The National Maritime Museum is the largest maritime museum in the world. It forms part of the Royal Museums Greenwich UNESCO World Heritage Site. The NMM houses ten galleries that all showcase Britain’s Maritime History. Its mission is 'to enrich people’s understanding of the sea, the exploration of space, and Britain's role in world history’. ‘The Atlantic Worlds Gallery,' launched in 2007 for the commemoration of the bicentenary, charts the interconnections between Britain, Africa and the Americas between 1600 and 1850. The gallery is about the movement of people, goods and ideas across and around the Atlantic Ocean from the 17th century to the 19th century. The connections created by these movements affected people across three continents, impacting on their cultures and communities and shaping the world we live in today. Four main themes are explored within the gallery, including exploration, war, enslavement and resistance. These displays benefited extensively from the museum's purchase of the Michael Graham-Stewart Slavery Collection in 2002. 'Atlantic Worlds' charts the triangular trade through African civilisations, enslavement and the Middle Passage, and the abolition movement. It recounts the stories of some of the people involved in the resistance movement and the campaign for the abolition of the transatlantic slave trade – including Toussaint l’Ouverture, Olaudah Equiano and Samuel Sharp whose acts of resistance and rebellion were crucial to the turning of European public opinion against the trade. Its narrative also goes beyond the achievement of legal abolition in Britain, to include discussions of the Royal Navy's involvement in suppressing the trade world wide.
The Museum of London Docklands houses the Port and River collections of the Museum of London. The aim of these museums is to showcase the growth and development of London, from the Roman era through to the present day. In a period of expansion for the Museum of London, the Museum of London Docklands was opened in 2003 in a Grade I listed warehouse on West India Quay, the historic trading heart of London.
Due to its location in a warehouse which would very likely have stored sugar, and other slave-produced items, the history of the transatlantic slave trade and its impact on London fits well within this space. ‘London, Sugar and Slavery’ was originally produced in 2007 as part of the bicentenary commemorations but has since become a permanent part of the museum. The displays have a local focus, supported through a wide range of objects, and consider the impact of the slave trade on London historically and today.
On entering the gallery visitors are met with a list of ships that traded slaves from the West India Quay- placing them right there in the story. Next there are discussions of the economics of slavery, and indications of how the money made from it changed the city of London forever. The exhibition also includes discussions of resistance, and abolition- centring the movement on the mass movement in the wider population with a case entitled ‘Abolition on the Streets.’ To bring the display up to date there is a discussion of representations of black people in popular culture, with objects including children’s books, film memorabilia, toys and prints, in line with a further piece on racism in London.
Men of the Nsongo District (ABIR concession) with hands of two of their countrymen Lingomo and Bolenge murdered by rubber sentries of ABIR Anglo-Belgian India Rubber Company in May 1904. The two European men are Mr Stannard and Mr Harris of the Congo Balolo Mission at Baringa. This image (Neg. 119) formed part of the Harris Lantern Slide Collection. Under King Leopold II the Congo Free State used mass forced labour to extract rubber from the jungle for the European market. As consumer demand grew King Leopold II's private army - the Force Publique - used violent means to coerce the population into meeting quotas, including murder, mutilation, rape, village burning, starvation and hostage taking. Alice Seeley Harris and her husband Reverend John H. Harris were missionaries in the Congo Free State from the late 1890s. Alice produced a collection of images documenting the horrific abuses of the African rubber labourers. Her photographs are considered to be an important development in the history of humanitarian campaigning. The images were used in a number of publications. The Harrises also used the photographs to develop the Congo Atrocity Lantern Lecture which toured Britain and the the USA raising awareness of the issue of colonial abuses under King Leopold II's regime. Source: Antislavery International.
On the former site of a sugar factory, Guadelopue's Memorial ACTe stands as a cultural institution that aims to preserve the memory of those who suffered during slavery, as well as to act as a space for discussion on the continuing repercussions. Part of UNESCO's Slave Route project, its main focus is on the challenges of bondage in the Guadeloupe islands. Memorial ACTe was opened in 2015 by then French President, Francois Hollande, and nineteen other heads of state.
