswood Primary School in Lambeth. Dark Heritage travelled to six locations in the UK in 2007-08 starting in Greenwich, travelling to Ipswich, Gloucester, University of Hertfordshire, Norwich and finishing in Manchester.

The Bitter Aftertaste project included a range of schools’ workshops, an inter-generational outreach project, and a web-resource exploring the material culture and legacies of the transatlantic slave trade in art and society today. There were also two related exhibitions. For 'From Courage to Freedom', the gallery commissioned three leading visual artists from West Africa - El Anatsui, Romuald Hazoumè and Owusu-Ankomah - to create works to mark the bicentenary. 'Voyages' saw works by four artists - Julien Sinzogan, Tapfuma Gutsa, Pierrot Barra and Gérard Quenum - reflecting on the notion of voyages, in particular the movement of enslaved Africans across the Atlantic Middle Passage.

An exhibition at Bruce Castle Museum (in partnership with Euroart Studios) explored the transatlantic slave trade, Haringey's heritage relating to the trade and its legacy, and the historic Black presence in the borough from the 16th century onwards. There was a particular focus on the painting of Lucius and Montague Hare, sons of Lord Coleraine (former owner of Bruce Castle), with their African servant. The exhibition also looked at the extra-parliamentary popular movement against the trade by local Quakers such as Priscilla Wakefield and others. Contemporary dance workshops for secondary schools were led by dance company Movement Angol.

The Links and Liberty exhibition included 'Stolen', a life-size installation by artists at Euroart Studios (John Fowler, Lorraine Clarke and Nigel Young) of a section of a slave ship. School pupils were encouraged to climb inside to imagine conditions on board.

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.

A special display at Tate Britain to mark the bicentenary focused on William Blake and the circle of radical writers and artists associated with the publisher Joseph Johnson in the 1790s and 1800s. Blake's poetry and art protested against mental, physical and economic enslavement and inspired generations of artists, writers and political dissenters. The display was accompanied by a variety of events, including talks, performances and music for adults, families and young people and schools.

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 Museum of London Docklands opened the London, Sugar and Slavery gallery in 2007, and it remains a permanent exhibition. The museum, housed in an old sugar warehouse on London’s West India Dock, retold the narrative of the transatlantic slave trade from the perspective of London, once the fourth largest slaving port in the world. Through personal accounts, film, music, interactive exhibits and over 140 objects, the exhibition looks at the various stages of the transatlantic slave trade, including life and trade on the West India Dock, and conditions for the enslaved on the Middle Passage and the Caribbean plantations. The final section of the gallery focuses on the legacies of the slave trade for British society today. Community collaborations also helped shape the gallery.

The museum also created a walking trail for the local area, highlighting key architectural features and buildings that had a role in the transatlantic slave trade. The Slave Map of London was developed in collaboration with three London museums: the Cuming Museum in Southwark, Bruce Castle Museum in Haringey and Fulham Palace Museum. Users navigated an online map to discover over 100 different locations throughout London which played a part in the transatlantic slave trade and the fight to end it. A schools programme that accompanied the opening of the exhibition included drama performances and workshops. Courses that ran alongside the exhibition in 2007 included ‘Resistance and Achievement: the story of African and Caribbean people in Britain’, in partnership with Middlesex University.

In 2018, the museum reflected on the 10 year anniversary of London, Sugar and Slavery with a workshop to explore the significance of the gallery, with contributions from artists, museum practitioners and emerging artists.

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.

Abolition Truths was a panel-led talk and Q&A session at Harrow Civic Centre in October 2007, led by a creative arts community group Beyond the Will Smith Challenge (BTWSC). The event had a particular emphasis on the role of African freedom fighters and abolitionists, the Haitian Revolution, and the revolts, campaigns and boycotts leading to the passing of the 1807 Act. The event was interspersed with music and poetry, including a musical piece 'Then to Now' performed by Africanus Britanicus, and featuring HKB Finn & Co, which told the story of slavery and its legacy across the African diaspora. Teenage poet Stefan Testsola performed a poem on the theme of abolition. There was also a presentation of the Professor Allotey Science Prize, awarded to Harrow students of African descent.

Other BTWSC events in November 2007 included a discussion session with Ms Serwah, 'Putting the Abolition & Slavery Into Perspective' at Willesden Green Library, presented in association with Brent Black History Brent Library. 'From The Talking Drums to Rap & Grime' at Tavistock Hall in Harlesden commemorated the Abolition Act through narration and a musical concert.

Emancipation of the Dispossessed was a local community project exploring the local history of Deptford and the surrounding areas and the connections with the transatlantic slave trade. Community groups and students from Lewisham College worked with theatre educators to research and develop 'Blood Sugar', a promenade performance through the Queen's House, Greenwich. The play, written and directed by John Turner, tells the story of slavery and abolition from a local angle, and the script was built around first-hand and eyewitness accounts, campaign pamphlets and reports to parliament. The project also produced learning resources aimed at Key Stage 3 History and Citizenship.

A guided walk explored Deptford’s links to the history of the transatlantic slave trade, uncovering stories of some of the local people who played an important role in the beginnings of the slave trade or the campaign for its abolition. London was an important slave trading port before Bristol and Liverpool dominated the trade. The trade and British colonies were protected by the Royal Navy, whose ships were built and prepared for voyages at the Royal Dockyards at Deptford.