Veronica Barnes is a mother, community activist and creative hoping for a world where freedom is the order.

‘Most of us from the colonised world; will say this:

We were never taught anything about our history. Worst luck we never taught about our ancestors or where we came from.

As a young child growing up in the Caribbean I noticed that the Chinese people living among us usually go back to their country of origin and return with wives or husbands.

I asked my mother ‘Where do we do come from?’ and ‘Why can’t we go back to where we come from?’ My mother had no answer because she was not an educated woman.

My grandmother liked to talk about the ancestors of the Africans in a kind of folklore. She talked about Nanny of the Maroons, feisty Nanny.

I managed to strike up a conversation with an elder in our family who lived to 114 years old. I knew if she was not a slave her parents would have been enslaved.

I asked her if she was a slave. Her response was a very painful one I have never forgotten.

As I got older I became interested in books. Books by Black authors that focused specifically on Black people.

Fast forward I attended a workshop at Nottingham Contemporary which was organised by Lisa Robinson, Helen Bates and Martin Glyn

The workshop was about the Slave Trade Legacy. I remember Martin Glyn as one of the keynote speakers

Standing in this Place has enabled me to keep my focus on doing more research on who we are, who were our ancestors and where we came from.

These magnificent men and women of yesteryear l will always the words from Maya Angelou's poem ‘And Still I Rise’ -

'I am the hope and the Dream of those Enslaved people

But still We Rise’

This period is a great chapter in our lives

A big thank you to Toni Morrison, Sojourner Truth, Claudia Jones, Angela Davis, Julie Dash, Alice Walker

To name a few of the women who have Impacted on my life.’

‘Having been a sculptor myself, I can very much appreciate the social stimulus in Rachel Carter's work.

As regards statues in public places, there is a dearth of women and women of diverse backgrounds. Honouring their lives and contributions to our society will show the significant richness of our universal cultural heritage for posterity's sake.

Rather than anything said personally, I highlight the influence of the likes of Phillis Wheatley, Harriet Tubman, Sojourner Truth, Mary Seacole, Marian Anderson, Maya Angelou, and many anonymous others but all Matriarchs and all legacy makers who can inspire us; that is, men and women of every nation and generation with their lives and deeds.

They should never be forgotten or omitted in literature and public works.

In memory of Charles Washington 1938 - 2024

I was born in the Parish of East Portland Jamaica.

I came to England in 1957 to join my mother and then trained as a nurse and had a full working life until I retired.

Coming from a background following my grandmother around doing voluntary work around several adjoining villages in my country of origin, it became second nature for me to become involved in areas of voluntary community work and continue to do so.

In school we were never taught anything about black history or our ancestors.

The 1950’s through to the late 70’s were challenging times for black people living in Britain. Being involved in voluntary community led groups and organisations, Black and White led me to read more about black history, attending black led workshops, lectures and conferences. I now have a deep awareness of the contributions my enslaved ancestors have made to the cotton industry and the world in general, and to always celebrate and honour the lives of my ancestors.

This project represents part of my heritage and history. It is a vehicle that brings people from varying backgrounds and cultures together that celebrate differences. The project inspires, stimulates, shares, encourages and educates.

You can buy a collection of short stories and poetry by Louise in our shop.

Ethel Anderson lives in Nottingham.

‘Since joining Bright Ideas, Slave Trade Legacy and Standing In This Place my learning and knowledge of my ancestors and my own history has widened.

It has also highlighted the contributions our ancestors have made creating the wealth of this country with no mention of them in history.

These groups have been working hard for this to be acknowledged within the archives, museums, Cromford Mills, Newstead Abbey and other historical visitor sites.

Standing In this Place along with the Slave Trade Legacy Group, a community project, is also an art and heritage project in response to the legacy group formed in 2014 by Bright Ideas Nottingham and Community Global Cotton connections.

Workshops and research have been held at the Cromford Mills and other sites throughout these projects.’

Born in Jamaica I came to England aged 10 in 1962. At school History was one of my favourite subjects and as the years rolled on I began to question why only English History was taught with no mention of Caribbean/Africa history. Except that is, how the Europeans went to “civilise” Africa.

This narrative did not sit well with me and so I rebelled, so to speak, by answering an examination paper in a way that went against this heavily ingrained narrative. It didn’t come as too great a surprise when I failed; the only exam I have ever failed in my life. This taught me a valuable lesson that our history matters.

Fast forward to early 2023 when I was invited to a Legacy Makers meeting where I had the pleasure of meeting Rachel Carter and a group of enthusiastic people. When the project was outlined I thought wow…...here was a project that uniquely linked our heritage with mill workers who benefitted from our enslavement but who were in turn exploited. Like our enslaved ancestors their history was to a large extent untold. This project thus brings together a common shared history from diverse backgrounds that shows our humanity which can be used by future generations as a tool for good.

