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Procession 2018 and a Brighton Banner ‘Let us go then, and make banners as required, and let them all be beautiful.’ Mary Lowndes, Banner & Banner-Making 1909 Mary Lowndes (1856-1929) originally a very successful stained glass artist founded the Artists’ Suffrage League (ASL) to further the cause of women’s suffrage by enrolling the help of many accomplished artists, mostly women, to bring “in an attractive manner before the public eye the long continued demand for the vote”. The ASL worked with the constitutional National Union of Women’s Suffrage Societies (NUWSS) to produce eye-catching banners, posters, leaflets, calendars, cartoons, Christmas cards and postcards. The Women’s library at the LSE in London has a wonderful collection related to the women’s suffrage movement and a design book of banners created by Mary Lowndes for a major parade through the streets of London in June 1908. Attempts had been made since 1832 to create legislation that gave women the vote, however, it was not until 1866 that the first Woman’s Suffrage Committee was formed by Barbara Bodichon (1827-91) and it was much later in 1907, with the creation of the ASL that campaign material shifted its reliance upon words to the power of the visual image. Mary was commissioned by the NUWSS to design over 70 banners for the procession on the 13th June 1908. Organisers hoped that the demonstration, which culminated with 10,000 women at the Royal Albert Hall, would be a rally for all suffrage societies around the country. To that ends Mary created swatches to guide the makers and painted watercolour designs that captured the essence of a place, incorporating well known symbols with a modern flair and striking contrasts of colour. Although Emmeline Pethick-Lawrence is credited with creating the ‘Votes for Women’ colour scheme (white for purity, green for hope and purple to represent dignity and loyalty) Mary Lowndes used her skills in stained glass to combine other bright colours such as orange, magenta and blue with the suffragette palette. Mary’s bold hues, perhaps also influenced by the Arts and Crafts movement made the stunning designs for the regional banners, local assemblies, professions and famous women of history really stand out. The 2018 London Procession on June 10th which celebrated the centenary of the Women’s Vote had over 30,000 women from numerous groups walk from Hyde Park to Westminster; Brighton’s Network of International Women proudly carried a Brighton banner, recreated from Mary Lowndes’ 110 year old design held at the LSE library. As a group we sewed, appliqued and embroidered, working together with new and recycled textiles to carry a banner that recalled the brave and passionate suffragettes who marched before us, using old symbols with a new twist, just as Mary Lowndes and her fellow companions had done. Included in the 'Illuminate' presentation to the council at Brighton library, on behalf of the Network of International Women, 23rd June 2018 Further information about Mary Lowndes' designs: https://artsandculture.google.com/exhibit/WgLSU4yA_bcqLA The Women's Library Collection at the LSE, London: https://www.youtube.com/watch?v=mQdgtKNQXdQ Illuminate tapestry presentation on 23rd June 2018: https://www.urbanandeden.com/blog/illuminate-tapestry-and-the-network-of-international-women

