Banners and Beyond

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People, Parades and Protest in the Nottinghamshire Coalfield by Dr David Amos and Paul Fillingham. Edited by Gilbert Fillingham.

Banners and Beyond

People, Parades and Protest

in the Nottinghamshire Coalfield

Dr David Amos

Paul Fillingham

Edited by

Gilbert Fillingham


anners &


Banners and Beyond

People, Parades and Protest

in the Nottinghamshire Coalfield

Dr David Amos

Paul Fillingham

Edited by

Gilbert Fillingham

Above: Nottingham Castle, Southwell Minster and Sherwood Forest are represented in

the Robin Hood themed Nottinghamshire Area NUM Banner.

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Banners and Beyond: People, Parades and Protest in the

Nottinghamshire Coalfield

A study of coal mining union banners in Nottinghamshire

supported by the Nottinghamshire Community Foundation

The rights of Dr David Amos and Paul Fillingham identified as the authors of this work

are asserted in accordance with the Copyright Design and Patents Act, 1988.

All rights reserved. No parts of this publication may be reproduced, stored in a retrieval

system or transmitted in any form by any means, electronic, mechanical, photocopying,

recording or otherwise without the prior permission of the authors.

Published by Thinkamigo Editions

James Prior House

2 Main Street

Blidworth

Mansfield

Notts NG21 0PZ

Email design@thinkamigo.com

www.thinkamigo.com

First edition published in 2020

Copyright Dr David Amos and Paul Fillingham

Photography: All rights of the individual owners are acknowledged and recognised

Design and Typesetting: Thinkamigo.com

Print: Solopress UK

ISBN: 978 1 8383546 0 2

Cover image: Miners’ Gala procession, Portland Street, Mansfield in the 1950s.

Courtesy: Pauline Marples ‘Our Mansfield and Area’ www.ourmansfieldandarea.org.uk.

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Introduction

Trade union banners played an important role in conveying a sense of

community spirit and collective resistance in coal mining communities.

Historian David Wray describes them as ‘iconic manifestations of an industrial

identity.’ Union banners combine symbolic imagery, typography, landscape

and portraiture to tell the story of a place in time, reflecting the culture and

values of a particular union area or colliery (also known as a branch or lodge).

Banners were not always made within those communities but outsourced to

specialist manufacturers. The National Union of Mineworkers (NUM), Union of

Democratic Mineworkers (UDM) and the colliery officials’ union the National

Association of Colliery Overmen, Deputies and Shotfirers (NACODS) all

commissioned the production of union banners on behalf of their members.

At the turn of the 19 th Century, banners became so prevalent that they were

manufactured on an industrial scale, painted by groups of artists according

to standard patterns and techniques, using oil-paints on silk. Abstract

concepts were expressed through the use of generic images; ‘friendship’ for

example was represented with an image of a handshake, ‘enlightenment and

learning’ were conveyed with images of illuminated lamps or flaming torches.

Signwriting skills were also employed by the artists; inscribing banners with

political slogans, names, locations and dates. And lettering decorated with

histrionic flourishes alluding to classical scrolls and ribbons. Miners with caplamps

and tools were depicted working underground or standing to attention

in heroic poses. The overall effect has an almost religious tone, promoting

the virtues of manual labour and the principles of good work ethic. Banners

were frequently populated with idolised portraits of leading trade unionists

and political figures. Background colours were also important; red symbolising

socialism, blue representing loyalty, and green in some Nottinghamshire

banners alluding to Sherwood Forest. Mining banners have regional

characteristics; the political outlook of banners from South Wales for example,

embrace the notion of international solidarity and peace. Older banners from

the north east demonstrate allegiance to socialist and Marxist principles.

Whilst Nottinghamshire banners, many produced in more recent times, reflect

the moderate customs and traditions of the region, blending Robin Hood

folklore with realistic representations of modern miners and mining technology.

