Week #8 of 48 Weeks of Historical Craftivism, Knitting and the Vietnam War!

Knitting and the Vietnam War?! Really?! Yes! During the Vietnam War, 2 Canadian organizations Canadian Aid for Vietnamese Children (CAVC) and Voice of Women (VOW) used knitting as a way to help the Vietnamese people. Here are some of the links that I found so you can learn more about what happened.




I was puzzled, however, as knitting did experience extreme peaks in popularity during wars prior to 1950, however, with the Vietnam war, knitting for wartime efforts played a far smaller role in female participation in war efforts, leading up to the present day, in which knitted goods are virtually absent from discourse on military support efforts. How did knitting go from being such an integral part of the war effort to being a nonexistent one?




Voice of Women (VOW) was founded in 1960 whem women across Canada decided they must try to stop what appeared to be imminent nuclear war. The Summit Conference had collapsed; the Cold War was rapidly getting hotter, and we felt women around the world should band together to demand an end to war. Groups like VOW were formed in many countries.

By the end of its first year, VOW had 6000 members. It organized an International Women’s Conference in September 1962- the first meeting in Canada to include women from the Soviet Union and other socialist countries. Conference delegates called on the U.N. to designate a World Peace Year. The idea was taken up by Prime Minister Nehru at the UN, and 1965 was proclaimed International Cooperation Year.




…Young initiated a knitting project to provide clothing for Vietnamese children as a means of communicating the harsh realities of war; she hoped thereby to influence citizens across North America to press for a speedy end to the war. By November 1966, just a few months after the establishment of CAVC’s children’s committee, the knitting project had gained momentum. In a letter to Kay MacPherson, Young asserted, “We have found that actual involvement in ‘making things’ has done more to arouse compassion and publicize the great need for acts of humanitarianism and the desperate need to halt the war, than any other project.




Women in North America have long been active in trying to put an end to conflicts around the world. In the early 1960s, when the threat of nuclear war loomed over many nations, our own Canadian Voice of Women for Peace (VOW) was formed. Since then, the organization has been promoting peace and disarmament, particularly in the context of nuclear war.

VOW has organized unique activities to draw attention to its cause. In 1963, it collected and tested thousands of baby teeth from children across North America to demonstrate the fallout from the atmospheric testing of Strontium 90, a harmful radioactive isotope. During the Vietnam War, the Ontario VOW organized the Knitting Project for Vietnamese Children. Over a ten-year period, the group sent thousands of hand-knitted garments and other aid to the child victims of the war and their families.

Over time, VOW has expanded its focus to include human rights and civil liberties, preservation of the environment, as well as economic and political issues.




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Presumably some of the young Canadian knitters and other youth volunteers found kinship with the unknown Vietnamese children they were assisting or when they imagined themselves in the same situation. Zoya Stevenson, a Toronto teen, participated in the CAVC knitting campaign because she could relate to the Vietnamese children affected by the war. “The napalm bombing of innocent women and children (like myself) shocked me,” she recalled, elaborating that “the fact that these acts of terror were sanctions by citizens of my own country, frightened me terribly.”


VOW





The efforts of women fighting for peace did not end with the World Wars, nor did the use of knitting as a form of peace activism stop. The Canadian group ‘Voice of Women’ (VOW), created in July 1960 as a reaction against the Cold War, garnered ten thousand members by 1961 – just twelve months after having been first established.[25] Barbara Roberts’ essay, Women’s Peace Activism in Canada, featured in Kealey and Sangster’s Beyond the Vote: Canadian Women and Politics (1989), explains the way in which VOW became a prominent feminist and peace activist group during the years of the Cold War, despite being founded at a time when “feminists were cranks” and “socialists were commies”.[26] The group took on the initiative of knitting thousands of camouflage baby clothes to be shipped to Vietnam so as to protect children and their families from the US air strikes.[27] This bold action made a loud statement to the Canadian people, and despite not being well received by much of the public, VOW continued to protest the Cold War.

