Gallery Guide - Asking for it Master (1)

ASKING FOR IT Gallery Guide

“ An outstanding body of advanced work that challenges views and creates debate.”

Professor Paul Wenham-Clark, Arts University Bournemouth

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CONTENTS Introduction 2 About the Artist

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Glossary 6 Victim Blaming

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History of Mugshot Photography `

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Mrs Beatrice Anne Pace

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Mrs Pace’s Letters of Support

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Sexual Violence Statistics

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Creative Connections

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Writings from Broxtowe Women’ s Project

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Shifting Perceptions and Solidifying Support

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Timeline 26 Take Action: Support Survivors

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Support Services

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Acknowledgements 32 Trigger Warning This exhibition and guide explores themes of sexual violence, victim-blaming, and systemic injustice. Some images and captions may be distressing, as they reflect real victim-blaming language and historical attitudes toward survivors.

We acknowledge the emotional impact this subject matter may have and encourage visitors to engage at their own pace. Support resources are available, please see page 31 or speak to a member of staff if you need assistance.

You are not alone.

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INTRODUCTION Asking for It Victim-blaming remains a pervasive issue, shaping public perceptions, judicial outcomes, and survivors’ willingness to seek justice. Asking for It, a compelling photographic series by Jayne Jackson, confronts this ingrained societal problem through a visually striking, historically informed approach. An award-winning photographer and PhD student at Arts University Bournemouth, Jackson spent three years developing this multi-award-winning body of work. Using historical styling in a ‘mugshot’ format, the series challenges harmful narratives that shift blame onto survivors of sexual abuse.

Drawing upon extensive research, including work at The Dorset History Centre, Jackson recreated historical photographic techniques to produce 23 portraits. Many of the images represents different decades, featuring an actor styled in period-accurate clothing and make-up, with captions drawn from real victim-blaming phrases — such as “Flirted,” “Wore Red,” or “Swiped Right.” Some images use the wet plate collodion process, lending authenticity and historical depth.

By visually tracing victim-blaming attitudes across generations, Asking for It exposes misconceptions that persist in public discourse and legal proceedings.

Jackson’s inspiration was deeply personal, rooted in a tragic realworld case — a young woman who took her own life after the acquittal of her alleged rapist. Forced to hold up her underwear three times in court, she suffered profound humiliation, exemplifying the victim-blaming culture entrenched in the judicial system. Asking for It not only documents this issue but actively challenges it, urging audiences to examine their own biases.

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Drawing from research on social normative change, the series aims to disrupt entrenched attitudes and foster empathy.

Hosting Asking for It at the National Justice Museum comes at a critical moment. Gender bias myths, jury prejudice, and social media scrutiny continue to obstruct justice for survivors. But history has shown that education and empathy can drive change.

The bravery of individuals like Gisele Pelicot — who waived her anonymity, declaring that ‘shame must change sides’ from victims to perpetrators — demonstrates the power of public discourse.

Her case, followed worldwide, led to over 50 convictions and became a defining moment in the fight for justice.

By challenging outdated narratives, Jackson’s work reshapes public perceptions. Asking for It is more than a photographic series — it is a call to action, demanding a shift in how society views and responds to survivors of sexual abuse.

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“ I have great respect for how you have tackled such an emotive and difficult subject with such skill” Zelda Cheatle, Photography expert

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ABOUT THE ARTIST Jayne Jackson, an award-winning dance, theatre and social action photographer/change maker. She creates meaningful, empowering portraits and impactful activist work.

As a theatrical, dance and empowerment photographer, Jayne is interested in driving social change through work that promotes mental health, equality and gender issues. Belief in the power of the image is central to her current PhD research at Arts University Bournemouth. This aims to work collaboratively with teen girls to explore inspiring ‘Herstory’ narratives.