In the post-industrial era, many working class traditions have since disappeared,

presenting fewer opportunities for miners’ banners to be paraded in public. One

exception is the annual Durham Miners’ Gala, also known as ‘The Big Meeting’

which takes place on the second Saturday of July. More recently, a new event,

called ‘With Banners Held High’ has emerged in the former Yorkshire coalfield,

celebrating the British Labour and Trade Union movement.

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Pro-strike rally organised by National NUM, Mansfield, May 1984. One of the invited

guests was the Labour MP for Bolsover, Dennis Skinner. Source: Mansfield Chad.

Less public, but equally significant, mining banners are still paraded at the

funerals and memorial services of former coal miners and mining union

officials, often to musical accompaniment in the form of the miners’ hymn

‘Gresford’ or Rita McNeil’s ‘A Working Man’.

In 2013, ‘A History of Coal Mining in 10 Objects’ - a community outreach

project produced by co-authors Fillingham and Amos in association with

Dr Sarah Badcock from the Department of History at the University of

Nottingham, included the union banner among the ten most iconic artefacts

associated with mining culture. The efforts of the research team led to the

formation of the Nottinghamshire Miners Banners Trust which included

representatives from both the NUM and UDM. The organisation’s stated

objective was to collect and preserve Nottinghamshire’s mining banners for

future generations, and where possible, return them to appropriate venues

within former mining communities.

Today, Notts’ mining banners can be seen in a variety of public settings.

These include the administrative offices of surviving mining trade unions

and industry associations, local heritage centres, museums, and places of

worship.

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Banners and Nationalisation

The formation of the National Union of Mineworkers (NUM) and election

of a Labour government in 1945 saw the formation of the National Union

of Mineworkers, plus the subsequent nationalisation of the coal industry in

1947 generated renewed interest in union banners with new designs lauding

the dawn of a new era. The jubilant mood was in direct contrast to that of

previous generations of miners who experienced defeat during the ‘Miners

Lockout’ and General Strike of 1926. Politicians and miners’ leaders were

all represented in these post-war designs.Thoresby Colliery’s NUM banner

celebrated the achievements of local area officials such as the Notts’ Branch

President William Bayliss and Herbert Booth who educated fellow miners on

the topics of politics and economics. Similarly, the NUM banner for Mansfield

Colliery captured the hedonism of the post-war era, echoing the theme and

iconography of the 1951 Festival of Britain.

Bilsthorpe Area NUM Banner, 1966. Source: Mansfield Chad.

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Miners’ Gala procession, Portland Street, Mansfield, 1950s. Source: Our Mansfield.

Miners Galas

At the end of the 1940’s, Miners’ Social Welfare Institutes and NUM Branches

began staging annual galas which became a focus for parading banners from

neighbouring mining towns and villages. Different NUM regions held their own

miners’ galas, the most famous of these being the Durham Miners Gala ‘The

Big Meeting’, which dates from 1871. Northumberland had the annual Miners’

Picnic, and South Wales Miners’ Gala commenced in 1954. Nottingham’s first

annual gala, then known as a ‘Demonstration’ was staged in 1949 and held

every year until 1983.

Notts’ miners’ galas were organised by a sub-committee of the Nottingham

Area NUM which met periodically throughout the year. Each gala would adopt

a resolution outlining the policy aims of the Area Union. VIP guest speakers

would be invited, typically Labour party leaders, Members of Parliament

prominent figures from the NUM or National Coal Board (NCB) and in later

years, national TV personalities. Galas also included displays by mining

equipment manufacturers, armed forces, and emergency services. Family

entertainment such as funfair rides, sports and Coal Queen competitions

were preceded by street parades of banners, themed floats, brass bands, and

juvenile jazz bands; a type of children’s marching band that performed using

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twirling batons, kazoos, glockenspiels

and drums. The first four NUM Gala’s

(1949 - 1952) were held at Basford

Hall Miners’ Welfare, adjacent to

Babbington Colliery, Cinderhill - the

Notts’ NUM headquarters at the

time, being located on Nottingham

Road, Basford. In 1953, the Gala

was held for one time only at Kirkbyin-Ashfield,

and included a street

procession from Bentinck Miners’

Welfare to Kingsway Park. In the

following year, the event moved to the

Miners’ Rehabilitation Centre at Berry

Hill Park, Mansfield. All subsequent

galas would be held at Berry Hill

as the site expanded, becoming

home to the Nottingham Area NUM

Headquarters in 1959.