More reading:
*Purls for Peace:The Voice of Women, Maternal Feminism, and the Knitting Project for Vietnamese Children
* Re-Imagining War: The Voice of Women, The Canadian Aid for Vietnam Civilians, and the Knitting Project for Vietnamese Children, 1966-1976

Week #6 of 48 Weeks of Historical Craftivism, WWI Knitting!

So I started this project for two reasons: 1) to tackle my own personal issues with discipline (and I’m struggling to work through that… my current battle? Not paying attention to the calendar and letting time slip through) and 2) to learn more about historical craftivism. But the truth is for this one, WWI knitting, even though I’m keeping it to 2 hours of research, just kept being too daunting, given all the work being done all over the world for others. However, I am determined to get 48 acts up in 48 weeks, so there may be some fudging of the technical “weeks” on the calendar while I push through my own discipline issues… Apologies to all you (k)nitpicky readers out there…

Anyhoo… here we go… WWI knitting! This was especially daunting because we all know that there was knitting for the troops in WWI. But, where do we go to look for more information? That seems to be the question on this topic. So, I’m linking to various archives and fonts of information here as the breadth is too much for 1 (or even 100) blog posts.




The “Grey Sock” pattern by Irene Victoria Read: Knitting for Victory: Transatlantic Propaganda in WWI & WWII




Volunteer work on the homefront: America During WWI and WWII

BoysKnittingWWI


Frenchbandages





A knitted garment of one kind or another takes on and transfers a certain energy from its maker to its wearer, I believe, and there’s something incredibly moving about the sort of touch that a homemade sweater or pair of socks permitted. From the hands of a wife, mother, grandmother, sweetheart, sister, or benevolent stranger to the body of a soldier, knitwear crossed the divide between home and battlefield.




Needlework and Knitting Instructions for First World War volunteers over on Scribd uploaded by the British Red Cross




The trenches of France and Belgium were muddy and constantly filled with water. As a result, soldiers were prone to a painful condition called Trench Foot. The only cure was for them to keep their feet dry and change their socks regularly. Soldiers in the trenches were supposed to have at least three pairs of socks and change them at least twice a day. Since hand knitting was time consuming, Associated Field Comforts began to supply knitting machines to people who would try to turn out from seventy-five to one hundred pairs a month. Assistance from the people of Hamilton was regularly acknowledged by the overseas contingent. In November 1915, 27,892 pairs of socks were sent to the Front from the city. By 1916 there were Four Canadian Divisions at the Front, resulting in a greater demand on the Association for socks. Various church clubs and volunteer groups began contributing to the output of Associated Field Comforts by supplying large quantities of knitted articles for the men overseas.




Aside from raising money, school children of both genders participated in knitting clubs to produce goods to send to the troops at the front. In order to make their patriotism known to their older countrymen, New York’s children also participated in patriotic parades and memorial services both during and after the war.




The “Knit Your Bit” poster you may very well be familiar with, but check out the other posters here related to WWI propaganda:


knityourbit





More info on Irene Read, and her “Grey Sock kit,” complete with teeny tiny photo of said sock kit!


grey sock kit





Soon after the war began, women and girls were knitting socks, scarves and balaclavas, for the soldiers. They knitted at home, on trams, in churches. When they ran out of knitting needles, they made new ones from bicycle spokes: when they ran out of dye, they used onion skins and wattle bark; when they ran out of wool, they learnt to spin their own.

– Jan Bassett


ladymayoresshelpers




warwork





There are also 2 older posts here about WWI and knitting, which you will find here and here.