Reflecting on Asking for It, Jackson explains: “ I wanted to create images that would engage wider audiences and encourage people to question these harmful narratives. Seeing the ongoing impact of this project has been incredibly rewarding, and I am grateful to everyone who has supported it. The images continue to be exhibited, published, and used in educational workshops and seminars worldwide, reinforcing my belief in photography’s power to spark important conversations and inspire meaningful change.” www.jaynejacksonphotography.co.uk

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GLOSSARY Domestic abuse: Any incident or pattern of incidents of controlling, coercive or threatening behaviour, violence or abuse between a victim and their perpetrator regardless of gender or sexuality.

This can encompass, but is not limited to: psychological, physical, sexual, economic, and emotional abuse. Domestic abuse can be perpetrated by a partner or ex-partner, family member, or carer.

Coercive control: a pattern of intimidation, degradation, isolation and control with the use or threat of physical or sexual violence.

Psychological and/or emotional abuse: When an abuser subjects their victim to psychological harm or trauma which can include bullying, isolation, creating power imbalances, gaslighting, or making fun of the victim. Emotional abuse can leave victims feeling anxious or depressed.

Physical abuse: When an abuser controls a victim through physical means, causing harm or trauma.

Sexual abuse: When a perpetrator exercises control over their victim through unwanted and non-consensual sexual acts or behaviours. Sexual abuse typically includes a pattern of abuse.

Economic abuse: When an abuser exercises control through denying access to economic resources such as money, sabotaging economic resources or exploiting them to prevent a survivor from living their life safely and independently.

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Harassment and stalking: When a person engages in unsolicited acts towards another person, including following them, watching or spying on them, or forcing contact through any means, including social media. Stalking is a pattern of harassment that curtails a victim’s freedom and causes them alarm and distress.

Online or digital abuse: When a perpetrator exercises control over their victim through online or digital means.

‘Honour’-based abuse: An incident or crime involving violence, threats of violence, intimidation, coercion or abuse which has or may have been committed to protect or defend the ‘honour’ of an individual, family and/or community, for alleged or perceived breaches of the family and/or community’s code of behaviour.

Sexual Assault: The legal definition of sexual assault in England and Wales is when someone intentionally touches another person in a sexual manner, without that person’s consent.

Consent: Under English and Welsh law, someone consents to sex or other sexual activity when they agree to it by choice and have both the freedom and capacity to make that choice. Someone doesn’t consent to sex or other sexual activity if they: Say ‘no’, seem unsure or upset, stay quiet, move away or don’t respond, are asleep, unconscious, drunk, drugged or on drugs, are pressured, manipulated, tricked or scared into saying ‘yes’, are too young or vulnerable to have the freedom and capacity to make that choice.

(Reference: https://safelives.org.uk/a-z-glossary/)

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VICTIM BLAMING Victim blaming occurs when language or actions suggest that a person is responsible for the abuse they have suffered.

This harmful attitude shifts blame away from perpetrators, placing undue guilt and shame on victims. It can make survivors feel complicit in their own harm and discourage them from seeking support or justice.

Why does victim blaming happen?

Victim blaming can be unconscious. Many people unknowingly hold prejudiced views based on gender, race, disability, or other biases.

These beliefs, often rooted in societal norms, shape assumptions about how people “should” behave. Others engage in victim blaming as a coping mechanism, distancing themselves from the survivor’s experience. By believing “this could never happen to me,” they create a false sense of control over unpredictable situations.

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Why does it matter?

Perpetrators, not victims, are responsible for harm. When victim-blaming attitudes go unchallenged, they reinforce dangerous social norms and embolden perpetrators to act without fear of consequences.

Survivors who are blamed often feel isolated and discouraged from seeking help, reporting abuse, or pursuing justice.

This can lead to secondary victimisation — further harm caused by societal responses.

Challenging victim blaming Changing how we communicate can help shift perceptions and support survivors. When victims feel believed and supported, they are more likely to come forward. Holding perpetrators accountable and rejecting victim-blaming narratives create a safer environment for all.

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HISTORY OF MUGSHOT PHOTOGRAPHY The use of photography to record the likenesses of criminals can be traced back to the 1840s when a few local police forces began to commission daguerreotypists to take portraits of habitual offenders for so-called ‘Rogues’ Galleries’.