Detail from 1963 NUM Demonstration

Gala programme listing public

exhibitions, competitions and

attractions. Source: Our Mansfield.

Punch and Judy puppet show at the 1962 Notts Miners Gala at Berry Hill Park.

Source: Mansfield Chad.

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Creswell NUM Banner, Mansfield Town

centre 1971. Source: Mansfield Chad.

In 1972 and 1974, NUM galas

included parades through Mansfield

town centre, celebrating successful

strike victories against the

government. The last Notts’ miners’

gala was held in 1983. An event

was planned for the following year

but was cancelled as a result of the

1984-85 Miners Strike. During the

strike, miners from other parts of the

UK descended on Nottinghamshire

in an attempt to convince local

miners to strike. Some Notts’ miners

refused to join the strike because of

the NUM’s failure to hold a national

democratic ballot on strike action

- the resulting conflict tore local

communities apart and weakened

the union’s stance against the

government.

Former miner, professional footballer and TV comedian Charlie Williams (1927-2006)

with the 1980 Coal Queen and the previous year’s winner, Wendy Machin (right - back

row), representing New Hucknall NUM Branch, Huthwaite. Source: Mansfield Chad.

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Victory parade following the 1972

strike. Source: Mansfield Chad.

The formation of the ‘breakaway’

Union of Democratic Mineworkers

(UDM) in December 1985 resulted

in new banner commissions from

their respective groups, including

some of the newly formed UDM

branches. Although miners’ galas

in their original form disappeared in

the mid-1980’s, banners continued

to be paraded in street protests and

political rallies, notably after the

President of the Board of Trade,

Michael Hestletine, announced that

31 of British Coal’s 50 collieries

would close: The 1992-94 Coal Crisis

marked the beginning of the end of

deep coal mining in Britain. By the

end of 1994 what was left of the

nationalised industry went into the

private sector.

Striking miners’ protest, Nottingham Market Square, 1984. Source: Alan Feebery.

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Reimagining Britain’s Industrial Power

The Mansfield Colliery Branch (Crown Farm) banner was recovered from the

former Notts’ Miners’ Headquarters at Berry Hill shortly before its demolition in

2013. The banner was originally painted in 1951 at the time of the Festival of

Britain; a nationwide celebration of industry, arts and science, which included

the construction of a huge exhibition park on London’s Southbank.

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Hailed by Festival Director Sir Gerald Barry as ‘A Tonic to the Nation’ the

Festival of Britain was characterised by the highly stylised motifs of designer

Abram Games which were reproduced in street furniture and signage around

the country. The Mansfield Colliery banner closely aligns with the theme of

the festival, placing Mansfield at the centre of coal production, at a time when

Britain was the industrial workshop of the world. The front of the banner is

divided into four quadrants, depicting how the region supplied the domestic

market, the railways, ships and power stations with coal. The reverse adopts

a domestic theme with a miners’ lamp in the centre, surrounded by the

essentials of food, drink, light and heat. The Mansfield banner was featured in

‘The Art of Mining’ episode of the 2018 BBC TV series ‘Civilisations: Stories’.

Illustration from the Festival of Britain, Exhibition Visitor’s Catalogue, showing the

Coalmining display. Inset; Abram Games’ iconic Festival of Britain logo.

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Ollerton NUM Branch Banner is paraded in protest during the 1984-85 Miners Strike.

Source: Mansfield Chad.

Ollerton NUM Banner

The Ollerton NUM Branch Banner dates back to the formation of the union,

when pit branches were encouraged to have banners made for the newly

established Nottingham Area Gala. Embellished with the words ‘The grip

of brotherhood the world o’er’ the Ollerton banner conveys an international

flavour with its images of animals (lion and kangaroo) and miners from other

parts of the British Commonwealth.