This was the first event in a new monthly series of talks, Q&A and networking committed to helping artists, creatives, crafters and designers with a passion to discover methods that help work towards a more sustainable society, the event was also streamed live online. The talk concentrated on natural dyes and the modern day practitioner’s use of past methods of extracting dyes from plants for art and textiles. Alessandra the editor of the wonderful No Serial Number magazine opened with a reiteration that making can become an act of resistance, they want to encourage business and design that solves environmental problems as part of the artisan's processes and practice. Lara Mantell, a textile designer specialising in fabric screen printing, introduced their CERES project, which has combined interests in plant colour dying processes for both paper and fabric. “For the past two years they have shared their experiments and knowledge and worked together delivering natural dye and print workshops at Kew textile designer specialising in screen printing onto fabric.” Zoë Burt, artist, designer and lecturer at Morley College, gave us an insight into her natural colour learning process and some of the many helpful contacts she had found along the way. Zoë began with some of her inspirational craft people, such as Ethel Mairet (1872 – 1952) who was a weaver and dyer and influential in the 20th century craft revival. As Zoë developed her techniques she also followed a course at Plumpton College with Sue Craig who worked alongside Jenny Dyer (I checked the course is no longer available at Plumpton, but Zoë did recommend Justine Aldersey-Williams who hosts online dye courses and face to face workshops). The renewed interest in natural dyes can be seen in many ways, for example, at the V&A people were fascinated in the natural dyes from pomegranate rinds that were employed in the Fabric of India exhibition. The Ditchling Art and Craft Museum had many visitors to their exhibition about Ethel Mairet's old dye recipes. Emma Neuberg has developed a 'Slow Textiles' group, Teresinha Roberts, a biologist and embroiderer has a blooming natural dye plant business called 'Wild Colours' and The London Textile Fair (18th &19th July 2018) will include sustainable Future Fabrics. Other helpful resources: A new book 'Botanical Dyes' by Bebs Behan (it is very clear, I now have a copy), 'The Wild Dyer' by Abigail Booth and an upcoming course with Zoë at RHS Hyde Hall, 28th July. The next No Serial Number meeting will be at the same place, the R.A.W. Lab, just a 5-minute walk from Gallions Reach DLR station, London, E16 2QJ on the last Thursday in June, well worth a visit and their next magazine, the summer edition will be available in print to buy or subscribe to as co-founder Francesca (subscriptions) will also be there at the next event: https://www.eventbrite.com/e/exploring-eco-friendly-design-tickets-46841222357 Useful Links: No Serial Number: https://noserialnumber.org/ Zoë's day course in July 2018: http://zoeburt.com/2018/02/21/royal-horticultural-society-natural-dyeing-with-kitchen-botanics/ Zoë at Morley College: https://www.morleycollege.ac.uk/about/team/983-zoe-burt Jenny Dean: http://www.jennydean.co.uk/workshop-at-plumpton-college/ Justine Aldersey-Williams online certified dyeing course: https://naturalfabricdyeing.com/ V&A Fabric of India: http://www.vam.ac.uk/content/exhibitions/the-fabric-of-india/about-the-exhibition/ Ethel Mairet's natural dyes exhibition at Ditchling Craft Museum: http://www.ditchlingmuseumartcraft.org.uk/naturaldyeproject/ Emma Neuberg Slow Textiles: https://slowtextilesgroup.com/category/dr-emma-neuberg/ Teresinha Roberts: http://www.wildcolours.co.uk/html/about_us.html

Towards the end of last year, a poem I had just written was added to the Maps and Lives project at the Phoenix Art Centre in Brighton. Little did I know as I completed the poem, on a windy Brighton pier looking towards Kemptown, that the enormous wealth that had built many of the grander buildings in the area came from the slave trade - currently refugees are being housed there. It made my short poem resonate as I placed it onto the map, near the pier drawn on the art gallery floor, between the slave trade information and current refugee accounts. When I returned a week later to see how the project had progressed a group of little pebbles had been placed under my poem: Pebble with a Cause Secretly tucked away in an everyday pocket deeply hidden the pebble smooth and reassuring held with memories in my hand as calming as the lines of poetry walking me to a restful land. Then grasped in a moment, like shingle spilling, crashing with the tide, verses splash with many colours their power lifts my soul into the wind, call of the wild. Without prejudice they speak to all who feel them, their words are blind and so is love. Writers write “Open your eyes! Tenderness and empathy come alive, weave your way through clouds and skies, blow wind blow." Angels smile and ink drops fall like summer rain in the desert. Michelle, November 2017 Further info: https://www.phoenixbrighton.org/events/maps-and-lives/

Last week while in Newcastle I was fortunate to be able to attend a workshop for the Crossings Poetry Festival led by Sinéad Morrissey. The festival was an exploration of crossings between language and cultures, music and art through poetry and the fusion of the written word in multi-genre performances. It was recognised that these crossings stood in contrast to the increasing barriers and borders found in current political rhetoric. In the workshop as well as outlining other poetic responses to the art of Sean Scully (a master at post-minimalist abstraction who studied at Newcastle University), Sinéad also read 'Pigment', a poem by Sasha Dugdale which journeys through relationships with colour. Emma Holliday, the festival's artist in residence had prepared boards for us with 4 primary colours, Emma also described the mixing of the acrylic paints to make secondary colours for any who hadn't mixed colours. We were then asked to write and paint in response to the reading, it was an easy process as everyone else on the course was supportive of each others comments and questions. Here is my word-colour poem in response:  ‘I always go to the light blue and dare to dream. Sunburst yellow chases the long shadows and burnt orange flares in the face of melancholy, while grey-green sagely comforts, as if caressed by the bark of an old tree. The timeless pattern holds on, cracked under fingers, a living Sashiko - indigo gently wrap around my thoughts. I’m potted, new feelings spring like blades of lime green. Refreshed, like a sea breeze I meet violet, intense and cherished. I lift my eyes to the heavens, soaring, winged silhouettes of bronze and teal smile with their gifts. Now the folding to sleep, dark blue, midnight blue, humming ultramarine, peacefully longing for a drop of white. I dare to dream in light blue, radiant light.’ Is this poem allegorical, perhaps... it felt like a meditative process and allowed me to dig deep into my love of colour, a helpful stimulus to both writing and painting, especially when the paint brush or pen just don't seem to function, perhaps you can give it a try too. More information on the Crossings Poetry Festival: https://www.newcastlepoetryfestival.co.uk/about-the-festival/ Further info on Emma Holliday: www.emmaholliday.co.uk/