This photo is probably the most fascinating… it’s an interned German doing macrame at Fort Douglas…


internedgerman





And in keeping with last week’s post about the Civil War and knitting, here’s a little bit from the wonderful book No Idle Hands: The Social History of American Knitting:

“At the sound of war, former Civil War knitters quickly surfaced. One eighty-eight-year-old who had accompanied her husband on Civil War assignments taught knitting to children in a Takoma Park, Maryland, church. Many still-spry United Daughters of the Confederacy who once knit for “Johnny Reb” now contributed over 600,000 knit articles for “Sammy.” Instead of gloves or stockings, a grandmother who proudly snapped on her Red Cross button “in place of her accustomed brooch” made “stump socks” to fit over amputated limbs. Seventy-two-year-old Mrs. Mitt Osgood, who lived on a Montana cattle ranch eighty miles from a railroad, knit 18 pairs of socks in twenty days and completed 120 pairs between February and September, 1918.”

Week #5 of 48 Weeks of Historical Craftivism, (American) Civil War Knitting!

Knitting for the troops is an idea that has been around for a long time. As such, I’ve decided to use 4 of the 48 weeks on knitting and war, the (American) Civil War, World War I, World War II, and the Vietnam War. While all efforts made similar things for soldiers, for each war there was a unique set of tools (some would say propaganda, depending) used to get the word out about the initiative. As these tools are not too widely known, I’d like to share them here, along with a number of accounts related to knitting for the war. Have any that I missed? Got a historical craftivist event that you’d like to write about? Get in touch either through the comments or through email.

Below are quotes (which take you to further reading material) and photos that I’ve found on the subject, in case you’d like to learn more.




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“South Carolina resident Mary Chesnut commented in her diary late in the summer of 1861, “I do not know when I have seen a woman without knitting in her hand.” In the North as well as in the South, knitting needles clicked incessantly during the Civil War years (1861-1865).

Although machine-knitted stockings were widely available, they were considered inferior to handknit stockings and wore out quickly from the rigors of long marches and insufficient washing.

The call for handknitted stockings went out throughout the country. Stories of soldiers going barefoot or suffering from blistered, swollen, and infected feet from wearing their boots without stockings spurred females young and old to take up their knitting needles.”




Savanna [GA] Republican, October 19, 1863
Socks for the Soldiers
By Carrie Bell Sinclair

Oh women of the sunny South
We want you in the field;
Not with a soldier’s uniform,
Nor sword, nor spear, nor shield;
But with a weapon quite as keen—
The knitting needle bright—
And willing hands to knit for those
Who for our country fight.
Then let the cry go far and near
And reach you every one—
Socks! socks are needed—send them on
For every gallant son!
Shall those who bear the Summer’s heat,
And Winter’s cold and rain,
Barefooted trudge o’er bleeding fields,
Our liberty to gain?
No! Georgia’s daughters will arise,
And answer to the call;
We’ll send you socks for our brave boys,
Some large, and others small.
With every stitch we’ll pray that God
Will shield each gallant form;
And while they fight with willing hands
We’ll work to keep them warm.
Our brave boys shall not bear alone
The burden of the day,
We’ll toil for them with willing hands,
And watch, and hope, and pray!
With useful hands to work at home,
And fighting men abroad,
We’ll conquer if we only place
A holy trust in God.
We cannot sit with idle hands,
And let our brave boys fight;
Not while the motto on each heart
Is Liberty and Right!
What though we cannot wield the sword,
We’re with you, hand and heart,
And every daughter of the South
Will bravely act her part.
We’re in the field—then send us thread,
As much as you can spare,
And socks we’ll furnish for our troops,
Yea, thousands through the year.
Ho for the knitting needle, then,
To work without delay.
Hurrah! we’ll try our best to knit
A pair of socks a day!




civil war knitting




From Knitting America, A Glorious Heritage From Warm Socks to High Art:

p. 46: In August 1861, a Virginia woman was the voice of many Confederate women during the early months of the war: “We are now very busy making clothes, knitting socks for the soldiers. Each lady proposes making one hundred garments – some are making mattresses, preparing bandages and knit nightshirts and comforts for the wounded – all are doing the most they can to add to the comforts of the soldiers.”

