Women of Britain Say 'Go!'

Last updated

"Women of Britain Say 'Go!'"
Women of Britain Say - "Go" - World War I British poster by the Parliamentary Recruiting Committee, art by E J Kealey (Restoration).jpg
Poster no.75. W.13741 [1]
MediaInk, print
Release date(s)March 1915
Production
company
Published by the Parliamentary Recruitment Committee
Produced byPrinted by Hill, Siffken and Co Ltd, London
Country United Kingdom

"Women of Britain Say 'Go!'" is a British World War I recruitment propaganda poster created in 1915. It depicts two women and a young boy looking out of an open window at soldiers marching past. Across the top of the poster is the text: "Women of Britain Say 'Go!'". The poster was designed by artist E. J. Kealey and published by the Parliamentary Recruitment Committee, which produced the majority of early World War I recruitment posters. The intent of the poster was to encourage women to tell men they should sign up to the army at a time when British voluntary recruit numbers were declining. The poster utilises gender, guilt and emasculation to emphasise its message. Although "Women of Britain Say 'Go!'" has become an iconic image of World War I, its sentiment was not universally accepted by contemporary British society.

Contents

Background

At the outbreak of World War I, Britain did not have a policy of conscription. The government relied on propaganda to persuade men to enlist in the army, [2] and posters were an important medium to achieve this. [3] The approach to propaganda taken by the first recruitment posters was a simple "call to arms" encouraging men to sign up to fight. The method of propaganda started to change around 1915 when the number of volunteer soldiers fell. [4] Propaganda began to draw heavily on themes of gender. [5] Some focused on female imagery [6] by highlighting the innocent vulnerability of mothers, wives and daughters, the strength and resilience of a worker taking part in the war effort embodying the spirit of Britannia, or by depicting women as objects of desire. [3] Historian Karyn Burnham suggests that from a masculine perspective, some posters attempted to guilt men by implying they would be emasculated if they did not fight. [5]

Publication history

"Women of Britain Say 'Go!'" was produced in March 1915. It was printed by Hill, Siffken and Co Ltd, London, and published by the Parliamentary Recruitment Committee, [7] who produced the majority of the early recruitment posters in World War I. [8] It was one of a collection of posters commissioned by the Committee which were targeted towards women. [9] The poster's design was by artist E. J. Kealey. [1] [lower-alpha 1]

Design

Description

The poster is an ink illustration [11] of two women and a young boy [lower-alpha 2] looking out of an open window at a countryside landscape with soldiers marching away. [7] The two women hold on to each other with proud expressions [14] as the boy holds on to one of the women. [15] The text at the top and upper left-hand corner of the poster, "Women of Britain Say 'Go!'", is white and outlined in black. [1] Like other early recruitment posters, "Women of Britain Say 'Go!'" is stylised in a Victorian realist illustrative aesthetic which would have been familiar to contemporary audiences. [8] The colour palette of the poster is indicative of commercial advertising posters of the time. [4] Art historian Stephen J. Eskilson describes the imagery of the poster as "striking" with the text only serving to emphasise the underlying intent. [16]

Propaganda

"Women of Britain Say 'Go!'" relies on gender to present its message. [15] Prior to World War I, the Women's Suffrage Movement had begun to call into question the power balance between men and women. World War I recruitment posters used these anxieties to their advantage, reinforcing the gender stereotypes of women staying at home and men as protectors. [17] "Women of Britain Say 'Go!'" was part of this attempt to ignore pre-war advances by women. [18] It displays two distinct areas to the viewer: indoors and outdoors. This duality of space is reminiscent of the Victorian idea of separate spheres for men and women. The women and young boy in the poster are positioned within a domestic sphere and the male soldiers occupy a public sphere, which matches the perceived roles of men and women in the Victorian ideology. [16] The clear separation of space and gender in the poster highlights that women and children were vulnerable and needed to be protected, and that the men were expected to protect them; [11] [6] it is implied that a husband of one of the women is included in the group of soldiers marching away. [12]