The banner was paraded by pro-strike NUM branch members during the early

days of the 1984-85 strike. Ollerton was at the centre of intensive picketing

and 24 year-old father of two, David Jones, a miner from Wakefield, died in

the midst of violent scenes on the 15 th March 1984. At some point during the

dispute, the banner disappeared, surfacing years later in the early noughties,

in a shed in Southampton. The banner was in a poor state of repair and a

section of had been cut away. It took considerable skill and expense to repair

the banner. Restoration was overseen by the ‘Ollerton of Yesteryear’ heritage

group. There were various theories about how the banner came to be in the

south of England. The most likely explanation being that it was taken away by

a member of the Hampshire police force who had been drafted into area.

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Ollerton Colliery closed in 1994, and the site developed as an ‘energy village’.

In 2002, BBC Radio Nottingham produced a documentary about the changes

experienced by the local community and the return of the NUM banner to the

village. The repaired banner was placed on permanent display in St Paulinus

Church in New Ollerton. A dedication service took place on 12 th May 2013.

Amongst the VIP visitors was Jimmy Hood (1948-2017), a Scottish Labour

politician who served as a Member of Parliament from 1987 to 2015. Hood

moved to Ollerton Colliery in 1968 after transferring from Auchlochan Colliery,

Lanarkshire, and was an elected NUM Branch Official at the colliery for a

number of years. In February 2019, a miners’ memorial was unveiled in the

wildlife garden adjacent to the cemetery off Forest Road, almost 25 years to

the day when the colliery closed.

The statue by Durham artist Ray Londale bears the inscription ‘Where the day was

like the blackest night. Safety lamps and steel toe boots. Where dust would choke the

headtorch light. That’s where you’ll find your hard won roots.’ Source: Paul Fillingham.

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Rival banners for the National Union of Mineworkers and the Union of Democratic

Mineworkers are displayed side-by-side at Bilsthorpe. Source: David Amos.

Bilsthorpe Heritage Museum

Bilsthorpe Heritage Museum opened in 2014 and is dedicated to telling the

story of the village and the surrounding area. The closure of Bilsthorpe Colliery

in 1997 after seventy-two years, marked the end of an era for the village.

Artefacts rescued from the colliery form the basis of the collection which was

established by local volunteers and is open to the general public and school

parties. In 2017, the museum received official recognition from Arts Council

England, with an invitation to join the Museum Accreditation Scheme which

validates organisations who provide high quality visitor experiences.

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Flying pickets with hand-made placard challenge miners arriving at Bilsthorpe Colliery

on the first day of the 1984-85 strike. Source: Mansfield Chad.

The museum displays the adversarial NUM and UDM banners side-by-side as

a mark of reconciliation. The NUM banner, originally produced in the 1960s,

was thought to be lost, but mysteriously re-appeared in the entrance of the

local church, soaking wet and stuffed into a plastic carrier bag. Around £6,000

was spent restoring the banner to its former glory.

Broadcaster Jeremy Paxman with David Amos, Natalie Braber (Nottingham Trent

University) and museum volunteer George Cooper. Sept 2018. Source: Paul Fillingham.

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The Annesley NUM Branch Banner

The Annesley NUM Branch Banner was unveiled in January 1984, less than

two months before the start of the year-long 1984-85 miners strike. Following

the subsequent union split, the majority of the workforce at Annesley became

members of the Union of Democratic Mineworkers (UDM) so the NUM banner

was never used in any official union displays.

The Annesley NUM Branch Banner is an embroidered design. The front is

adorned with an image of the colliery headstocks in the centre, flame-safety

lamps either side, and along the bottom, smaller images depicting Annesley

Hall Butlers Lodge House, Stable Block, and All Saints Church (the ‘New

Church’ which was consecrated in 1874).