Another lovely find when visiting Edinburgh last week, I was so happy to come across the purpose built library in Edinburgh old town not far from the Holyrood Scottish Parliament. The library is only one of three poetry libraries in the UK and it "is the only poetry house in the world to have an extensive lending library at its core." The receptionist saw that I was rather taken aback at the amazing resources publically available and was very happy to help, allowing me to take photos and short videos. The library is housed over two floors with an audio section upstairs and a balcony for better weather study. There was a bright children's section and on the shelves they had a selection of publications for Earth Day (22nd April), recent acquisitions, recommendations, new Scottish poetry, anthologies and alphabetically arranged shelving for poets, national and international. As well as a well stocked shop full of literary gifts. The Poetry library's mission comes with a conviction that poetry can enrich peoples lives with innovative artistic collaborations and other writers and researchers can delve into history with expertise on hand to help them, they also hold workshops and readings. The highlighted books offered gems to the writers resistance, I was uplifted to see the book 'Resist Much Obey Little - Inaugural poems to the resistance' on display. It was complied in two months from the day of Trump's election and was ready just after his inauguration. The compilation of 350 international poets and writers was put together by 20 editors working flat out to produce the 'emergency' work: In the preface: "That emergency was triggered, of course, by a brute and very "non-alternative" , one which masses of people around the globe are still struggling to fathom: that a racist, misogynist, bullying charlatan has succeeded in snake-oiling his way to supreme power by manipulating the fears and despairs of a substantial minority of the American electorate." The back of the book had a wonderful quote: “Poets are summoned to a stronger imagination of language and humanity in a time of new and radical weathers. White House Inc. is the last gasp of the dying Confederacy, but its spectacle is dangerous and addictive so hold onto your mind. Fascism loves distraction. Keep the world safe for poetry. Open the book of love and resistance. Don’t’ tarry.” - Anne Waldman Extreme politics and Fascism is not just an over the water problem, none of us should be distracted or dawdle in acceptance of extremes as the 'norm'. Write your piece - in peace, Michelle Scottish Poetry Library: http://www.scottishpoetrylibrary.org.uk/about/our-story

This wonderful studio was a happy find on a very brief visit to Edinburgh this week, the weaving takes place in a former Victorian public swimming pool, that was converted over a 2 year period. Along one of the balconies there was an exhibition to celebrate 10 years of tapestry weaving in the Infirmary Street Baths, photos of the restoration process and shared memories of those who attended the baths brought back my memories of Victorian public swimming baths I also attended as a child. Downstairs in the large exhibition hall we could see 'Voyage' by Garry Fabian Miller, using the craft ethos within digital printing with research into the colour of shared images in both tapestry and print, the colours were intense with an insight into the perception and selection of colour in both mediums. More info: https://dovecotstudios.com/programme/garry-fabian-miller-voyage/ The studios carry a century of weaving heritage but are filled with contemporary explorations into design and colour with yarn and craft, definitely worth a visit if you enjoy working with wool and colour. I timeline snapshot: https://dovecotstudios.com/tapestry-studio/timeline/

Last Sunday, when we had a brief spell of glorious weather, Beth Nicholls from Team Pollinate (University Sussex), came to the BHOGG allotment to show volunteers how to sample pollinator visits and give us information about common our insect visitors. Team pollinate are gathering pollinator and harvest data about grown your own produce on allotments and gardens in around Brighton and Hove (East Sussex, UK), this is the second year of their research. I also signed up to help gather data for the project, although I don't have a personal allotment plot I am going to try collecting data using crops in veg trugs on a slightly shaded urban patio. Urban growing should be an important part of our food system, as yet this source of food still has to bloom. More information about Team Pollinate: https://www.teampollinate.co.uk/

