I have recently moved to Preston in Lancashire. I’ve never lived further north than London before, so it’s a big change for me, but I’ve really enjoyed getting to know the city, its people (suffragette Edith Rigby was a particularly cool Prestonian), and the University of Central Lancashire. I think protest stickers are a really good way to get to know a place, because it gives you an indication of the issues that matter to local and visiting activists. The number of protest stickers you find also gives you an idea of how radical a city is. Considering Preston’s size, I’ve been pleasantly surprised by the number of protest stickers I have found.
On the 13th of June 1908, the National Union of Women’s Suffrage Societies (NUWSS), organised a huge march in London to demonstrate the strength of their commitment to women’s suffrage. Just a week later, on the 21st of June, the Women’s Social Political Union (WSPU) organised a ‘monster meeting,’ also in London. The WSPU was much smaller than the NUWSS, but its militant tactics were better at grabbing headlines, and it is by far the best-known women’s suffrage group now. In June 1908, however, the WSPU decided to try a more peaceful method of campaigning, which was a resounding success. Up to 500,000 people gathered in Hyde Park to hear 80 speakers talk about women’s suffrage at the biggest political demonstration the UK had ever seen.
The meeting was organised by WSPU Treasurer, Emmeline Pethick-Lawrence, and her husband Frederick. Like the NUWSS’s march a week earlier, the demonstration was organised in response to Prime Minister Herbert Asquith’s challenge to prove the strength of feeling behind the demand that women be given the vote. Special trains were chartered to transport WSPU supporters to London from around the country, and a Sunday was chosen in order to maximise working class attendance.
7 processions totaling 30,000 suffragettes marched from around London to Hyde Park. This was the first time that the WSPU’s now infamous colours of purple, green, and white were featured in public. Women were asked to wear white dresses, and accessorise with green and purple. The effect was striking. Emmeline Pankhurst and Elizabeth Wolstenholme-Elmy led the procession from Euston Road, Annie Kenney headed the march from Paddington, and Christabel Pankhurst and Emmeline Pethick-Lawrence helmed the demonstration from Victoria Embankment. Flora ‘the General’ Drummond, a formidable suffragette known for leading marches in a military-style uniform, visited each of the 7 processions. Like the NUWSS procession the previous week, banners played an important role in the marches. The suffragettes carried up to 700, although none are known to survive.
20 raised platforms had been constructed in Hyde Park, from which 80 prominent supporters of women’s suffrage gave speeches, including Emmeline Pankhurst (of course!) Keir Hardy, Barnard Shaw, Israel Zangwill, and Amy Catherine Robbins (wife of H.G. Wells). The meeting was considered to be a great success, although several newspapers pointed out that most of those attending were there out of curiosity rather than support for the cause. I don’t really see this as a problem though; surely it was a good opportunity to win over a few converts to the cause.
It seems unlikely that the WSPU deliberately planned Women’s Sunday to be a week after the NUWSS procession, but the sight of women marching through the streets of London, proud, defiant, and well-ordered, was still enough of a novelty to draw hundreds of thousands of people to Hyde Park.
Sources and Further Reading
Marches, Protest, and Militancy. “Women’s Sunday: Hyde Park 1908.” Last modified 14 April 2016, accessed 6 June 2018. Available at https://womenofinfluencesite.wordpress.com/2016/04/14/womens-sunday-hyde-park-1908/
Wikipedia. “Women’s Sunday.” Last modified 18th March 2018, accessed 6 June 2018. Available at https://en.wikipedia.org/wiki/Women%27s_Sunday
Women of Tunbridge Wells History Project. “‘Women’s Sunday’: Hyde Park Rally 21st June 1908.” Inspiring Women: Hidden Histories from West Kent. No date, accessed 11 June 2018. Available at https://www.kent.ac.uk/sspssr/womenshistorykent/themes/suffrage/womenssunday.html
As the first decade of the twentieth century drew to a close, the campaign for women’s suffrage had been going on for half a century. As the decades wore on, the women involved became increasingly creative with their tactics. The National Union of Women’s Suffrage Societies (NUWSS) was founded as the National Society for Women’s Suffrage in 1872. They were suffragists, believing in peaceful, constitutional campaigning. The NUWSS had first experimented with mass marches the previous year; despite the wet weather, what came to be known as the Mud March was a resounding success. The women were praised for their determination and organisation skills. In the summer of 1908, the NUWSS decided to hold another march.
