HISTORYMATTERS

explores Pankhurst family life before The March of the foundation of the WSPU. Although Richard and are the Women presented as being actively involved in A BBC drama from 1974 socialist politics, the focus is on ’s highlights the tensions in relationship with her idolised father, a radical lawyer. She alone is the serious writing feminist history. child in the family, who stays with him June Purvis when he is campaigning. The impor- tance of the scene where Emmeline and IT IS 40 YEARS since Shoulder to some local socialist women establish Shoulder, a six-part BBC TV drama series the women-only WSPU in 1903 is about the of the Women’s almost incidental. Although Emmeline is Social and Political Union (WSPU), was introduced, all too briefly, as an inspiring first screened. Devised by the feminist leader, the movement is film-maker, Midge McKenzie, together Shoulder to authorities claimed it to be. seen through the eyes of the unhappy with Verity Lambert and Georgia Brown, Shoulder: Siân Central to the story are the two Sylvia, angry socialist, rejected daughter. Phillips plays the aim was to tell the story from the main leaders of the WSPU, Emmeline The aim of the WSPU was never Emmeline suffragette point of view, which, it Pankhurst in the Pankhurst (Siân Phillips), its founder and just votes for women: it wanted wider was felt, had been almost erased from BBC drama. inspirational figurehead, and Christabel social reforms that would end women’s the history books. To do so, McKenzie (Patricia Quinn), her eldest daughter subordinate role within the family, edu- interviewed aged suffragettes and also and the WSPU’s chief organiser and cation and employment, as well as their immersed herself in the archives. key strategist. But their presence is exclusion from large areas of public life. offers a sympa- overshadowed by Sylvia (Angela Down), But none of this features in Shoulder thetic overview of suffragette deeds the middle Pankhurst daughter, who to Shoulder. It is only Sylvia among – from peaceful demonstrations to was not a key figure in the WSPU but the Pankhursts who is presented as Parliament and assertive questioning a leader, from 1913, of its East London wanting a social revolution that would of politicians, to illegal forms of protest, branch. bring equality for women, a theme par- especially from 1912, when assaults on A socialist feminist, Sylvia’s views ticularly evident in the final episode. property, arson attacks, vandalising of were often at odds with those of When in 1918 enfranchisement is postboxes and the smashing of shop Emmeline and Christabel, who kept the won for certain categories of women windows in London’s West End were WSPU independent of men’s political over the age of 30, the focus is again on carried out. The enthusiasm of the movements, at least at the central level, Sylvia. It is she and her working-class women is captured as they campaigned and emphasised the commonalities women in the East End of London who for their cause, as well as the disappoint- have won this victory. Yet it was Em- ments when hopes were dashed by the The aim of the WSPU was never meline, not Sylvia, who inspired thou- Liberal government of the day. The anti- sands of women to fight for votes for suffragist prejudices of Prime Minister just votes for women: it wanted women in a women-only movement Herbert Asquith are exposed, as is the wider social reforms unparalleled in British history. It was she cynical dealing of the Chancellor of the who shaped a new idea of womanhood, Exchequer, David Lloyd George. The that all women shared, despite their shaking society into a new pattern that series does not shirk from showing the class differences. Sylvia, on the other could not be reversed. So why does violence inflicted upon the women by hand, wanted to ally the WSPU to the Shoulder to Shoulder focus on Sylvia? the police. Labour movement. Further, her sibling It is a product of its time. One of the most harrowing scenes rivalry with Christabel, their mother’s McKenzie and her associates took shows the forcible feeding of hun- favourite child, is apparent throughout ’s autobiography, The ger-striking prisoner Emily Wilding the drama. The charismatic Emmeline is Suffragette Movement, as their key text. Davison. Held down on a bed by war- portrayed as a weak leader who defers This was in tune with feminist history dresses, an unsuccessful attempt is made to Christabel and leads the WSPU away in the UK at the time. Both Shoulder to to force open her mouth, causing cuts from the path of socialism. She is also Shoulder and The Suffragette Movement to the lips. A rubber tube is then thrust depicted as a bad mother who neglects raise important questions about how up her nose which begins to bleed as her less favoured children, Harry, Adela the is written and, in the lining is lacerated. The overpowering and Sylvia herself. particular, how feminist daughters and physical force with which the operation The six plays that make up Shoul- sisters represent their feminist mothers, is conducted makes forcible feeding, der to Shoulder follow this plot to who are public figures, and each other. with its instrumental invasion of the varying degrees. In particular, the first body, seem more akin to rape than the and last episodes frame the drama. June Purvis is Professor of Women’s and Gender ‘ordinary hospital treatment’ that the The opening play, ‘The Pankhursts’, History at the University of Portsmouth

NOVEMBER 2014 HISTORY TODAY 5