P. 48: “Knit socks, mittens, gloves, and scarves could also forge intimate links between knitters and soldiers, a link that, at times, helped a soldier survive. The father of Mrs. I. E. Doane walked for six months after he was released from a Yankee prison at the end of the war. After reaching his South Carolina home, he told her his own story about knitting: “a profitable little trading business he had developed while in prison. His initial stock consisted of some knit gloves, socks and other articles which his wife had sent him. It had been very cold that winter and these warm articles of clothing were in great demand.”




December 22-1863
Knitting the Socks.

The following lines were found in a bundle of socks, sent by a “Lively Old
Lady,” in Amherst, N.H., to the U.S. Hospital, corner of Broad and Cherry
streets, Philadelphia.

By the fireside, cosily seated,
With spectacles riding her nose,
The lively old lady is knitting
A wonderful pair of Hose.
She pities the shivering soldier,
Who is out in the pelting storm;
And busily plies her needles,
To keep him hearty and warm.

Her eyes are reading the embers,
But her heart is off to the War,
For she knows what those brave fellows
Are gallantly fighting for.
Her fingers as well as her fancy,
Are cheering them on their way;
Who under the good old banner,
Are saving their Country to-day.

She ponders how in her childhood,
Her Grandmother used to tell –
The story of barefoot soldiers,
Who fought so long and well.
And the men of the Revolution
Are nearer to her than us;
And that, perhaps, is the reason
Why she is toiling thus.

She cannot shoulder a musket,
Nor ride with Cavalry crew,
But nevertheless she is ready
To work for he boys who do.
And yet in “Official Dispatches,”
That come from the Army or Fleet,
Her feats may have never a notice,
Though ever so mighty the feet!

So prithee, proud owner of muscle,
Or purse-proud owner of stocks,
Don’t sneer at the labors of woman,
Or smile at her bundle of socks.
Her heart may be larger and braver
Than his who is tallest of all,
The work of her hand as important,
As cash that buys powder and ball.

And thus while her quiet performance
Is being recorded in rhyme,
The tools in her tremulous fingers
Are running a race with time.
Strange that four needles can form
A perfect triangular bound;
And equally strange that their antics
Result in perfecting the round.

And now, while beginning “to narrow,”
She thinks of the Maryland mud,
And wonders if ever the stocking
Will wade to the ancle in blood.
And now she is |”shaping the heel;”
And now she is ready “to bind;”
And hopes if the soldier is wounded,
It will never be from behind.

And now she is “raising the instep,”
Now “narrowing off at the toe,”
And prays that this end of the worsted
May never be turned to the foe.
She “gathers” the last of the stitches
As if a new laurel were won;
And placing the ball in the basket,
Announces the stocking as “done.”

Ye men who are fighting our battles,
Away from the comforts of life,
Who thot’fully muse by your campfires,
On sweetheart, or sister, or wife, –
Just think of their elders a little,
And pray for the grandmothers too,
Who, patiently sitting in corners,
Are knitting the stockings for you.

~ published, Tuesday, December 22, 1863
Republican Advocate, Batavia, Genesee County, N.Y.
*transcribed & submitted by Linda Schmidt




Besides instilling ideas of womanhood and religion in students, teachers also stressed patriotism. For example, George Washington’s birthday in 1862 was celebrated at Ohio Female College with fireworks, a balloon ascension, and the singing of national songs. Gilchrist happily wrote, “We were excused from the regular Saturday morning study hours and visiting was in order all day.”81 As the Civil War progressed, schools all over the country encouraged patriotism by organizing groups of students to aid the war effort by knitting, sewing, and performing benefits.82 At Ohio Female College, Gilchrist wrote, “The girls are making lint for the wounded soldiers now, just to think what it is for.”83




A pair of handknitted Civil War mittens up for auction:

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Unrelated, yet related:

“The Civil War surgeon could often be wounded or even killed. Hospitals sites were chosen close to the line and where water was available. Improvisation, particularly for the Confederate surgeon, was the name of the game. Hunter McGuire on the adaptability of the Confederate surgeon:

The pliant bark of a tree made for him a good tourniquet; the juice of the green persimmon, a styptic; a knitting needle, with it’s point sharply bent a tenaculum; and a pen knife, in his hand, a scalpel and bistoury. I have seen him break off one prong of a common table fork, bend the point of the other prong and with it elevate the bone in a depressed fracture of the skull and save life.”