The Memorial ACTe is a unique museum, both internally and externally, through its architectural design. It is also a centre for live arts and debates. It aims to provide interpretation through a variety of viewpoints and disciplines, using not only history but ethnology, social anthropology and history of art as well. The history of slavery and the slave trade are explored through a range of archival material, images and artefacts, with visual and audio installations too.
The permanent exhibition space examines the history of slavery from antiquity to the present day, using objects, reconstructions, visual and audio installations and digital interactives. The temporary exhibition space focusses on contemporary forms of artistic expression in relation to slavery around the world. In addition, there is a research centre where visitors can look into their genealogy, as well as a library and a conference hall.
M Shed opened in 2011 and is housed in a warehouse on Bristol’s dockside, a clear and tangible link to the history it interprets. The free-to-enter museum focuses on social history, exploring the development of Bristol as a city through people, places and daily life. It is a popular site, attaining over half a million visitors per year since 2013.
Through this local viewpoint, the museum explores Bristol’s involvement with the transatlantic slave trade and the abolition movement in its ‘Bristol People’ gallery which aims to ‘explore the activities past and present that make Bristol what it is.’ Voices from all factions of the slavery debate feature in the display, with proslavery, the enslaved, particularly those who fought for emancipation, and abolitionists all interpreted within dedicated cases. Each case contains a mix of objects, archive materials and text panels to tell the story. Quotations from key figures also bring to life the voices of those who were personally involved: for example, John Pinney, a plantation owner and sugar agent; Hannah More, a writer and Abolition campaigner; John Kimber, a slave ship captain accused (and acquitted) of murder; Silas Told, an ordinary sailor on slaving voyages. These Bristolian voices give different perspectives on how those involved in the trade saw it at the time. Quotations printed around the gallery also provide the views of today’s visitors to the trade. The exhibition also has sections about the legacies of the slave trade within Bristol, particularly in relation to the representation of African or Afro-Caribbean communities in popular culture, the presence of racism in the city, and the legacies of prominent slave owners in some of Bristol's public institutions.
The theme of antislavery also features as the starting point for a display on public protest movements. One case focusses on Thomas Clarkson’s visit to Bristol to collect information against the trade, another on the campaign to abstain from slave-produced sugar in the 18th century and the Bristol bus boycott against racist employment practices in the 20th century. This display then goes on to look at other popular campaigns and protest movements including women’s suffrage, riots, strikes and the Occupy movement. This perspective, situating the abolition campaign as the beginning of a British tradition of society campaigning, is a unique one across UK museums.
In the Bristol Life gallery, the stories of two Black Bristolians look at the new life for the runaway enslaved man, Henry Parker, and the Windrush generation Princess Campbell.
Lomboto of Bolumboloko shot in the wrist and hand by ABIR Anglo-Belgian India Rubber Company sentries. Information taken from the Special Congo supplement to the West African Mail Sept 1905. This image formed part of the Harris Lantern Slide Collection. Under King Leopold II the Congo Free State used mass forced labour to extract rubber from the jungle for the European market. As consumer demand grew King Leopold II's private army - the Force Publique - used violent means to coerce the population into meeting quotas, including murder, mutilation, rape, village burning, starvation and hostage taking. Alice Seeley Harris and her husband Reverend John H. Harris were missionaries in the Congo Free State from the late 1890s. Alice produced a collection of images documenting the horrific abuses of the African rubber labourers. Her photographs are considered to be an important development in the history of humanitarian campaigning. The images were used in a number of publications. The Harrises also used the photographs to develop the Congo Atrocity Lantern Lecture which toured Britain and the the USA raising awareness of the issue of colonial abuses under King Leopold II's regime. Source: Antislavery International. This is possibly the same Lomboto whose experiences were documented in Evidence laid before the Congo Commission of Inquiry at Bwembu, Bolobo, Lulanga, Baringa, Bongandanga, Ikau, Bonginda, and Monsembe. Together with a summary of events (and documents connected therewith) on the A.B.I.R. concession since the Commission visited that territory (Liverpool, J. Richardson & Sons,1905), pp. 23-24.