Annesley Hall was the ancestral home of the Chaworth-Musters family who

were the mine owners from 1865 until nationalisation in 1947. Co-author,

David Amos has family connections with Annesley. Three generations on

his father’s side worked at the pit, including his father, grandfather and three

uncles. His mother lived at the Lodge House and his maternal grandfather

worked as a Butler to Colonel J.N. Chaworth Musters of Annesley Hall. His

mother and father also married at Annesley All Saints Church in 1954.

Unveiling the Annesley Branch NUM banner in front of the colliery headstocks weeks

before the start of the 1984-85 Miners Strike. Source: David Amos.

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Temporary lettering attached to the Annesley banner for the amateur production of

‘The Pitmen Painters at the Robin Hood Theatre in Averham. Source: David Amos.

Although the Annesley NUM Branch banner was never paraded at a miners’

gala, it found a new lease of life in arts and heritage. Between 2013 and 2015

the banner hung in the Dynamo House at the preserved Bestwood Colliery

Winding Engine House. Bestwood, like Annesely, was a colliery in the Leen

Valley and closed in 1967. The banner was exhibited above a display case of

mining artefacts and memorabilia.

In November 2015, the Annesley banner featured in an amateur production of

‘The Pitmen Painters’ at the Robin Hood Theatre, Averham, Newark-on-Trent.

The play written by Lee Hall of ‘Billy Elliott’ fame, tells the story of miners

from Ashington Colliery who started a Workers Education Association (WEA)

painting class in 1934. The Pitmen Painters’ remarkable output, depicting

various aspects of coal mining life are on permanent display at the Woodhorn

Colliery Museum, Northumberland. In the closing act of the play, the Annesley

Banner was used to depict the nationalisation of the industry and the dawning

of a new era. Directed by Clive Harmston, the production was awarded ‘Best

All-round Play of the Year’ by the Nottingham and Nottinghamshire Drama

Association (NANDA).

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Geding Colliery NUM Banner - ‘Brothers Beneath the Surface’. Source: Paul Fillingham.

The Pit of Nations

Gedling Colliery (1899 - 1991) was known locally as ‘The Pit of Nations’ on

account of the ethnic mix of its workforce. The colliery’s proximity to the city

of Nottingham and St Anns meant that it attracted workers who had arrived in

Britain during the 1950’s and 60’s when the country was experiencing labour

shortages. Many nationalities worked at the pit including a significant number

of men from the Caribbean and Eastern Europe.

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Former African Caribbean coalminers visit Gedling Country Park in May 2016.

Source: Adrian Stone, Nottingham News Centre.

One side of the Gedling banner features three miners and the title ‘Brothers

Beneath the Surface’. Alan Beales, coalmining historian and former Gedling

NACODS Branch Secretary says ‘There cannot be another British colliery

that had such a diversity of people and languages, but they all seemed to get

along with one another’.

In 2015, historian and broadcaster,

Norma Gregory, began work on a

project entitled ‘Miners of African

Caribbean Heritage: Narratives from

Notts’. The testimonies of former

black miners (many from Gedling

Colliery) helped inform the ‘Digging

Deep: Coal Miners of African

Carribean Heritage’ exhibition which

opened at the National Coal Mining

Museum in 2019. A commemorative

plaque at the Gedling Country Park

Cafe and Visitors Centre, features

thirty flags, representing all of the

nationalities who worked at the

colliery.

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Banner Manufacture

Before the 1970’s, most trade union banners were produced by London

based manufacturer Tutills. The company founder, Yorkshire-born, George

Tutill (1817–1887) made his fortune manufacturing banners for trade

unions and societies all over the world, using a standard format of woven

silk, hand-painted in oils on both sides. His daughter Georgina inherited

the business and continued making banners through to 1967 when the

company finally closed.

When the annual Nottinghamshire

Miners Galas was first established

in the 1950s, many banners were

produced by the Cooperative Arts

Movement. Later, production moved

to Chippenham Designs, which was

founded by John Midgley and a small

team of artists in 1970.