“Wives, mothers, and sweethearts sent Christmas packages to their special loved ones; women’s organizations sent boxes filled with food, books, and clothing to companies and camps. Richmond resident Sallie B. Putnam wrote in her memoirs, Richmond during the Civil War, that the ladies of the Confederate capital diligently knitted socks, mittens, and scarves for soldiers. According to Putnam, antebellum Richmond had become so dependant on manufactured goods that most young women had not been taught to knit but gladly learned as their part in the war effort.”




[Little Rock] Arkansas True Democrat, July 25, 1861, p. 2, c, 3
An Appeal to the Women of Arkansas.

It has been wisely suggested by a contemporary that the patriotic women of the country should knit socks for the volunteers. In addition to this we beg leave to call the attention of the true hearted women of the country to
some other points.

There will be, if the war continues, a scarcity of blankets, woolen cloth, flannel, etc. These our soldiers will need. As regards blankets, each family can spare some. Those who stay at home can use counterpanes and comforts. The latter are easily and cheaply made, are warm and will supply the places of blankets in the house.—Let the ladies, or to use a better and nobler word, the women, set about making comforters for their beds, and be enabled to send blankets to the army. Except in cases of sickness, the use of blankets in the houses can be dispensed with. . . .



Week #4 of 48 Weeks of Historical Craftivism, Arpilleras

A few days late on this one, thanks to traveling, but here is week #4, about the arpilleras of Chile and the arpilleristas who made them.

dondeestan

During the reign of Augosto Pinochet (a dictator in power from 1973 to 1990) in Chile, men were disappearing and the government wouldn’t tell the people who were asking why. Women were allowed to go once a week to the local government office and ask, but no one would tell them anything. (According to some reports, during his time in power, over 3,000 people were killed and around 30,000 were tortured.)

Added to all of this was that people couldn’t talk to each other because they didn’t know who was supplying what information to the government. Under the safety of the church, the Archdiocese of Santiago, set up a human rights organization where women could come together and make tapestries about what was happening.

Folk lore has it that Peace Corps volunteers smuggled these tapestries out of the country (often with little pockets in the back containing paper with more information) and that is how the world found out about what Pinochet was doing.

Below is more information taken from various sources around the web. Clicking on the text and on the photos will take you to the initial source. As you will see, these pieces are still being made as people remember “the disappeared” (los desaparecidos).


Arpillera2

It began with a group of mothers, almost 14 mothers. They met in morgues, hospitals, former tribunals of justice, and realized that all the elements that were such an important part of Chilean society were closed. Completely vanished. And they sought help by contacting a newly developed organization that was a branch of the Catholic Church, called the Vicariate of Solidarity. The Chilean Catholic Church took a very courageous position towards the disappearances and abuses at the hands of the Pinochet government, very different than in Argentina or Guatemala. The more I think about this story, the more I believe that it’s a story of belief – belief, magic, and storytelling. The women that suffered the most, as we know throughout the stories that we see in the media, as we know through Katrina, were the disadvantaged. The poor. Poverty is also a punishment for authoritarian governments. These women were trained in the most traditional art of femaleness in Latin America, which was to sew, to embroider.


The colourful patchwork scenes make the arpilleras visually deceiving. Using a traditional form of folk art, they mix coded imagery with contemporary history. They depict the often tragic situations experienced by thousands of Chileans every day. These honest and sometimes brutal accounts provided future generations with a popular version of history, one that contradicted the official version depicting General Pinochet as the savior of Chilean democracy. The circulation of the arpilleras outside Chile brought this alternative history to the larger world.

