Banners and Beyond
People, Parades and Protest
in the Nottinghamshire Coalfield
Dr David Amos
Banners and Beyond
People, Parades and Protest
in the Nottinghamshire Coalfield
Dr David Amos
Above: Nottingham Castle, Southwell Minster and Sherwood Forest are represented in
the Robin Hood themed Nottinghamshire Area NUM Banner.
Banners and Beyond: People, Parades and Protest in the
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
Notts NG21 0PZ
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.
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.
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
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.
Miners’ Gala procession, Portland Street, Mansfield, 1950s. Source: Our Mansfield.
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
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.
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
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.
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
Striking miners’ protest, Nottingham Market Square, 1984. Source: Alan Feebery.
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.
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.
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.
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.
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.
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.
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.
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
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.
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
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
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.
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.
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.
Banner ‘System change, not climate change’ at Ende Gelände 2017 in Germany.
Source: Wikimedia, Creative Commons.
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.
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,
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
Create a banner that reflects your interests and share with others
Download our Banners and Beyond template
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.
Created in rebel county by Thinkamigo, research, design, communications. www.thinkamigo.com