In 1863 the Secretary of State approved that all convicts be photographed before release, for the purposes of identification.

The man’s name, offence, date of conviction and discharge and sentence, should be inserted on the photograph.

The Prevention of Crimes Act 1871 made compulsory the photographing of every prisoner in England and Wales.

The official parliamentary report for 1872 stated that during the first year 115 prisons had photographed 43,634 prisoners.

Strict guidelines were laid down by the Home Office as to how these portraits should be taken. The now familiar convention of full-face and profile portraits was adopted in the mid-1890s. Prior to this, a mirror was employed, placed on the prisoner’s shoulder, to capture both views on the same photograph.

Many prisoners violently resisted having their identity recorded.

A chair with a raised central ridge secured to a heavy iron and wood turntable was introduced to stop prisoners from moving about and blurring the image.

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Copyright National Justice Museum

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MRS BEATRICE ANNE PACE On the 10th January 1928 Harry Pace died at his cottage in the Forest of Dean after a prolonged period of illness. His wife, Beatrice had taken care of him throughout his illness, getting him medical treatment in hospital on several occasions. Harry had suffered moments of depression and had made comments of not wanting to live. But Harry’s brother, Elton Pace, suspected that it was murder as he remembered that Beatrice had often said she wished “the old man would die.” Elton told the police that he suspected it was murder, and publicly branded Beatrice as a murderess.

The local coroner postponed the funeral and ordered an examination of the remains, which proved that Harry had died from a large dose of arsenic. Beatrice, the widow and mother of their five children became the main suspect and was charged with murder.

However, during the extensive pre-trial hearings she received an outpouring of public sympathy. The evidence from these hearings revealed the horrifying extent of her husband’s physical and psychological brutality throughout their 18 years of marriage.

“ Even on the day of the wedding he beat her in his temper and he had done the same off and on until he was taken ill.

Just before the last baby came he beat her with a stick and once before with a wire rope.”

The dramatic twists and unexpected developments in the case were eagerly picked up by the newspapers, making the trial a sensation, and catapulting Mrs. Pace into the realms of celebrity status; no longer simply an individual, she also became a popular and sympathetic media persona. But that did not stop her from becoming a victim of local gossips who suggested that she was

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having at least one affair and had carelessly discharged Harry from hospital too early. She was also a victim of an extensively drawn-out judicial process lasting six months.

After four and a half days of testimony from the prosecution, Beatrice’s defence barrister, Sir Norman Birkett, rose and stated that there was ‘no case’ to go before the jury as the prosecution had no evidence to proof that the prisoner had administered the arsenic to her husband. The judge, after some consideration, turned to the jury and said ‘In my opinion it would not be safe to ask any jury to find a verdict of guilty on the evidence you have heard. I shall advise you to return a verdict of not guilty.’

After the trial the reporter Anthony Praga hailed Beatrice as ‘the woman who endured’, which mirrored her own description of her marriage as ‘week in, week out, month in, month out, year in, year out – nothing but work, meals, rows, and beatings’.

Beatrice sold her story to the press, in weekly instalments, where readers learned of her childhood and marriage, her experiences during the trial, and her hopes of a new life for her and her children. For that short period in 1928, she became a touchstone for social commentary on marriage, domestic abuse and the state of British justice.

(Reference: ‘The Most Remarkable Woman in England: poison, celebrity and the trials of Beatrice Pace, John Carter Wood)

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MRS PACE’S LETTERS OF SUPPORT On the afternoon of 6th July 1928 Mrs Beatrice Anne Pace emerged from Gloucester Shire Hall and was met by a cheering crowd of thousands of well-wishers celebrating her acquittal upon the charge of having murdered her husband with arsenic.

The National Justice Museum holds more than 200 letters sent to Mrs Pace following her acquittal. These letters offer fascinating insights into the attitudes of Beatrice’s admirers and reveal the intense and deeply moving emotions that she inspired. The letters were received from supporters from across the UK but also from Canada, Malta and South Africa. Some messages were brief, consisting of no more than a sentence, such as ‘congratulations from the bottom of our hearts’.