"Women of Britain Say 'Go!'" appealed to women, [4] who played an important part in army recruitment. [19] [lower-alpha 3] The directive "Go!" serves not only as a commandment to men, but as an instruction to women to say this to men. [20] However, the poster presents an ideal scenario: it does not call attention to the potential consequences of losing a male family member at war, [11] and the figures depicted on the poster were not representative of the average family's financial situation nor their security. [8] Not all women in Britain shared the sentiment depicted in the poster and many tried to recall family members from the army. [21]

Academic Debra Rae Cohen describes "Women of Britain Say 'Go!'" as a "guilt-inducing slogan". [22] The imagery and text of the poster forced men to come to terms with their loyalty towards their country and family. [4] The countryside landscape in the background, evocative of the green and pleasant land described by the English poet William Blake, emphasised the fact that men were expected to protect this element of the country. [8] [23] Additionally, the instruction to "Go!" is seemingly attributed to all women and implies a unanimous call to action directed at men. [13] The government was aware of the influence that women had in the lives and decisions of men at the time: [14] in 2023, brand communication executive Farhan Urfi summarised the poster's message as "if your mum, your wife, your daughter is saying 'Go to war!', how can you say no?" [4] Along with guilt, the poster also implies emasculation. [16] It uses to its advantage the fact that many potential younger recruits would in all likelihood have been living at home with their mothers: the child in the image, positioned in the domestic sphere, is a boy, suggesting that the men who stayed at home were small and vulnerable—the same as young boys. [16] [24]

Legacy and impact

Cohen describes "Women of Britain Say 'Go!'" as "one of the most iconic images of the Great War" and one of the most frequently cited images within the context of World War I propaganda. [15] The Imperial War Museum describes the poster as an example of one of the more sophisticated and nuanced ways the British government tried to recruit men to the army. [1] There is evidence that the poster also encouraged women to take part in the war effort themselves. [13] The message of the poster was not shared among all contemporary viewers. Among those who criticised the sentiment that women would want men to fight were the poets Richard Aldington, Wilfred Owen and Siegfried Sassoon. [25] [19]

See also

Related Research Articles

<span class="mw-page-title-main">Recruitment to the British Army during World War I</span>

At the beginning of 1914 the British Army had a reported strength of 710,000 men including reserves, of which around 80,000 were professional soldiers ready for war. By the end of the First World War almost 25 percent of the total male population of the United Kingdom of Great Britain and Ireland had joined up, over five million men. Of these, 2.67 million joined as volunteers and 2.77 million as conscripts. Monthly recruiting rates for the army varied dramatically.

<span class="mw-page-title-main">Women's Land Army</span> British civilian organisation

The Women's Land Army (WLA) was a British civilian organisation created in 1917 by the Board of Agriculture during the First World War to bring women into work in agriculture, replacing men called up to the military. Women who worked for the WLA were commonly known as Land Girls. The Land Army placed women with farms that needed workers, the farmers being their employers. The members picked crops and did all the labour to feed the country. Notable members include Joan Quennell, later a Member of Parliament; John Stewart Collis, Irish author and pioneer ecologist; the archaeologist Lily Chitty and the botanist Ethel Thomas. It was disbanded in 1919 but revived in June 1939 under the same name to again organise new workers to replace workers that served in the military during the Second World War.

<span class="mw-page-title-main">White feather</span> Symbol used for cowardice or bravery

The white feather is a widely recognised propaganda symbol. It has, among other things, represented cowardice or conscientious pacifism; as in A. E. W. Mason's 1902 book The Four Feathers. In Britain during the First World War it was often given to males out of uniform by women to shame them publicly into signing up. In the United States armed forces, however, it is used to signify extraordinary bravery and excellence in combat marksmanship.

<span class="mw-page-title-main">Rosie the Riveter</span> Cultural icon of the US during World War II

Rosie the Riveter is an allegorical cultural icon in the United States who represents the women who worked in factories and shipyards during World War II, many of whom produced munitions and war supplies. These women sometimes took entirely new jobs replacing the male workers who joined the military. She is widely recognized in the "We Can Do It!" poster as a symbol of American feminism and women's economic advantage. Similar images of women war workers appeared in other countries such as Britain and Australia. The idea of Rosie the Riveter originated in a song written in 1942 by Redd Evans and John Jacob Loeb. Images of women workers were widespread in the media in formats such as government posters, and commercial advertising was heavily used by the government to encourage women to volunteer for wartime service in factories. Rosie the Riveter became the subject and title of a Hollywood film in 1944.

