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.

Bolton Museum and Archives was one of eight heritage bodies in the 'Revealing Histories: Remembering Slavery’ partnership in Greater Manchester. The project set out to explore the history, impact and legacy of slavery on Britain through collections and community links in the North West.

Bolton Museum and Archive Service launched a trail around its galleries to re-interpret objects on display in the context of slavery and its legacies. At the centre of the trail was Samuel Crompton's spinning mule, a machine which helped to revolutionize the British cotton industry. As part of the project, Bolton Council republished and distributed 'The Narrative of the Life of James Watkins', originally published in 1852. Watkins escaped slavery in the southern United States and travelled to Lancashire to become an anti-slavery campaigner. The museum also hosted African folk storytelling sessions, and produced a Key Stage 3 education pack, 'Chains and Cotton: Bolton’s Perspective on the Slave Trade'. A special event day, 'Facing up to the past' featured performances, poetry reading and debate.

The Revealing Histories: Remembering Slavery project sought to uncover the North West's involvement in the slave trade (and the consequent social and economic effects of this involvement) and the region's contribution to the abolition of the transatlantic slave trade and colonial slavery. Eight museums and galleries across Greater Manchester collaborated to commemorate the lasting legacies of the transatlantic slave trade. The participating venues were: Bolton Museum and Archive Service; Gallery Oldham; Manchester Art Gallery; The Manchester Museum; Museum of Science and Industry; People's History Museum; Touchstones Rochdale; and Whitworth Art Gallery. A collaborative website and a programme of exhibitions, trails, performances, films and events took a new look at the collections of these museums and galleries and the buildings in which they are housed, revealing hidden histories of the region's involvement in the slave trade. The project also examined slavery's contemporary legacy and relevance.

Remembering Slavery: A Musical Journey was a performance at Luton's summer festival in July 2007. Young people told the story of slavery through music from Africa to the Caribbean to South America.

Remembering Slavery 2007 was a regional initiative involving 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, in both historical and modern contexts. The project sought to connect the North East with the slave trade, the plantation economies of the Americas, and the social and political movements for abolition.

Featured here are the 'What's On' guides detailing various initiatives across the region in 2007, plus a selection of postcards from the project.

The Reginald F. Lewis Museum of Maryland African American History and Culture was created out of the passion and activism of businessman Reginald F. Lewis. Lewis rose from humble beginnings to earn a place at Harvard Law School, establish the first African American law firm on Wall Street and become the wealthiest African American in the US. In 1993, he died suddenly after a short illness. During his illness, he made known his desire to create a museum of African American culture and after his death, the non-profit foundation started in his memory accomplished that.

The museum is located in downtown Baltimore close to one of the several locations of former slave pens. The collection 'explores the African American experience and tells the universal story of the struggle for liberty, equality and self-determination.' The main collection is housed on the third floor and is divided into three sections: Building Maryland, Building America; The Strength of the Mind; Things Hold Lines Connect. Building Maryland, Building America has a heavy focus on slavery, explaining the roles of the enslaved in urban and rural environments. Unlike the cotton plantations of the Deep South, Maryland slavery ranged widely: tobacco plantations, shipyards, oyster shucking and iron furnaces to name a few.

Throughout the exhibitions, the interpretive text is supplemented with interactive displays, video and audio presentations and artwork. The overreaching message of the museum is that African Americans have contributed to the US since their initial forced arrival and have worked tirelessly to better their plight; through emancipation, the right to vote, the Civil Rights Movement and into the more recent social movements. The museum does not shy away from presenting the brutal side of slavery and Jim Crow, with slave collars, shackles, reward notices and video in connection to lynching are sensitively displayed.

The ground floor of the museum hosts temporary exhibitions and there is dedicated education space for the many school trips they host during the year. The museum also provides learning resources to assist with the local curriculum, offering lesson plans and outreach sessions in local schools. Throughout the year, the museum hosts a diverse range of events. The museum is open Wednesday through Sunday with a small admission fee.

The Queensland Museum is a museum of natural history, science, human achievement and local interest that was founded by the Queensland Philosophical Society in 1862. Over the last century it has been housed in various sites, namely former colonial administrative buildings, until the local government had a purpose built site constructed for the museum on Brisbane's South Bank in 1986. Funded by the Queensland Government, the Queensland Museum Trust operates a number of sites in addition to the Queensland Museum. These include the Science Centre, the Queensland Museum of Tropics and the Workshops Rail Museum.

The museum's aim is to connect its visitors to Queensland the place, the people and the region's position in the world through artefacts, interactives and events. There are over one million items in its collections. The permanent exhibitions look at Queensland's ecological and social development.

In 'Histories of Queensland,' the exhibition explores the theme of migration to the area. As well as examining the European migration to the area during the eighteenth and nineteenth centuries, the displays discuss the role of indentured labourers from the South Sea Islands. These people were forcibly transported from their homes to work in Queensland's sugar industry. The display informs visitors about the hardships faced by these individuals and the negative legacies this brutal enslavement inflicted on the South Sea Islands from the nineteenth century until today.

The Prestwich Memorial opened in 2008 as an attempt at resolving a protracted and sometimes unsavoury dispute sparked in 2003 when a property developer discovered human remains in central Cape Town whilst digging the foundations for an apartment complex. These remains were likely those of the colonial working classes, buried in the many unmarked eighteenth and nineteenth century graves. For certain activists, the remains were identified as those of their enslaved ancestors. A dispute began between people opposing exhumation on the grounds of respect for ancestors, versus those who advocated exhumation owing to the unprecedented opportunities offered to furthering historical and scientific knowledge. Following a public consultation process, the bones were exhumed, but were not subjected to analysis.