Others were extensive, with writers not only congratulating Beatrice of her acquittal but expressing something of their own experiences at the hands of abusive husbands.

They offer new perspectives on popular reactions to media presentations of crime, gender, celebrity, institutional authority and victimisation.

These are just a few examples of the letters sent to Beatrice Pace.

These letters are presented as transcribed, preserving the original spelling and grammar.

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LETTER 1 TRANSCRIPTION: July 8 1928 Dear Mrs Pace excuse me writing & stranger. but I am very pleased at the verdict not guilty how much you must have suffered no one can tell & I have gone through something of the same but not as bad as you have I have those connected with my husband who would be bad enough to sware (sic) my life away that is how I am glad you have won your case and I have feeling for you god bless your little boy and girls I am only a working man’s wife can’t send any help but I send my glad wishes good by (sic)

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MRS PACE’S LETTERS OF SUPPORT LETTER 2 TRANSCRIPTION: My Dear Mrs Pace I hope this finds you & your family in the best of Health I hope with all my Heart that you will soon recover your long time of trying Trouble I have been reading your case from beginning to end & know within my own heart you were never guilty of such a case but God will punish evil thinker’s & doer’s when I read in the Papers of Mr Purcill taking up a fund for you I just said to my girls I must send a little to help so I sent on 5/- I am only a poor Woman with a family 8 alive & two dead & a rotter of a man just the same as your’s. I have had many a blow from him & he has threatened my family & myself with a Knife & once tried to cut my eldest Daughter throat he has also asked me to drink Lysol & he would buy it he has tried to drive me & my family to the streets many times but I have always stuck to my post for I may say I have a very respectful family & now he has gone off now for some time now with another woman after a young girl having a Baby six years ago to him many a wife got clear of such a man but I had no means however God sits high & takes his own time to Punish well my Dear I was so overjoyed when I saw in the Papers you were released I was going home in the car when I saw the news & I said to my lady friend that was with me thank God I have got my wish I prayed for you night & day & now God answered my prayers I took such an interest in you I often wished I was beside you & do yet but impossible I have cried my heart sore for you for I knew what it is to have a brutal Husband poor soul I hope you will soon recover your Health & strength also your family & for the Pace’s family thy must be rotten selfish & scandal mongers but leave them dear & God will spare you & your family to see them Punished one way or the other my word I was glad to see by the Papers you

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had such a good man to speak for you such as Mr Norman Birkett K.C. he never left a stone unturned for you he fairly rubbed it into the Pace’s thy are not worth salt for this Porridage well dear I fanced I saw you on return home what a glorious home coming for you & your family to see their dear Mother come home for good there is a young man not far from where I live to be tried foe – I wont mention the word as you will understand what I mean he is only 22 years & all through being jealous of his wife he has left a Baby 9 months old he is to be tried this month there is some men in the world but they are not all alike well my Dear Mrs Pace you wont be offended at me writing you only I felt so sorry for you I could not help see & take great care of yourself & enjoy you self to you best ability if you care to answer this please drop me a line & I will write you again asking you again to forgive me for that this opportunity

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SEXUAL VIOLENCE STATISTICS The urgency of the issues explored in the Asking For It exhibition is underscored by current statistics. Between October 2023 and September 2024, 69,958 rapes were recorded in England and Wales, yet charges were brought in just 2.7% of cases. Conviction rates remain disproportionately low, highlighting the continued need for legal and societal reform.

Prevalence of Sexual Violence

1 in 4 women have been raped or sexually assaulted since the age of 16.

1 in 6 children have been sexually abused.

1 in 18 men have been raped or sexually assaulted since the age of 16.

Reported Rape Cases (2023-2024)

69,958

69,958 rapes recorded by police between 1 October 2023 and 30 September 2024.

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2.7%

Charges were brought in just 2.7% of these cases.