Just as they went unrecognized as revolutionaries, the arpilleristas were also unrecognized as artists. This, along with the folk art appearance of their work, initially helped them remain under the military authorities’ radar. Exporting arpilleras became illegal once they were seen as anti-Chilean, but they continued to be smuggled out of the country.

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In this arpillera [above], Violeta Morales is outspoken about Chile’s infamous history of torture, which was long unknown in the wider world. As Co-ordinator of the group Sabastián Acevedo, which was primarily concerned with the issue of torture, she was relentless in ensuring that people everywhere were informed of the widespread use of torture in Chile. With other women, she founded the Folkloric Musical Ensemble of Relatives of the detained-disappeared, as: “…we also wished to sing our message of protest.”
Agosin, M., (2008)

Violeta Morales died in 2002, never having found her brother Newton, who disappeared in 1974.

(You can see more photos here, which are linked to more explanation regarding their creation.)


“The arpilleras were often made from clothing of the disappeared and the names of missing loved ones can be found on some pieces. Other sewn words and expressions were simple protests: DÏŒnde estás? Where are you? The censorship that characterized Chile under Pinochet’s dictatorship defeated written words that opposed his regime. The handwork of the arpilleristas testified for the oppressed and detailed the struggle for truth and justice despite the suppression of the military government.

Bold lines and colors relayed powerful messages depicted in folk-like scenes. An arpillera of a woman dancing signifies how women now performed the national dance La Cueca alone with the fate of their husbands unknown. Other images depict military violence, bloodshed and armed figures.

The arpilleras were made during clandestine meetings in dark basements or churches. The sewn testimonials of suffering were sold by the women so that their messages were released into the world and so they could feed their families.”





More reading:
*Roberta Bacic’s amazing online collection of arpilleras
*Prospectjournal.org: A Visual History of the Poor Under Pinochet
*Chilean Women’s Resistance in the Arpillera Movement


Week #3 of 48 Weeks of Historical Craftivism, Greenham Common Women’s Peace Camp

Welcome to Week 3 of 48 Weeks of Historical Craftivism! This week we have a lovely guest post by the lovely and amazing Sayraphim Lothian.

Craft Activism – the Greenham Common Women’s Peace Camp

Protesters ring the Greenham Common fence decorated with handmade banners and other items (date unknown)”
Protesters ring the Greenham Common fence decorated with handmade banners and other items (date unknown)”

On the 5th of September, 1981, the Welsh group Women for Life on Earth arrived at Greenham Common, an RAF Airbase in Berkshire, England. The group intended to challenge the decision to situate 96 Cruise nuclear missiles at the site, and presented the Base Commander with a letter requesting a debate on the topic. The letter stated, amongst other things, “We fear for the future of all our children and for the future of the living world which is the basis of all life”(1).

When their letter was ignored, they set up a Peace Camp just outside the fence. By 1982, the camp had become women only and with a strong feminist emphasis. In the following months and years thousands of women came to live and protest at the newly named Women’s Peace Camp(2), which now consisted of nine smaller camps at various gates around the base(3).

The women’s activism came in many forms, a considerable amount of it focused on the 9 mile fence that ringed the perimeter. In an interview with The New Statesman in 2007, the General Secretary for the Campaign for Nuclear Disarmament Kate Hudson recalls “…block[ing] the gates, pull[ing] down parts of the fence, danc[ing] on the missile silos, and creatively express[ing] our opposition to the missiles.(4)”

In the camps between raids on the base, the women spent time making banners and weaving words, symbols and items such as toys and children’s clothing, into the fence(5). The banners were created both to hang on the fence and hold in protest marches that happened regularly around the perimeter. One of the most prolific banner makers was Thalia Campbell, who started making banners to address the stereotype of the Greenham Common women.