G. Tutill 1896 Artistic Banner Painter

Catalogue. Source: Wikimedia. CC

In 2015, at Thoresby Colliery,

shortly before its closure, the Coauthors

discovered a silk swatch and

documents revealing Chippenham

as the preferred supplier for NUM

banners and listing commissions for

Cotgrave, Gedling, New Hucknall

and Ollerton. The company was also

responsible for the embroidered

Newstead and Annesley NUM Branch

banners produced in 1981 and 1984

respectively.

At the time of writing, Chippenham

Designs are still involved in the

production and restoration of

banners for trade unions, peace

and women’s movements, for

public and professional bodies. The

designers use the manual illustration

and signwriting methods originally

practiced by Tutill, but typically use

modern acrylic paints rather than oils.

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The Art of Mining

In 1973, John Gorman’s ‘Banner Bright - an illustrated history of the banners

of the British Trade Union Movement’ captured the mood of union power and

dissent, and did much to recognise banners as a serious artform. Gorman

subsequently arranged for many old banners to be rescued and helped

stage the first ever banner exhibition at the Whitechapel Art Gallery. Today,

banners representing many different trades are displayed at The People’s

Museum in Manchester. Recognised as a pre-eminent collection of national

importance, The People’s Museum has it’s roots in The Trade Union, Labour

and Co-operative History Society (1975-1986), and represents one of the

UK’s largest permanent collections of posters, badges, banners and other

political paraphernalia. Mining banners can also be seen at the National Coal

Mining Museum in Wakefield, and at the Woodhorn Museum in Ashington,

Northumberland. Banner art has featured in the work of Tate Gallery Turner

Prize winners: Jeremy Deller, noted for his Battle of Orgreave (2001)

a re-enactment of the 1984-85 miners’ strike, and Grayson Perry, whose

‘Death of a Working Man’ banner, features a miner sparirng with a cage

fighter, old colliery winding wheels, and present day wind-turbines. The banner

was the subject of the 2016 Channel 4 TV Series, Grayson Perry: All Man.

‘Death of a Working Man’ mining banner, detail. Grayson Perry: The Most Popular Art

Exhibition Ever! Serpentine Gallery 2017.

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BBC Presenter Geeta Pendse on location at Pleasley Colliery during the filming of

Civilisations Stories: The Art of Mining. Source: David Amos.

In 2018, the BBC embarked upon an ambitious follow-up to Kenneth Clark’s

1969 landmark art history TV series ‘Civilisation’. The new programme was

designed to offer a much more pluralistic view of culture, challenging the

influence of western European art which dominates the original production.

Giving equal precedence to folk art and the creative output of diverse cultures

from all over the world. Produced in association with the Open University, the

scope of the series was expanded to include regional programmes exploring

art, history, science and innovation across the UK.

‘Civilisations Stories: The Art of Mining’ explores the lasting legacy of mining

culture in the east Midlands; featuring artwork by Heanor-born pitman painter

George Bissill (1896 - 1973), vintage glass plate photographic negatives

of Bestwood Colliery, the restored winding house at Pleasley, and carved

memorial figures at Brierley Park. In the programme, co-author Paul Fillingham

describes how volunteers rescued a large number of mining banners from

the former Miners’ Union Headquarters at Berry Hill. Labour Historian, Nick

Mansfield (University of Central Lancashire) draws parallels with the heraldic

emblems and military colours used in battle. And David Amos decodes the

symbolic imagery of the Mansfield Colliery banner, which is shown alongside

black and white newsreel footage of King George VI opening the Festival

of Britain exhibition on London’s Southbank in 1951. BBC Presenter Geeta

Pendse also uncovers the deep-rooted animosity that still exists between rival

mining unions and communities in some areas of the UK.

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Banner ‘System change, not climate change’ at Ende Gelände 2017 in Germany.

Source: Wikimedia, Creative Commons.

Beyond Coal

The end of deep coal mining and the decommissioning of coal-fired power

stations in the UK is an opportune moment to embrace renewable energy

and progress towards an ecologically balanced future. Global warming,

contamination of the air, water, and soil; and rampant deforestation bring us

ever closer to a catastrophic collapse in biodiversity and the natural systems

upon which all life depends. Scientists say that we only have until 2030 to

implement the vital changes necessary to reverse the damage we have

caused since the beginning of the industrial revolution.

