Making Museum Narratives of Slavery and Anti-Slavery in Olney

Charles Forsdick argues that there are plural memories of transatlantic slavery and ‘it is essential to study the different ways they came about.’¹ This is not only pertinent with regard to differing national traditions of remembrance across Europe, Africa and the Americas but also regarding the differenceswithinnations in specific localities. Further, it is also essential to study the ways memories of transatlantic slavery change over time in localities and how these local remembrances intersect with or challenge emerging national and international discourses. This turn to complexity will illuminate the nuances and textures of the memory of slavery, highlighting