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Suffragette Embroidered Cloths Worked in Holloway Prison, 1911 Title Embroidering and the Body Under Threat: Suffragette Embroidered Cloths Worked in Holloway Prison, 1911- 1 9 1 2 Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/16362/ Dat e 2 0 2 0 Citation Jones, Denise (2020) Embroidering and the Body Under Threat: Suffragette Embroidered Cloths Worked in Holloway Prison, 1911-1912. PhD thesis, University of the Creative Arts. Cr e a to rs Jones, Denise Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Embroidering and the Body Under Threat: Suffragette Embroidered Cloths Worked in Holloway Prison, 1911-1912 By Denise Jones Thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy (PhD) University for the Creative Arts, Farnham University of the Arts, London June 2020 (Word count 53,251) 1 Abstract: Between 1911 and 1912 hundreds of suffragettes were incarcerated in Holloway Prison for participating in the window breaking campaign. Denied political status, some suffragettes used the hunger strike as a political tool and were forcibly fed. Whilst in prison some of the women hand-embroidered small, intimately scaled cloths. This research asks why, in cramped, isolated and physically threatening circumstances did the women choose to embroider through cloth? By approaching the artefacts as material objects and through a material practice, a new epistemic space is examined, where a more textured understanding of the experiences of suffragettes under threat and a reconfiguration of what it means to embroider can ensue. By focusing on the practice of embroidering as the basis for the study and grounded in the ontology of ‘New Materialism’, this research positions the significance of the matter of the body, thread and cloth and the material process of embroidering, in the representation and making of knowledge. The research contends that embroidering is an embodied practice, which articulates the thinking-feeling body beyond and in excess of symbolic language and visual imagery. Underpinned with the psychoanalytical writings of Didier Anzieu and Nicola Diamond, cloth is asserted as a projected ‘cloth-skin-body’ where the embroidering thread can negotiate the formation and repair of the self and engender thinking. In addition, the study probes how the tactile and material act of embroidering by suffragettes was a subversive, dangerous and micro, proto-political practice. The research has been carried out through the creation of a body of hand-embroidered textiles for exhibition and through archival and theoretical investigation. The submission takes the form of a public exhibition of the textiles and a written thesis that also includes a full visual record of the textile works. Keywords: embroidering suffragette material practice skin body politics imprisonment 2 Contents Abstract 2 Acknowledgements 5 Author’s declaration 6 Note on Abbreviations 7 Introduction 8 1. Literature Review and Review of Work by Creative Practitioners 23 1.1. Literature Review 23 1.2. Review of Work by Creative Practitioners 27 Embroidery and women’s suffrage 27 Embroidery and activism 29 Embroidery and imprisonment 30 Embroidery as autobiography 35 Cloth, thread, embroidery and the presence of the body 39 Cloth, thread, embroidery and ‘in-between-ness’ 45 2. Methodology and Methods 49 2.1. Methodology 49 2.2. Methods 54 Material object enquiry in historical research 55 Practice as research 59 Primary and secondary historical research 62 3. ‘In a Language They Understand’: Bodies Under Threat 63 3.1. Embroidery in the Early Twentieth Century 66 Suffrage embroidery 69 3.2. Pushing for the Vote 73 Towards militancy 74 3.3. The Body Politic Under Threat 77 3.4. Suffragette Bodies Under Threat 81 The battle for symbolic representation 81 Physical ‘manhandling’ 86 Black Friday 87 Breaking windows not bodies 91 3.5. Inside Prison 95 The anomalous ‘political’ status 114 3.6. Hunger Striking and Forcible Feeding 117 3.7. Small Acts of Refusal 123 3 4. Embroidering the ‘Cloth-Skin-Body’ 139 4.1. Theories of the Body 140 Avoiding dualisms 140 Embodiment 142 Inter-corporeal and affective 144 4.2. Skin 147 The importance of touch 150 An expansive model of the skin-body 156 Allowing for difference and multiplicity 159 4.3. Skin in Psychoanalysis 162 Acquiring a skin ego 163 Mapping the foundations for security and safety 165 4.4. From Skin to Cloth: ‘Cloth-Skin-Body’ 167 Psychical cloth-skin 172 4.5. Processing Experience 174 Embroidering as ‘language’ 177 5. ‘In-Between’: Embroidering as a Subversive, Political and Dangerous Practice 182 5.1. Towards the Political 182 5.2. Towards the Material-Political 185 The emergence of a public and the demos 189 5.3. ‘In-between’ 193 5.4. Resistant, Emergent and Contingent 196 5.5. A Politics of Touch, Movement