I did decide that I was an artist and I could have been one more body around the fire but I thought ‘no’, and we were so vilified… people did think we were dirty slags, lesbians, bad mothers and all this kind of stuff, like, like they vilified the suffragettes in the early days, but the vilification was so untrue I thought we had to counter it, so that’s why I started making my banners really, to sort of use beauty and humour to put our point across, because that vilification… So that’s why I made all the banners really and to tell the story… I used to go up and put them on the fence and gradually this became a great big display on the fence.(6)

image2

As well as banners protesting nuclear weapons, other banners (such as the one above) were created to show where the women were from, to show the media and the world that this was not a local issue.

The fence was also the focus of activism through weaving. Alongside toys and children’s clothes, which acted as signifiers of women’s ongoing everyday lived experience, in opposition to the destructive patriarchal threat within, and outside, the base(7), words, slogans and symbols such as peace signs, doves and rainbows were also often incorporated into the chain links.

image3

A protester remembers there was a lot of weaving things in the perimeter fence – rainbows, kid art, … the whole perimeter fence was very gorgeous. There were a lot of spiderwebs in the art. Spiderwebs were a big theme – I suppose the theme of weaving something, surrounding something(8). Another theory as to why the weaving of the webs was that “Before the world wide web connected people across the world, women at Greenham used the metaphor of a spiders web to imagine global connections between peace activists.(9)”

The webs often extended out to entangle the surrounding trees, the protesters themselves and the workmen and machinery that were sent in to remove them. A subcontractor who had driven his bulldozer in to remove a tree house stated in court “… the girls got in front of the machine. They stood there and a couple walked round [the bulldozer] with woollen string, going round and round with it…(10)” When the women were arrested and taken to court, some used the time to make webs there for installation later back at the camp(11).

The weaving was so important that mention of it made it’s way into protest songs, which were composed at the camp or modified from older songs and sung during protests, court hearings, while in prison or at home in the camp. We are the flow and we are the ebb and I am the weaver both appear in the Greenham Common Women’s Peace Camp Songbook, handwritten in 1983, photocopied in batches and sold to raise funds(12).

We are the flow
and we are the Ebb
We are the weavers
We are the web(13)

In 1981, at the very start of the Peace Camp, the women adopted the dragon as their symbol(14), explaining on a 1983 photocopied invitation that “The word ‘dragon’ derives from a word meaning ‘to see clearly’. She is a very old and powerful life symbol.” The invitation was to participate in The Full Moon in June Dragon Festival, where women were invited to feast and create a Rainbow Dragon together. Invitation 1 reads in part: At USAF Greenham Common, Newbury, Berkshire on the 25th June, a Rainbow Dragon will be born by joining the creative work of thousands of women… Women are making pieces of patchwork, banners, cloth paintings to join into the Rainbow Dragon for the future(15).

Three other invitations were also produced, the second of which invites women to “Dress up if you want – wear the colours of fire – make smaller dragons… believe in yourselves and know that our positive, creative energy will change the world.(16)” The visitors to Greenham that day bought patches and material from home and from women who couldn’t make it to the camp. Over the course of the day they helped sew together a 9 mile Rainbow Dragon, which then encircled the fence.

The Rainbow Dragon at Greenham Common, 1983
The Rainbow Dragon at Greenham Common, 1983

The Rainbow Dragon at Greenham Common, 1983
The Rainbow Dragon at Greenham Common, 1983
The Rainbow Dragon at Greenham Common, 1983
The Rainbow Dragon at Greenham Common, 1983

The Rainbow Dragon at Greenham Common, 1983
The Rainbow Dragon at Greenham Common, 1983

An article in an undated Greenham Common newsletter talks about the Rainbow Serpent from Aboriginal mythology and emphasises it as a:

‘universally-respected divinity’, a guardian of humanity, and a metaphor for menstrual cycles, and as such an important symbol for Greenham Common Peace Camp women … The Rainbow Serpent also represented ‘the dragon [that was] slaughtered by some patriarchal hero who established the present world order from which we are still suffering’. However, as a phoenix from the ashes, the dragon… is stirring from her sleep allowing, ‘the Australian Aboriginals and the American Indians, together with traditional people and women everywhere [to have] the last word(17)’

The dragon was clearly a powerful symbol for the women to create together and surround the base with and it’s nine mile length showed the world that many voices were joined as one to protest the nuclear weapons being held behind the fence.