In February, I had a beautiful, frosty, early morning walk along the banks of the Thames to Hampton Court, to take a one day class in 'An introduction to Machine Embroidery' with the very talented Caroline Homfray. Once inside I gathered with other students for our various needlework courses. We were met by representatives of the Royal School of Needlework (RSN) and here we are (some of us bringing along our own sewing machines too) walking past the Royal Chapel towards the East Gate, to reach the RSN teaching rooms. From the third floor there were some uplifting views of The Lime Walk and The Broad Walk: The atmosphere was rich with the echoes of time and creativity, Caroline deftly showed us how to get to grips with the sewing machine for free-style embroidery using a free-style foot with the bottom guide teeth (feed dogs) lowered. I placed bits of used thread between dissolvable fabric and followed a template (as best I could) with brightly coloured thread to make a circular pattern embroidered with simple shapes. The light, opaque material could be placed in cold water to make it dissolve, leaving an embroidered web of shapes that I hoped would be slightly more substantial because of the spare thread pieces I added between the folded material. Here is the practice piece before losing the dissolvable fabric: It was a very productive day, first of all I was helped to feel comfortable with the machine, (even some of the more experienced machinists were a little anxious). I learnt more from Caroline in that one session than I would have done in a week at home with expert books strewn around me; Caroline was generous and patient in coaxing the best from our creativity. It was also good to share ideas and exchange tips or errors with the other participants even though we had varying levels of experience, it amplified what we learnt. At the end of the session Caroline showed us some of her beautiful embroidery: The opportunity to learn from such a skilled a RSN tutor, in the environs of Hampton Court was something to treasure, if you are thinking of increasing your skill set the RSN is a treasure resource. More about Caroline Homfray: https://www.royal-needlework.org.uk/courses/tutor_details/50/caroline_homfray

When I lived near to Cheltenham (Gloucestershire) I joined in with weekly gardening sessions in Annecy Park, a public garden owned by the local authority that supported a group people from the Transition Town Food and Growing Group who held monthly bring-and-share-a-meal meetings where bringing the ideas of sustainable food to the attention of the public was a regular topic of discussion. At that time most of the Cheltenham group members were already committed organic growers at home or on an allotment and one of the group, Malcolm Allison had also been enthused with ideas about community gardening, horticulture and agriculture because of discussions with an Agroecology group in the House of Commons in London. One evening early in 2012, after six months of getting together they came up with the idea of approaching the local town council to ask if there was any suitable space for edible growing in one of the public parks. Lorraine Du Feu another group member and landscape designer duly wrote to the Parks Department within the Borough council. At the time they did not have any great expectations but were delighted when they were offered Annecy Gardens where the council had previously experimented with some traditional vegetable growing, an initiative that had been popular but had been discontinued through lack of funds. Happily the parks department were helpful; they donated 2 areas of lawn at the entrance to Sandford Park known as Annecy Gardens, just off the High street in the town. Beds in the lawn were prepared and passed on to the volunteers in the Transition group. After a successful season the Parks Department cleared an additional area of shrubbery which gave them further bedding space, they provided a composting area and space for fruit bushes, their edible garden community project was going to thrive. We planted wild flowers, companion plants and green manure such as Phacelia tanacetifolia commonly known as fiddleneck which the pollinating insects also loved. I wrote this project for an inspiring Civic Ecology course from Cornell University given by Dr Marianne Krasny and Keith Tidball: https://civicecology.org/ For more information my Annecy study was published in this book with many other inspiring projects: https://civeco.files.wordpress.com/2015/12/krasny_snyder_mooc_stories_2016.pdf For other uplifting civic ecology projects, some in the most difficult situations: http://www.arcgis.com/apps/MapTour/index.html?appid=e14159ec131b4361a2f9298c8704140b#

The trail is part of Brighton and Hove Artists Open House circuit, a yearly event to coincide with the Brighton Festival and the Fringe Festival, it makes for a plethora of creativity and a lovely continental atmosphere as events are also played out on the streets. Kemptown is one of 15 areas across the city, with 21 venues from Queens Park to the sea and marina. The 2018 brochure is now online and as venue no 1 on the trail "Molly Rouge and Michelle" we can be found on pages 12 and 13, with another article I wrote about the suffragettes in Brighton on page 59: http://kemptownarts.org.uk/artists-open-houses-2018/ Come and visit us at 'Molly Rouge and Michelle' on Edward Street in Brighton, Wednesday to Saturday (between noon - 4pm) from May 5th 2018 until the end of the month. Happy Festival More information about Brighton and Hove Artists Open Houses: https://aoh.org.uk/ All of the trails in the AOH brochure now online: https://aoh.org.uk/2018-brochure/