and Affect 197 5.6. Boundary Crossing, Powers and Dangers 203 Conclusion 210 List of Illustrations 212 Bibliography 218 Appendix I Record of Practice 240 Appendix II Suffragette Names (as listed on the embroideries) 243 Appendix III Biographical Details 246 4 Acknowledgements I would especially like to thank my supervisors Victoria Kelley and Lesley Millar for their support and guidance throughout the research and UCA for making the research into embroidery and embroidering possible. I would also like to thank Beverley Cook at the Museum of London, Gillian Murphy at the Women’s Library, LSE, Antony Smith at the Priest House Museum, East Sussex, Filip Bloem at the Versetzmuseum, Amsterdam and my fellow postgraduates and all the staff at the Research Office in Farnham for their help. My thanks go to Ruth Thomas and Hilary Neilson for many stimulating discussions about the subject matter, my friends for their encouragement and Mark, Sam, Oliver and Rupert for their forbearance and support. 5 Author’s declaration I declare that the research contained in this thesis, unless otherwise formally indicated within the text, is the original work of the author. The thesis has not been submitted to this or any other university for a degree, and does not incorporate any material already submitted for a degree. Signed: Denise Jones Dated: 24/06/2020 6 Abbreviations ALC Autograph Letter Collection HO Home Office ILP Independent Labour Party LSE London School of Economics and Political Science MoL Museum of London NPG National Portrait Gallery NUWSS National Union of Women’s Suffrage Societies PCOM Prison Commission RSN Royal School of Needlework SFC Suffragette Fellowship Collection TNL The National Archives TWL The Women’s Library (London) WSPU Women’s Social and Political Union WFL Women’s Freedom League 7 Introduction You might send me some easy embrodiary [sic]. Not traced so that I can invent the pattern myself… (Gliddon, 1912: TWL.7/KGG/2/1) On 4th March 1912, Katie Gliddon, an artist, teacher and suffragette from Croydon wrote to her mother from Holloway Prison asking for her embroidery to be sent to her. She had been sentenced to two months’ hard labour for causing ‘wilful damage’ to property having broken two plate glass windows, valued at £4.00, in Wimpole Street Post Office, London. She wrote to her mother, ‘It really was about a 4/- [four shillings] window I should imagine. I expect we shall get about 5 days.’ After her sentencing she wrote home again, ‘We are all in for two months hard. Ten of us, all small Government post office smashers’ (Gliddon, 1912: TWL.7KGG/2/1). Gliddon was one of hundreds of women involved in the window breaking campaign of 1911-1912 orchestrated by the Women’s Social and Political Union (WSPU), the organisation associated with the suffragettes and their position of militancy in order to gain the vote for women. The Daily Mail created the term ‘suffragette’ in January 1906 to distinguish WSPU actions from those of the more constitutional ‘suffragists’ (The Daily Mail, 10/01/06: 3). The WSPU leader Emmeline Pankhurst advocated ‘Deeds, not Words’ as the motto of the Union. For Gliddon, arrested with ‘300 or 400 of the best women in the world’, the extensive window breaking campaign marked a radical turn in suffragette action, one which she believed may be ‘the last protest ever necessary, so thank goodness, I am in it’ (Gliddon, 1912: TWL.7/KGG/2/1). In fact, more darkly for suffragettes, it marked the beginning of more destructive attacks on property by arson and bombing and the prolonged use of the hunger strike as a political tool in prison. Days after her arrest Gliddon wrote to her mother requesting that her embroidery might be sent to her in Holloway. She later transcribed and inadvertently altered the 8 word ‘embroidery’, to read as ‘embrodiary’. Unwittingly, Gliddon made a link between embroidery and self-documentation, and more than that, referred to inventing a new embroidery pattern. She did not want to embroider over pre-inscribed tracings already laid out for her to follow but to invent the pattern herself. Fig. 1 Katie Gliddon (s.d.) Gliddon kept a secret prison diary written inside a copy of The Poetical Works of Percy Bysshe Shelley (1908) that she had smuggled into her cell (Gliddon, 1912: TWL.7KGG/1/1). In this rare diary comment was made on life as it was lived, on life as a process.1 The Gliddon diary and the prison embroideries of this study record with immediacy and in micro detail the unfolding of events and the lived experiences of Gliddon and other suffragettes in prison between 1911 and 1912. The embroideries and the experiences of the women are local, grounded and situated in this particular time frame.2 1 Anne Schwan refers to the diary in this vein (Schwan, 2014: 155).
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