‘I adore the way that the project has brought the community together and is raising the voices of women.

As the founder of Socialsforcreatives, I wanted to really be able to share the story behind the project and get more people involved.

As a woman of joint heritage this project called to me from the first moment I met Rachel and the Legacy Makers. I love the collaborative work that has been a massive part of unpicking the histories of these two women and bringing them to life.’

When Fatou Marong joined the project she was is in her second year studying for a BA Hons (Bachelor of Arts with Honours) history degree at Goldsmiths - and is now completing her History MA before PhD.

‘After graduation, I intend to continue my academic journey by pursuing a Master's degree in Black British History, and eventually a PhD in History.

My intention is to contribute to academia as a research historian, aiming to uplift communities through empowering historical narratives, with a focus on forgotten histories outside of Eurocentric perspectives.

Standing In This Place is important to me as a historian who is dedicated to highlighting the narratives of marginalised communities that are frequently overshadowed by the prevailing historical discourses that focus on the oppression and division between the African and European, instead of the collaborations and alliances that catalyse, and unify, social justice movements.

By acknowledging the contributions and experiences of all individuals, regardless of their background, will allow for a more inclusive and accurate understanding of the interconnectedness of our shared histories – no matter how separated they may initially seem.

This project's approach of uniting the stories of white female mill workers and black enslaved women, acknowledging their shared experiences and contributions, resonates with my aim to unveil the intersectional nature of British and Global histories.

By celebrating the strength and resilience of these often-overlooked individuals through their connections to cotton and sorrow, the project empowers me to challenge the pre-existing Eurocentric historical understanding of our collective past.

Thank you to Rachel, The Legacy Makers, and the rest of the team for inviting me to be a part of this inspiring movement and valuing my input, I truly believe the impact of Standing In This Place will be enduring and transformative - something our divided society needs; now more than ever.

Jenny Wizzard has long been involved in community and voluntary work focused on equality and social justice.

As a legacy maker, Jenny believes that this project will make a positive contribution to Nottingham. The project will position Nottingham as among the first to take much-needed bold step to fully understand and engage with this challenging history.

I came to Nottingham when I was 2 years old as a Windrush child. I was educated at a girls school on the Clifton Estate, where my favourite subject was history and I received top exam grades in this subject. I knew everything about the Industrial Revolution, the Jacobite Rebellion and the famous man Robert Wallpole, but nothing about my ancestors and most importantly, the history of the slave trade legacy.

As an adult I worked full-time for over 42 years for Nottinghamshire City Council in various roles with children and families safeguarding teams.

Now retired, I have devoted a major part of my life to learning about my enslaved ancestors and their journey in relation to cotton from the fields of the Caribbean to British textile mills. This new learning has been life changing to my mental wellbeing, knowledge, motivation and skills.

The statue ‘Standing In This Place’ and the accompanying art project by sculptor Rachel Carter means so much to me as a black Afro-Caribean woman. The council would make me, my family and my friends so deeply honoured if it agreed to the life-size statue Standing In This Place statue being placed in the New Broad Marsh Green Heart. It would cement my beliefs that NCC councillors are committed and continue to promote diversity and equality, especially for a ‘Woman Like Me’ and a citizen of Nottingham City. The great man says "Behind every good man is a good woman”

A woman of African Caribbean heritage, a mother, grandmother, and nature lover dreaming of humankind being in harmony with nature and each other.

I am one of the original Slave Trade Legacy participants which started in 2014 with Bright Ideas Nottingham. 9 years on we have lost some participants on the way, change directions and names but always having the same focus on enslavement and it's connection and impact on the British Society in all avenues.

I am a direct descendant of enslaved people from Africa. This new part of the project has touched me beyond anything I could have ever imagine. It has allowed me to think well beyond my parents and my multi-cultural family background. It has allowed me to work with a wide range of women from different socio-economic backgrounds.

Being part of this phase of the project is about recognising my ancestors and having a statue which represents my lineage. Without my ancestors picking cotton, the Mill worker here in the UK would not have had a job. Indeed many beautiful garments and other cotton things would not have been made. Enslavement was a very wicked and cruel time, but through it the world was enlightened.


Lisa Robinson

Legacy Maker and Director, Bright Ideas Nottingham

I work as the founding director of Bright Ideas Nottingham - a vibrant, pioneering community-based social enterprise that works with people to influence change and improvements in their communities. We believe that the community voice should be heard and that it is communities that can direct the most necessary and positive changes in the places they live, study and work. Much of our community engagement and involvement work supports volunteering and community activism. Read our Legacy Makers #BlackLivesMatter Support Statement.