<span class="mw-page-title-main">History of the United Kingdom during the First World War</span> A breakdown of the United Kingdoms involvement in the First World War, 1914–1918

The United Kingdom was a leading Allied Power during the First World War of 1914–1918. They fought against the Central Powers, mainly Germany. The armed forces were greatly expanded and reorganised—the war marked the founding of the Royal Air Force. The highly controversial introduction, in January 1916, of conscription for the first time in British history followed the raising of one of the largest all-volunteer armies in history, known as Kitchener's Army, of more than 2,000,000 men. The outbreak of war was a socially unifying event. Enthusiasm was widespread in 1914, and was similar to that across Europe.

<span class="mw-page-title-main">Vesta Tilley</span> English music hall performer and male impersonator

Matilda Alice Powles, Lady de Frece was an English music hall performer. She adopted the stage name Vesta Tilley and became one of the best-known male impersonators of her era. Her career lasted from 1869 until 1920. Starting in provincial theatres with her father as manager, she performed her first season in London in 1874. She typically performed as a dandy or fop, also playing other roles. She found additional success as a principal boy in pantomime.

<span class="mw-page-title-main">Military recruitment</span> Recruitment for military positions

Military recruitment refers to the activity of attracting people to, and selecting them for, military training and employment.

<span class="mw-page-title-main">Rape of Belgium</span> Systematic war crimes against Belgian civilians during World War I

The Rape of Belgium was a series of systematic war crimes, especially mass murder and deportation, by German troops against Belgian civilians during the invasion and occupation of Belgium during World War I.

Abram Games was a British graphic designer. The style of his work – refined but vigorous compared to the work of contemporaries – has earned him a place in the pantheon of the best of 20th-century graphic designers. In acknowledging his power as a propagandist, he claimed, "I wind the spring and the public, in looking at the poster, will have that spring released in its mind." Because of the length of his career – over six decades – his work is essentially a record of the era's social history. Some of Britain's most iconic images include those by Games. An example is the "Join the ATS" poster of 1941, nicknamed the "blonde bombshell" recruitment poster. His work is recognised for its "striking colour, bold graphic ideas, and beautifully integrated typography".

<span class="mw-page-title-main">Lord Kitchener Wants You</span> 1914 British military recruitment poster

Lord Kitchener Wants You is a 1914 advertisement by Alfred Leete which was developed into a recruitment poster. It depicted Lord Kitchener, the British Secretary of State for War, above the words "WANTS YOU". Kitchener, wearing the cap of a British field marshal, stares and points at the viewer calling them to enlist in the British Army against the Central Powers. The image is considered one of the most iconic and enduring images of World War I. A hugely influential image and slogan, it has inspired imitations in other countries.

<span class="mw-page-title-main">American propaganda during World War II</span>

During American involvement in World War II (1941–45), propaganda was used to increase support for the war and commitment to an Allied victory. Using a vast array of media, propagandists instigated hatred for the enemy and support for America's allies, urged greater public effort for war production and victory gardens, persuaded people to save some of their material so that more material could be used for the war effort, and sold war bonds.

<span class="mw-page-title-main">British propaganda during World War II</span> Information and media used to influence support for the war effort

Britain re-created the World War I Ministry of Information for the duration of World War II to generate propaganda to influence the population towards support for the war effort. A wide range of media was employed aimed at local and overseas audiences. Traditional forms such as newspapers and posters were joined by new media including cinema (film), newsreels and radio. A wide range of themes were addressed, fostering hostility to the enemy, support for allies, and specific pro war projects such as conserving metal and growing vegetables.