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in 100 Fewer than 3 in 100 rapes resulted in someone being charged that same year, let alone convicted.

Delays in Justice

Adult rape cases take an average of 2 years to complete in court — many take even longer.

Record high backlog: 11,574 sexual offence cases waiting to go to court.

3,291 adult rape cases awaiting trial.

Underreporting of Sexual Violence

Reasons for not reporting: 5 in 6 women and 4 in 5 men who are raped don’t report it to the police.

• 40% cited embarrassment.

• 38% didn’t think police could help.

• 34% feared the process would be humiliating.

rapecrisis.org.uk/get-informed/statistics-sexual-violence/

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CREATIVE CONNECTIONS Expressing Solidarity Through Words and Art Co-production is central to the creative programme at the National Justice Museum, fostering community cohesion, encouraging the exchange of ideas, and allowing us to explore exhibition themes in a holistic and meaningful way.

In this spirit, we collaborated with Broxtowe Women’s Project to create artistic responses to Jayne Jackson’s Asking for It series.

Throughout January and February 2025, artist Jayne Jackson and writer Leanne Moden led a series of writing and creative workshops.

Using the evocative photography of Asking for It and drawing inspiration from the letters of Mrs. Pace, held in the National Justice Museum’s collection, participants engaged in powerful acts of self-expression. The group composed poetry and letters of support to themselves and to other women affected by domestic abuse, culminating in a day of creativity at the National Justice Museum.

The honesty and bravery of the participants were truly inspiring and humbling. Their words and artistic expressions offer a profound insight into lived experiences, demonstrating the power of creativity as a tool for reflection, support, and change.

Broxtowe Women’s Project is a support and advice charity for women, children and young people affected by domestic abuse, supporting survivors of current and historic domestic abuse at any stage in their journey. For more information, please see: broxtowewomensproject.org.uk

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WRITINGS FROM BROXTOWE WOMEN’S PROJECT My dear lady in red No dancing for you This beautiful day!

No sunshine to bathe in No clouds to blow away.

Such an horrific crime!

Wearing your red dress.

Not a scarlet woman Not a crimson jezebel But a rare ruby Beauty crossing Through the crowd, living her life.

No crime committed, Dressed as a beautiful red rose.

Desired, priceless and Thorn free; admired by All as you stride Confidently down the road.

Your scent lingers long after you leave.

A free woman, made Her own choices yet Destroyed by those who Followed her.

Cheers, became jeers as The patriarchy waved Their big stick.

Who can decide, who Can choose, not their Decision, not their right, not their Business.

So my lady in red, hold Your head high!

Reject their sneers Refute their jeers Refuse abuse!

A red dress, blue or Green, your Choice to be seen!

Be free my lady, walk As you wish. Brave And bold, tall and strong.

Choose your Dress as you alone wish.

Live your life, yours and yours Alone!

By Sarah

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Dear Battle Weary Me, You are tired now, I remember you feel stripped of your dignity and to some extent your humanity. But nothing could be further from this. With each breath you continue to take you radiate every beautiful element of humanity, your clarity unquestionable. You do this despite any attempts of the worst kind of animals wanting to break you.

You were once loud. Fierce, strong and opinionated. Never one to back down or be drowned out. How you feel you have to apologise for your very existence. This must not last. You voice needs to be heard and your song sung again.

Believe in yourself and drown out anything that lessens this belief.

The system has let you down at times, but this does not mean what you have experienced is acceptable or that your feelings are unfounded.

Nobody has the right to take from another, no permission. Yet you had so much taken from you:Your voice, Your comfort, Your feeling of safety, Your capacity for love, Your ability to trust, Your sense of freedom, Your ability to feel comfort, In your own skin.

By Donna Matthews

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SHIFTING PERCEPTIONS AND SOLIDIFYING SUPPORT The idea of victims being partially to blame for what happens to them has long been present in the media, perpetuating harmful myths around abuse and preventing survivors from seeking support and justice:

• They asked for It • Skirt was too short • Shouldn’t walk home alone • It doesn’t happen to men How might we shift this perception? Use the space below to write your thoughts, or even write a letter of support to a survivor, such as the letters to Mrs Pace.