The memorial was constructed on behalf of the City of Cape Town municipality to house the remains, and provide an exhibition space to explain the affair. The opening of an artisan coffee shop named Truth in the memorial building in 2010 however created further contestations on the grounds of taste and respect for the dead.

The memorial features a number of fixed interpretation boards which explain the colonial burial system, the unmarked cemeteries beneath the modern city, and the type of people likely to have been buried in them. Enslaved people, of course, feature in this number. The bones themselves are situated in an ossuary area, accessible by a low entrance. They are separated from the public by a wooden gate. Whilst research applications to study the bones are invited, no applications have been accepted at the time of writing by a panel including stakeholders from various sides of the exhumation debate.

The Pompey Museum is named after a courageous enslaved man who led a slave revolt from the Rolle Plantation on Steventon, Exuma, Bahamas. Vendue House, where the museum is located, was built in the 1790s and operated as a market place where enslaved people and other goods were sold during the nineteenth century. The house was opened as a one-room museum in 1992 and was redeveloped in 2014.

The museum is dedicated to the preservation and interpretation of the lived experience of enslaved people, particularly during transatlantic slavery, and its aftermath in The Bahamas. It features a small selection of objects and images that complement these themes. Following its redevelopment in 2014, the museum curated a powerful exhibition entitled 'Wade in The Water: Peter Mowell, the Last Slave Ship in The Bahamas' which charted the plight of the enslaved Africans on the slave ship that wrecked off Lynyard Cay in the Abacos in 1860.

Pniel Museum is a small community-run museum which opened in 2013 in the village of Pniel, close to Stellenbosch. It has its roots in a long-running project, dating back to the unveiling of the Freedom Monument on the werf area of the former Papier Moelen manor house (which now houses the museum) in 1993. Pniel itself is a former Apostilic Union mission station which was established in 1843. Many of its early inhabitants were purportedly enslaved people looking for somewhere to settle following the ending of the five year apprenticeship period in 1839. It was designated a rural coloured group area under apartheid. A small group of locals have a clear sense of pride in their history, and embrace their connections with slavery which is taken as Pniel’s formative experience. The Freedom Monument – which celebrates emancipation – was reflective of this, and subsequent developments including two further monuments and the museum have advanced this engagement with the past. The museum itself offers a thorough overview of local history, partially laid out in the form of a historical farmhouse, and partially based on interpretive content. There is no exhibition dedicated to slavery at Pniel Museum, however the links between Pniel and slavery are evident at various points. Additionally, staff (local volunteers) are happy to talk about the links both they and Pniel hold with slavery. Perhaps the most important display in terms of slavery is a family tree of the Willemse family. At the top sits a photograph of Adriaan Willemse who is described as ‘a freed slave who settled on the Pniel mission station and became the father of almost 70% of Pniel inhabitants’. The museum functions as something of a community archive featuring donated objects ranging from cutlery to trade implements. There are, however, no objects which belonged to the village’s early and formerly enslaved inhabitants.

The People's History Museum (PHM) is Britain’s national museum of democracy, telling the story of its development in Britain; past, present and future. It is located in Manchester, the world's first industrialised city and aims to ‘engage, inspire and inform diverse audiences by showing there have always been ideas worth fighting for’. Attracting over 100,000 visitors a year, with free entry, the museum outlines the political consciousness of the British population beginning with the Peterloo Massacre in 1819. The British transatlantic slave trade and the abolition movement feature in this discussion early on in Main Gallery One. In a small display, the interpretation discusses the role of slave-produced cotton in the rise of Manchester as an industrial powerhouse. It goes on to describe the important role that the people of Manchester had in supporting the abolition campaign. The focus is on the local experience. This is also illustrated with one of the exhibition’s key interpretive characters, William Cuffay, a mixed-race Chartist leader whose father was a former slave.  In Main Gallery Two, the displays are brought closer to the present day, other issues explored include anti-racism and attitudes towards migration and multiculturalism. There is a clear link, although not explicitly expressed, in the interpretive text between these ideas and the lasting legacies of Britain's involvement in the slave trade. 

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.

'One for Me' was a touring play by the Fairgame Theatre Company that was performed at the Everyman Theatre in Cheltenham. Set in 2007, the play focuses on a local MP driven by a mysterious stranger to explore the history of slavery and the wealth it generated.

The first African-American Museum, the Old Slave Mart Museum has been open sporadically since 1938. Located in Charleston, South Carolina, it was built in 1859. It is thought to have been the last surviving slave auction gallery in South Carolina. It was used briefly before the American Civil War ended slavery in the American South.

The building itself is living history, and inside there are displays attesting to what happened there, as well as providing wider context about American slavery and its lasting legacies. The collections are quite sparse in terms of objects from the slave trade but there are many photographs.

The museum makes use of personal testimonies to bring the history to life through the voices of the enslaved and their descendants. These are presented as audio clips, available for visitors to sit and listen to. The interpretation features many examples of statistics, as well as maps and contemporary images.

All of the above forward the museum's mission to broaden public understanding of Charleston as a slave-trading centre in order to reach out to the local community.