Our research assistant Kiera Taylor and I visited Glasgow Women’s Library in March to
view some of their banner collection. The Women’s Library holds many banners made for
numerous causes within their museum collection, which is also host to hundreds of other
important objects that celebrate radical histories and current issues throughout Scotland, the
UK, and beyond. We would like to extend a massive thank you to the Women’s Library and
especially to Jenny Noble for facilitating our visit and helping us to learn more about and
celebrate banner-making histories.
The banner I was perhaps most excited to view was a banner by Glasgow-born Clare
Hunter (nee Higney), titled “A Woman’s Place is in the World”. It is a colossal banner, stretching
way over the tables we used to view the objects! The design of the banner itself is equally as
impressive, utilising both applique and reverse applique, where the base fabric is cut away and
smaller pieces of contrasting fabric are sewn on the back to cover the cutouts. The banner was
likely made in response to the miners’ strikes in 1984-5, and many causes and historical events
are referenced in its design, including the miners’ strikes themselves, the Poll Tax riots, and
Chile’s resistance against dictator Pinochet. The banner of course has an overarching feminist
sentiment, and was presumably made to highlight and celebrate the overwhelming importance
of women’s involvement in organising and supporting political causes, especially during the
period of its inception during late-second wave feminism of the 1980s. -Elise
The “Sappho Lesbian Feminists” banner is primarily composed of the colours purple,
white, and green which are well known for their connection to the Suffragette movement.
This banner is made using a variety of different techniques as it not only incorporates
applique and sewing, but also crochet work, evident in the flowers decorating the banner.
The title of the banner shows that the banner is influenced by the ancient Greek female
poet Sappho. In the centre of the banner is the Greek island of Lesbos, both being a nod to the
origins of the terms “Sapphic” and “Lesbian”.
Sappho was a female Greek poet who lived on the island of Lesbos. Many of her works
explored themes of same-sex love, predominantly among women. Her poetry would also
frequently highlight the beauty of women, leading to speculation that she herself may have been
in a romantic relationship with a woman. As a result, the LGBTQIA+ community drew inspiration
from her legacy, adopting the terms “Lesbian” and “Sapphic” in honour of her contributions to
literature and representation. – Kiera (A historical Volunteer)
Another banner that I loved viewing was the Glasgow Gay and Lesbian Centre banner. It
features dozens of pink triangles with black borders on a beige backing and is emblazoned with
two figures in the centre, underneath a ribbon of black and gold bearing the organisation’s
name. It looks like every pink triangle has been decorated by a different person, with each one
showing varying skill levels and different techniques, including hand-sewing, beading, painting,
glued applique, and even some glued magazine or printed cutouts. It’s so lovely to even see
lingering pencil marks on the banner – really showing the handmade, human touch of how it was
constructed. I loved seeing how such an impressive banner came together with so many
different handwritings by people who wouldn’t have had experience in banner-making before,
just showing how accessible and invigorating the practice can be for all different kinds of people,
regardless of their expertise, as long as they have the passion. – Elise
We also viewed a banner made by an unknown maker in London in the 80s or 90s,
bearing the slogan “STOP PACIFIC NUCLEAR TESTS”. This banner was particularly charming
in its use of various presumably repurposed fabrics – it looked like it could have been made at a
ReMode workshop! It shows a small island with a palm tree engulfed by the shape of a
mushroom cloud, and uses different techniques including patchwork, applique and even some
hand-sewing on the tree featured in the centre. Something I also loved was that it still had worn
plastic rope attached to the top corners; a lovely insight into how the banner would have been
used before it became a museum object, perhaps tied to a fence or a tree at the site of a
protest. – Elise
The last banner we viewed was much more contemporary, being made for and used at a
rally in Glasgow in 2017. This banner was made by Glasgow-based artist Cathal Burke as part
of the Repeal the 8th Amendment campaign in Ireland. While perhaps less sophisticated than
banners such as Clare Hunter’s or the Gay and Lesbian Centre’s, the banner has a charming
sense of urgency – the sewing is less considered and the design is plainer, though equally as
visually striking as more intricate banners. These design aspects speak to the versatile and
responsive nature of banner-making, and the urgency of the matters that this form of protest can
be used for. The banner is also still attached to the wooden poles that were used to hold it
during the protest it was made for, providing a lovely tangible link to its physical presence and
power. This banner is also a great example of the overarching hunger for protest and radical
thinking in Scotland, and the continuing tradition of protestors in Scotland showing solidarity for
international issues. – Elise