Share the below using: #NJMIdeas

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TIMELINE A woman’s legal rights post-marriage were limited, almost to the point of non-existence.

A woman was considered to be under her husband’s protection and authority, a doctrine that was known as ‘coverture’.

1736 In ‘The History of the Pleas of the Crown’, a treatise on criminal law, Sir Matthew Hale made the following pronouncement: “the husband cannot be guilty of a rape committed by himself upon his lawful wife, for by their mutual matrimonial consent and contract the wife hath given up herself in this kind unto her husband which she cannot retract.”

1889 1765

R v Clarence (1888) was the case of a husband who knowingly infected his wife with gonorrhea.

Since she would not have consented to sex if she had known he had a STD, he was convicted of assault and grievous bodily harm. He appealed the decision and his conviction was quashed.

A man who was convicted of raping a 17 year old hitchhiker was fined £2000. Women Against Rape, among others, protested the leniency of this sentence.

1979 Southall Black Sisters is a not-for-profit organisation which defends the rights of Black (Asian and African-Caribbean) women and has played an important role in fighting for justice in domestic violence cases.

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In 1955 Ruth Ellis became the last woman to hang.

She was convicted of murdering her partner in what was popularly reported as a crime of passion. Later campaigns to have the verdict reduced to manslaughter have emphasised the domestic violence that she suffered.

1955

Justice for Women a feminist campaigning organisation that advocates on behalf of women who have fought back against or killed violent male partners.

1986 1982

Survivors, a precursor to SurvivorsUK, began offering counselling and a helpline for male survivors of rape.

1990

Women Against Rape provides support and advocacy and campaigns on issues such as sexual and domestic violence.

Sexual Offences (Amendment) Act. The amends included the need for a statutory definition of rape, and anonymity for rape victims.

Domestic Violence and Matrimonial Proceedings Act gave legal protection to victims of domestic violence, enabling women to obtain court orders against violent husbands without divorce or separation proceedings already being in place.

1973 In 1973 the first UK Rape Crisis is established, providing services for women and girls who have been raped.

1976

DPP v Morgan & Others. A husband invited three men to have sexual intercourse with his wife. She had not consented to this and all were tried for rape.

The defence argued that they had believed that Mrs Morgan had consented. The judge directed the jury that the defendants would not be guilty of rape if they honestly believed that the woman was consenting and that belief in consent was reasonably held. The jury found all four guilty.

The Criminal Justice and Public Order Act removed the word ‘unlawful’ for the 1976 definition of rape, removing the fiction of marital consent. It also provided a broader definition of rape to include anal sex.

Men were legally recognized as victims of rape in England and Wales.

1991 The Black Women’s Rape Action Project, was created to focus on issues facing women of colour.

It was not until 1991 that ‘implied consent’ was successfully challenged and it was held that a husband could be found guilty of raping his wife.

1994

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TIMELINE Respect established as a UK charity stopping perpetrators of domestic abuse.

1997 The Protection from Harassment Act introduced new criminal offences and civil restraining orders for harassment.

2003 2000

Equation launched the local domestic abuse service for men, the first and only service for men in Nottingham.

2013 Frances Andrade committed suicide days after giving evidence at the trial of her abuser, she had been called a ‘fantasist’ by the prosecuting barrister.

The case highlighted the treatment and lack of support of rape victims in court.

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Domestic Violence, Crime and Victims Act aimed to improve the protection offered to victims of domestic violence.

2014

Sexual Offences Act provided a statutory definition of consent and it would be left to a jury to decide ordinary meaning, “ranging from actual desire on the one hand to reluctant acquiescence on the other.”

The Domestic Violence Disclosure Scheme also known as Clare’s Law named after Clare Wood who was murdered in 2009 by her ex-boyfriend, is rolled out across England and Wales.

Clare’s Law allows police to disclose to individuals, details of their partner’s abusive pasts.