It is important that we as individuals do not lose sight of the role we play in

reducing environmental damage and what we can do to mitigate the risks

presented by climate change. In 2018, student protests spread throughout 125

countries, inspired by 15 year old Greta Thunberg after she staged a protest

outside the Swedish parliament, holding a banner that read ‘School Strike for

Climate’. Thunberg was nominated for the Nobel Peace Prize in 2019 and

2020 and continues to challenge world leaders to abandon coal, oil and gas.

Whilst mobile technology and social media enable the spread of these ideas,

contemporary activists such as Extinction Rebellion, UK Student Climate

Network, and the Occupy movement (socio-economic equality) continue to

use physical banners to convey their views during public protest.

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References

Wray, D. - The place of Imagery in the Transmission of Culture: The Banners of

the Durham Coalfield, International Labour and Working Class Journal, (2009).

McManners, R. and Wales, G. - Shafts of Light: Mining Art in the Great Northern

Coalfield, 3rd Impression, (2016).

Gorman. J. - Banner Bright, Penguin, London, (1973).

Amos, D. Babcock, S. and Fillingham, P. - A History of Coal Mining in 10

Objects, Thinkamigo Editions, Mansfield, (2013).

Amos, D. and Fillingham, P. - Aspects of Coal Mining Heritage in

Nottinghamshire, Bestwood Winding Engine House, Thinkamigo Editions,

Mansfield, (2015).

Amos, D. Braber, N. and Fillingham, P. - Coal, Community and Change, Dealing

with the past: Mining culture in the East Midlands (1965 – 2015),

Nottingham Trent University, Global Heritage Fund, Touring Exhibition, (2019).

Walker, J and Fillingham P. - The Sillitoe Trail: Factory Handbook, Striking

Miners Protest (1984), BBC, and Arts Council England, (2012).

Searle, A. - Grayson Perry: The Most Popular Art Exhibition Ever! - review the

court jester strikes again, The Guardian, (2017).

&

Mansfield, N. and Karste, U. - Banners: An Annotated Bibliography, Social

History in Museums Journal, Vol. 27, p.43, (2002).

BBC, and Open University, Civilisations Stories: The Art of Mining, TV Series,

Season 1, Episode 6, (2018).

Protecting Our Planet Starts with You - Ten steps you can take yourself to

protect our planet, The National Oceanic and Atmospheric Administration

(NOAA) www.oceanservice.noaa.gov/ocean/earthday.html

Create a banner that reflects your interests and share with others

Download our Banners and Beyond template

www.miningheritage.co.uk/resources.html

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Beyond


In 2015, Britain closed its last three remaining coal mines (Thoresby,

Hatfield, and Kellingley), bringing to an end a way of life that had

endured for generations. As former mineworkers enter their twilight

years, a demographic shift is taking place, resulting in a loss of living

memory. As a consequence, there is a sense of urgency surrounding

the capture and exploration of mining culture that has shaped our local

landscape, heritage and personal identity for generations.

This project considers how Nottinghamshire coal miners and their

communities found expression in the slogans and iconography of Mining

Union Banners. These emotionally charged objects were traditionally

displayed at miners’ galas and public events, at times of conflict,

celebration, and strife. Whilst some banners still evoke old rivalries, we

present banners from both National Union of Mineworkers (NUM) and

the Union of Democratic Mineworkers (UDM).

We hope you find inspiration in this publication and encourage you to

tell your own stories through the medium of banner art. And we wonder

how future generations will create banners that express their beliefs in

an increasingly conflicted, yet paradoxically, connected world?

This project is made possible with the support of the Nottinghamshire Community Foundation.

www.miningheritage.co.uk

Thinkamigo Editions

Created in rebel county by Thinkamigo, research, design, communications. www.thinkamigo.com