In 1908, women’s suffrage seemed both tantalisingly close, and as distant as ever. In February, a women’s suffrage bill was blocked by the government after passing its second reading in Parliament. Herbert Asquith became Prime Minister in April, and challenged British women to prove that they wanted to vote. The NUWSS organised their Suffrage Procession in response to this challenge, and also to prove that their organisational skills were such that they deserved the vote.
Artist and illustrator Caroline Watts designed the Bugler Girl poster to advertise the march. Despite her military appearance, the NUWSS were keen to emphasise her peaceful nature, and the image went on to be used quite often within the suffrage campaign in both the UK and the US. On the afternoon of the 13th of June 1908, 10,000 women gathered on the Embankment in central London. They then proceeded to march, in neat rows of either 4 or 6, to the Royal Albert Hall where a meeting was held. Every detail of the march was planned, including the order of the procession, which was as follows: provincial NUWSS groups, in alphabetical order; colonials and internationals; professions, including medical women, business women, writers, actors, and farmers; other societies, including the Women’s Co-operative Guild, the National Union of Women Workers, Liberals, Fabians, Conservatives and the Women’s Freedom League (who’s President was Charlotte Despard); and finally, the local branches of the London Society for Women’s Suffrage. The march was led by NUWSS president, Millicent Garrett Fawcett, and Lady Frances Balfour.
The International Conference for Women’s Suffrage began in Amsterdam on the 15th of June, which meant that a lot of important international suffragists could be in London for the march, adding another feather to the NUWSS’s cap. Representatives came from around the world, including the US, Australia, Russia, Hungary, South Africa, and France. The marchers were accompanied by 15 marching bands. The women carried 76 banners designed and made by the Artist’s Suffrage League (ASL), a group of professional artists established in 1907 to produce banners, posters, postcards, and similar materials for the suffrage campaign. Many of the banners were designed by Mary Lowndes, chair of the ASL and designer of stained-glass windows.
There were two main types of banners. The first type represented the various branches of the NUWSS. The organisers wanted to emphasise that the demonstration was representative of the whole country. The second type of banner commemorated prominent women, both past and present, including: Marie Curie, Jane Austen, the Bronte sisters, Joan of Arc, Elizabeth I, Mary Wollstonecraft, Caroline Herschel, Florence Nightingale, and Queen Victoria (despite her vehement opposition to women’s suffrage). The banners were on display in Caxton Hall in Westminster, which was frequently used by suffrage campaigners, for a few days before the march, and they toured the country afterwards. Local suffrage groups could hire the banners to host exhibitions, and they were displayed in Manchester, Cambridge, Birmingham, Liverpool, and Brighton, amongst others. Many of the banners were also used in later marches and demonstrations.
The 1908 NUWSS Suffrage Procession was a great success. The women demonstrated their commitment to the cause, as well as illustrating their significant organisational skills, part of an attempt to persuade the public that women were capable of shouldering the responsibility of voting. The beautiful, hand-made banners also showed off the women’s feminine side, as well as capturing the attention of spectators and the media. Peaceful mass demonstrations were an ideal way for the suffragists to attract publicity and show their conviction. But the suffragettes also made use of such tactics, holding their own ‘Monster Meeting’ in London only a week after the NUWSS.