2004

2015 The Serious Crimes Act criminalises ‘coercive control’ giving the CPS new powers where repeated or continuous controlling coercive behaviour occurs.

The decision to cut a rape victim’s compensation by 25% due to her having been drinking prior to the rape is overturned.

Male rape became a legal category in Northern Ireland.

2007 Galop founded their domestic abuse work during this time, with the founding of London Domestic Abuse Partnership (DAP). DAP provides LGBTQIA+ victims and survivors of domestic abuse with a clear pathway into specialist support services.

2009 2008

Former Prisons and Probation Ombudsman Stephen Shaw’s review into the welfare in detention of vulnerable people dealt in large part with the treatment of women at Yarl’s Wood.

The Shaw Review Report recommended a complete ban on the detention of pregnant women and a “presumption against detention” of victims of rape and sexual violence.

The Crown Prosecution Service issues guidance to police and prosecutors on consent following the first ever national conference on rape investigations and prosecutions.

2016

The Coroners and Justice Act repeals a section of the Criminal Justice Act 2003 which required that a complaint be made “as soon as could reasonably be expected after the alleged conduct.”

2024 Gisele Pelicot a French woman was covertly drugged and raped by her husband Dominique Pelicot on numerous occasions between 2011 and 2020. Dominique also invited 72 men to rape her while she was unconscious. This resulted in over 50 convictions and became a defining moment in the fight for justice.

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TAKE ACTION: SUPPORT SURVIVORS What have you learned from the Asking For It exhibition? What further information could you explore? Even the smallest actions can create a big impact.

Raise Awareness & Advocate for Change If you would like to advocate for survivors of sexual and domestic abuse, one way to help is by contacting your Member of Parliament (MP) to push for stronger protections and better support services.

1. Find your local MP at: members.parliament.uk/FindYourMP 2. Write a letter urging them to prioritise funding for survivor support services, improve legal protections, and ensure justice for those affected by abuse.

What Can You Do?

• Volunteer or donate to organisations supporting survivors. tep in as a bystander – learn how to safely intervene in • Sharmful situations with bystander intervention training: righttobe.org/guides/bystander-intervention-training/ ook a training session with an organisation to expand • Byour knowledge. ttend an awareness lecture or talk to understand the • Aissues more deeply.

• Write your own letter to advocate for change in your community.

It’s essential that survivors have access to the support and resources they need. By taking action, you can help create a safer world for survivors.

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SUPPORT SERVICES The Asking For It photographic exhibition explores themes of sexual violence, victim-blaming, and systemic injustice which may be distressing or triggering to some viewers.

We acknowledge the emotional impact this subject matter may have and encourage visitors to engage at their own pace.

Support resources are available, please see below or speak to a member of staff if you need assistance.

Organisation

Website

Phone Number

Women’s Aid

womensaid.org.uk National Domestic Abuse Helpline: 0808 2000 247

Respect

respect.uk.net

Helpline: 0808 802 4040

Karma Nirvana

karmanirvana.org.uk

Helpline: 0800 5999 247

Rape Crisis England rapecrisis.org.uk & Wales

24-hour helpline: 0808 802 9999

Childline

childline.org.uk

Helpline: 0800 1111

Samaritans

samaritans.org

24-hour helpline: 116 123

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ACKNOWLEDGEMENTS A very special thank you to all who contributed to this poignant project. With love and gratitude, we acknowledge: ayne Jackson for the opportunity to share powerful photographs • Jand testimonials that have created the Asking for It series.

• Our project partners for their invaluable input and support. staff and participants from Broxtowe Women’s Project • Tforhesharing their creativity and stories.

College for engaging in the project with such grace • Nandottingham flair.

This co-produced exhibition was developed in collaboration with the National Justice Museum Creative Programme team: Sarah Gotheridge, Aimee Wilkinson, and Bev Baker.

Design: Flyte Design Print: Belmont Press We are deeply grateful to Arts Council England for their generous funding, which made this exhibition possible.

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