The lesson is based around a true story about Nicu, a 9-year-old boy who has been trafficked to the UK. The central focus is a beautiful short film, based on the true narrative, in which Nicu reads an imaginary letter to his mother. Sadly, his descriptions of wealth are far removed from the reality of the violence and exploitation he is subjected to. This is not the ‘better life’ that his parents were promised he would have. He is unhappy, alone, and trapped. The lesson finishes with an engaging music video that focuses on the exploitation of a trafficked child forced to work in a factory.Audio for this lesson plan can be found at https://youtu.be/09QE3RsAge8

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.

The Gas Hall at Birmingham Museum and Art Gallery was host to a biographical exhibition of the life and adventures of Olaudah Equiano, a leading African figure in the British abolition movement in the 18th century. The project was led by Birmingham Museum and Art Gallery and the Equiano Society. The national exhibition was inspired by Equiano's autobiography 'The Interesting Narrative' (1789), by international and national artworks, and objects from Birmingham museums’ collections. It provided a narrative of Equiano’s life, and also explored wider local links between the West Midlands and the transatlantic slave trade. The Equiano Project also created a website, educational packages (available to buy via the project website), and a series of events and outreach activities. The exhibition publication 'Equiano - Enslavement, Resistance and Abolition' was edited by Arthur Torrington, Rita McLean, Victoria Osborne and Ian Grosvenor, and provided new insights into enslavement, resistance, abolition, and the African presence in Britain in the 18th century. Two touring exhibitions were loaned to community centres, libraries and other venues, including Walsall Museum, Sheffield and District African Caribbean Community Association and the Hudawi Cultural Centre in Huddersfield.

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.

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.

Something Doesn't Feel Right provides lessons and resources for teaching on identifying signs of human trafficking at airports and on flights.This lesson looks at real life events where airline employees effectively identified cases of human trafficking. In all cases the airline agents had been specifically trained to identify indicators of human trafficking. The lesson content also addresses the way social media is used by traffickers to recruit victims, specifically youth. There are two 55-minute lessons, depending on the level of your students. it is aimed at older teens, young adults, adults, B2+ (upper intermediate to advanced)Materials include  True narrative at airport, student worksheet, autonomous learning resources, transcripts of authentic videos, slides, information about human trafficking and modern slavery, Teacher’s Guide.

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 official publication from the Evangelical Alliance to commemorate the bicentenary had three main aims: to draw attention to biblical perspectives on slavery and society, to examine the contributions of some key abolitionists, and to offer some suggested activities for churches and groups to mark the bicentenary.

Slavery here! was a project hosted by museums across the Tees Valley led by Preston Hall Museum. It featured an interactive exhibition to explore the story of the Tees Valley’s connections with slavery. For example, the town of Stockton-on-Tees had its own Sugar House, a refinery that processed sugar from the Caribbean. The exhibition also looked at the work of local abolitionist campaigners Dr Robert Jackson and Elizabeth Pease, and the impact of contemporary slavery on today's society. Alongside the exhibition at Preston Hall Museum, other special events included workshops on African drumming and culture, object handling, and introductions to Fair Trade products. The project also produced a commemorative quilt (in collaboration with Newtown Community) and a film, ‘Manacles and Money’.

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.

Inspired by archival research, ‘Sharp Practice’ was a touring play exploring the slave trade and the role of abolitionists from the North East of England in its demise (and, in particular, the work of Granville Sharp). The play was devised and produced by Jackass Youth Theatre, in collaboration with professional artists from Jack Drum Arts. Each performance was accompanied by an exhibition exploring the North East’s links to slavery and abolition, researched by members of the theatre group. Working with heritage professionals, their research took the performers to Newcastle, Hull, Liverpool, Gloucester, London and the University of Virginia.

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.

Set All Free: ACT TO END SLAVERY was a project of Churches Together in England, based in London. It was also a collaboration between church-related groups, societies and organisations around the UK working together with a Christian ethos to assess the relevance of the bicentenary, and in particular the legacies of slavery. The project aimed to highlight how the values of the abolitionists can transform relationships on an individual, community and society level. The project included building a network coalition, campaigning, producing research and resources for churches, schools and individuals. Set All Free also worked closely with Anti-Slavery International and Rendezvous of Victory, a leading African community-led organisation.

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.