Sources and Further Reading
Crawford, Elizabeth. “Suffrage Stories: An Army of Banners- Designed for the NUWSS Suffrage Procession 13 June 1908.” Woman and her Sphere. Last modified 26 November 2014. Accessed 4 June 2018. Available at https://womanandhersphere.com/2014/11/26/suffrage-stories-an-army-of-banners-designed-for-the-nuwss-suffrage-procession-13-june-1908/
Crawford, Elizabeth. “Suffrage Stories/Women Artists: Caroline Watts and the Bugler Girl.” Woman and her Sphere. Last modified 3 December 2014, accessed 6 June 2018. Available at https://womanandhersphere.com/2014/12/03/suffrage-storieswomen-artists-caroline-watts-and-the-bugler-girl/
Keyte, Suzanne. “Celebrating 100 Years of Votes for Women: Women’s Suffrage at the Royal Albert Hall.” Royal Albert Hall. Last modified 5 February 2018. Accessed 4 June 2018. Available at https://www.royalalberthall.com/about-the-hall/news/2018/february/celebrating-100-years-of-votes-for-women-womens-suffrage-and-the-royal-albert-hall/
Observer, The. “From the Observer Archive, 14 June 1908: 10000 Women March for Suffrage. Last modified 17 June 2012. Accessed 4 June 2018. Available at https://www.theguardian.com/news/2012/jun/17/archive-1908-suffragette-march
The Protest Memory Network is funded by the Arts and Humanities Research Council and brings together archivists, curators, activists, artists, and researchers to think about how memories of protest are preserved, materialised, recirculated, and utilised. The Network is organising three workshops and a conference between 2018 and 2020, amongst other things. I was invited to take part in the first workshop, on the subject of Researching Protest Memory, at the University of Sussex on the 30th and 31st of May 2018.
The workshop was a combination of paper sessions and workshops exploring the methodological opportunities and challenges of researching such a broad and frequently intangible topic. A whole range of research methods were discussed, ranging from the conventional (oral histories, archival research, mapping, social media analysis) through the creative (film making and artistic engagements), to the rather unconventional (embroidering interview quotes onto handkerchiefs and baking them into empanadas). My contribution was a paper on my work on protest stickers.
We had workshops run by: the TAG Lab, (Text Analysis Group), which conducts research into the analysis of text and language by computers, and applies it to social media and other forms of communication; the Business of Women’s Words project, which explores feminist publishing in the UK during the 1970s and 80s; and the Mass Observation Archive, which is a fascinating collection about everyday life in Britain in the twentieth century. The workshop was also supported by the Sussex Humanities Lab, which looks at the ways in which digital technologies are shaping society and culture. Over the two days, I was reminded of just how many options there are when it comes to selecting a research method, and the importance of considering your options when embarking on a research project, rather than just falling back on what is easy or familiar. The workshop was a chance to learn about unfamiliar methodologies in a supportive environment, where I didn’t feel stupid asking potentially obvious questions.
Invariably, it is difficult to think of research methods without also thinking about research outputs. Over the two days, the topic of research outputs came up often, particularly in terms of how to make research more accessible and engaging for those outside of academia. The alternatives that came up ranged from working with cultural partners such as museums and libraries, to creative outputs such as documentary films and even board games. On the Tuesday evening, we were treated to a radical history of Brighton walking tour. It was fantastic, if a little fast-paced, and highly informative; I learnt a lot even though I have lived in Brighton for most of my life. There are a number of researchers who make use of walking tours as a form of public engagement, and I think they are a great way of
I have written before about how much I value the academic communities I am a part of (see Parts 1, 2 and 3), and the Researching Protest Memories workshop was a nice reminder of that. It was much smaller than most of the conferences I am used to (20-30 people), which meant I had a good chance to get to know everyone and their work. I came away feeling like I was part of a new (to me) academic community of supportive, creative, and energetic researchers, and as far as I’m concerned, the more communities I am part of, the better!
I don’t think I would be alone in saying that the Researching Protest Memory workshop was a resounding success. I went home exhausted, but with my head buzzing with thoughts and ideas. I would like to thank the Protest Memory Network, particularly Pollyanna Ruiz, for organising the workshop and inviting me to participate.