The work of Legacy Makers began with conversations between historian Dr Helen Bates and I about the lack of Black presence at UK heritage sites. Best friends since the age of eleven and later colleagues at Bright Ideas Nottingham, we wondered what would happen if we accompanied a group of people from the Black African and Caribbean community into heritage sites with links to the transatlantic trade of African people. The first iteration of our work was launched in 2014. Legacy Makers is our most longstanding and flagship initiative and an outstanding example of what can happen when we work collectively and collaboratively.

As well as driving the work Legacy Makers undertakes, the community volunteers have been instrumental in influencing and contributing to my PhD research at the University of Nottingham on Black centres of community organising and activism.

I am proud to be a part of the Legacy Makers Family and to be in service to them and the community. Standing in This Place is a natural progression of this community-led, academically-driven research and labour to change narratives about our shared local, national and global histories.

Our work is bonding. Our work is reparative. Our work is healing.

Discover more about The Legacy Makers.

Sculptor Rachel Carter works from her studio on the Derbyshire / Nottinghamshire border, creating large scale sculpture for the garden and smaller intimate sculptures for the home using the lost wax technique to create bronze works. Since graduating with a BA Hons in Applied Arts, she has found herself driven by process and material in sculpture. Repetition and hand processes such as weaving, knotting & tying features heavily in her work creating intricate surface patterns.

Many of her commissions are underpinned by a love of history and ancestry, and feels honoured to be able to represent our shared and complex histories within sculpture. Looking at her own ancestry often provides inspiration for new work as she adds to the long legacy of weavers, knotters and makers that stretch back over 350 years of the Midlands industrial past.

Standing In This Place is a unique project for Rachel as it combines her love of art, history and landscape. Finding her own ancestors within the historic story of cotton production in the Midlands was the staring point of this journey.

Debbie is a feminist, entrepreneur, senior lecturer, mother and fighter for equality.

‘It’s an absolute privilege to work on this project with Rachel, the Legacy Makers and the wider team.

I’ve worked with Rachel before on the Pilgrim women’s project and jumped at the chance to increase the number of statues of women in the UK.

The contribution of women and especially enslaved women is overlooked by our society. The history we are taught at school is narrow and through the eyes of white men.

This project is important to me as it honours women both in the cotton mills and enslaved in America and starts conversations and questions. Which although they can be hard, ultimately will bring us together. The statue will demonstrate our appreciation for the women whose blood, sweat and tears built the wealth of Nottingham in the Industrial Revolution.’

Hyacinth is a mother and an active member of the community and church.

‘I would like to celebrate women near and far for the important role that they are playing in society. The legacy Makers are a dynamic group making vast progress by researching and exploring my ancestors.

My hope is that through illuminating the stories of the women who came before us, we may find peace, healing, and love. By honouring our mothers, grandmothers and foremothers, we uphold the truth that women's lives and experiences matter. Our shared history shapes who we are today.

The Legacy Makers connect us to the past, ground us in the present, and inspire us to build a more just future where all women can thrive. There is power in reclaiming our narratives. By uplifting women's voices, we move closer to equality and understanding.

In January 2023 we reported to Arts Council, our phase one funder, this excerpt is provided with kind permission of Mrs Anderson’s family.

Talking with Mrs Anderson, aged 89 and the eldest member of the Legacy makers, at the beginning of the project helped to shape the direction I took with WEM (Writing East Midlands). The original plan was to engage a writer to help write the exhibition narrative, this began to change into a more ambitious aim. Mrs Anderson and I discussed the new idea with Henderson Mullen and Ami at WEM to change this to a community poetry workshop with printed poetry booklet. We had a number of applicants apply for the post, from which we shortlisted four candidates for Ami, Mrs Anderson and I to interview.

Two writers stood out above the others and we appointed Panya Banjoko as lead writer and Deborah Tyler-Bennet as support writer. Twenty members of the public signed up to take part in a three week poetry workshop held at NJM. They were split into two groups of 10 and guided through a range of poetry tools whilst addressing the projects subject matter. The results was an amazing collection of poetry edited by Panya that was produced into a little book of poetry.

Mrs Anderson provided me with some feedback and explained “I feel privileged to have had the opportunity to volunteer on this project. It has brought several groups of people together, at the right time. You have coordinated it to to include everyone and never failed to include the organisations that have supported you and those whom we hope will will make this project a success. The comradeship and learning is amazing. Thanks again for this opportunity.”

In memory of Mrs Tryphena Anderson 1933 - 2023

My name is Paul Pryce, who was born in Sheffield, England, in the 1960s. As a child growing up in 1960s and 70s, during my history lessons at School, many questions often passed through my mind, such as: “what were Black people doing before “slavery”? Up to that point, in my development, I was given the impression, that African/Black people had contributed nothing to world civilization, scientific and technological advancement. In the case of the European/white people, a complete contrast was presented, it was that of, exemplary!

Click here to read Paul’s full article on his Explorations in Black History