Living conditions were primitive at Greenham Common. Living outside in all kinds of weather especially in the winter and rainy seasons was testing. Without electricity, telephone, running water etc, frequent evictions and vigilante attacks, life was difficult. In spite of the conditions women, from many parts of the UK and abroad, came to spend time at the camp to be part of the resistance to nuclear weapons(18). But the women made their protest heard, all around the world, with interventions, songs, marches, banners, costumes and craft based installations.

Ultimately, in 1991, the nuclear weapons were removed after US President Ronald Reagan and Soviet leader Mikhail Gorbachev signed the Intermediate-Range Nuclear Forces Treaty, which meant that the cruise missiles were taken back to America(19). The camp and the women remained for another nine years, as part of a protest against the UK Trident program, which is the ongoing operation of the current generation of British nuclear weapons(20) before leaving for the last time in 2000.

A Thalia Campbell banner on the Greenham fence (date unknown)
A Thalia Campbell banner on the Greenham fence (date unknown)

(1) Hipperson, Sarah (n.d.) Greenham Common Women’s Peace Camp 1981 – 2000 [Accessed 13 September 2013]
(2)Hudson, Kate, 2013 ‘Remembering Greenham Common’ The New Statesman [Accessed 13 September 2013]
(3)‘Greenham Common Women’s Peace Camp (n.d.) Wikipedia [Accessed 15 September 2013]
(4)Hudson, Kate, 2013 ‘Remembering Greenham Common’ The New Statesman
(5)Eiseman-Renyard, Hannah, 2011 ‘Revolting Women: Greenham Common’ Bad Reputation: A Feminist Pop Culture Adventure [Accessed 17 September 2013]
(6)The Peace Museum, 2009 Thalia Campbell – Greenham Common protester and banner maker [Accessed 12 September 2013]
(7)Welch, Christina (n.d.) ‘Spirituality and Social Change at Greenham Common Peace Camp’ Journal for Faith, Spirituality and Social Change. Vol.1:1 [Accessed 08 September 2013]
(8)Eiseman-Renyard, Hannah, 2011 ‘Revolting Women: Greenham Common’ Bad Reputation: A Feminist Pop Culture Adventure
(9)Feminist Archive South, 2013 Greenham Materials
[Accessed 12 September 2013]
(10)Harford, Barbara and Hopkins, Sarah (eds)1984 Greenham Common: Women at the Wire London: The Women’s Press p48
(11)Ibid p47
(12)Greenham Women are Everywhere songs (n.d) [Accessed 13 September 2013] p 1
(13)The Danish Peace Academy, 2009 Greenham Common Women’s Peace Camp Songbook [Accessed 12 September 2013]
(14)The National Archives (n.d.) Records of Greenham Common Women’s Peace Camp (Yellow Gate) : Press cuttings 5GCW/E/1 Nov 1981 – Oct 1983 [Accessed 16 September 2013]
(15)The Danish Peace Academy, 2009 Greenham Common Women’s Peace Camp Songbook : A Day in December 82 [Accessed 12 September 2013]
(16)The Danish Peace Academy, 2009 Greenham Common Women’s Peace Camp Songbook : A Day in December 82..
(17)Welch, Christina (n.d.) ‘Spirituality and Social Change at Greenham Common Peace Camp’ Journal for Faith, Spirituality and Social Change
(18)Hipperson, Sarah (n.d.) Greenham Common Women’s Peace Camp 1981 – 2000


    More resources:

Combomphotos, 1983 Aldermaston-Greenham Common peace chain 01-04-1983 04 [Accessed 19 September 2013]

For anyone over 30, the words “Greenham Common” mean two things: cruise missiles and the women’s peace camps of the mid-Eighties (n.d.) [Accessed 19 September 2013]

Levit, Briar (n.d.) Greenham [Accessed 19 September 2013]