<span class="mw-page-title-main">World War I in popular culture</span> World War I depicted in popular culture

The First World War, which was fought between 1914 and 1918, had an immediate impact on popular culture. In the over a hundred years since the war ended, the war has resulted in many artistic and cultural works from all sides and nations that participated in the war. This included artworks, books, poems, films, television, music, and more recently, video games. Many of these pieces were created by soldiers who took part in the war.

<span class="mw-page-title-main">Poster</span> Type of graphic advertisement

A poster is a large sheet that is placed either on a public space to promote something or on a wall as decoration. Typically, posters include both textual and graphic elements, although a poster may be either wholly graphical or wholly text. Posters are designed to be both eye-catching and informative. Posters may be used for many purposes. They are a frequent tool of advertisers, propagandists, protestors, and other groups trying to communicate a message. Posters are also used for reproductions of artwork, particularly famous works, and are generally low-cost compared to the original artwork. The modern poster, as we know it, however, dates back to the 1840s and 1850s when the printing industry perfected colour lithography and made mass production possible.

<span class="mw-page-title-main">British propaganda during World War I</span>

In the First World War, British propaganda took various forms, including pictures, literature and film. Britain also placed significant emphasis on atrocity propaganda as a way of mobilising public opinion against Imperial Germany and the Central Powers during the First World War. For the global picture, see Propaganda in World War I.

<span class="mw-page-title-main">Daddy, What Did You Do in the Great War?</span> British First World War recruitment poster

"Daddy, What Did You Do in the Great War?" was a British First World War recruitment poster by Savile Lumley, and first published in March 1915 by the Parliamentary Recruiting Committee. It was commissioned and submitted to the committee by Arthur Gunn, the director of the publishers Johnson Riddle and Company. The poster shows a daughter posing a question to her father: "Daddy, what did you do in the Great War?", depicting a future from the perspective of viewers in 1915. The message of the poster was inspired by Gunn's own feelings of guilt around not fighting in the war.

<span class="mw-page-title-main">United States in World War I</span>

The United States declared war on the German Empire on April 6, 1917, nearly three years after World War I started. A ceasefire and armistice were declared on November 11, 1918. Before entering the war, the U.S. had remained neutral, though it had been an important supplier to the United Kingdom, France, and the other powers of the Allies of World War I.

<span class="mw-page-title-main">Effect of World War I on children in the United States</span>

Though the United States was in combat for only a matter of months, the reorganization of society had a great effect on life for children in the United States. More than 116,000 members of the U.S. military died in the war, far fewer than combatants from other countries. No one has estimated how many orphans resulted. Additionally, as the male workforce left for battle, mothers and sisters began working in factories to take their positions, and the family dynamic began to change; this affected children as they had less time to spend with family members and were expected to grow up faster and help with the war effort. Similarly, Woodrow Wilson called on children involved in youth organizations to help collect money for war bonds and stamps in order to raise money for the war effort. This was a way to mobilize public opinion and shame adults who did not donate. The Office of War Information and other agencies implemented programs and created posters and pamphlets to encourage war support.

<span class="mw-page-title-main">Women in World War II</span> Aspect of womens history

Women took on many different roles during World War II, including as combatants and workers on the home front. “More than six million women took wartime jobs in factories, three million volunteered with the Red Cross, and over 200,000 served in the military.” The war involved global conflict on an unprecedented scale; the absolute urgency of mobilizing the entire population made the expansion of the role of women inevitable, although the particular roles varied from country to country. Millions of women of various ages were injured or died as a result of the war.

<span class="mw-page-title-main">Propaganda in World War I</span>

World War I was the first war in which mass media and propaganda played a significant role in keeping the people at home informed on what occurred at the battlefields. It was also the first war in which governments systematically produced propaganda as a way to target the public and alter their opinion.

References

Notes

  1. After World War I, Kealey went on to create posters for the British travel industry. [10]
  2. The relationship between the women and boy have been interpreted in different ways: a mother, son and their maid; [12] a mother and two children; [6] and three generations of a family. [13] The woman on the right has also been described as a Belgian refugee. [4]
  3. The White Feather Campaign was a way in which women played a significant part in forcing men to sign up through guilt; women would hand feathers to men who had not enlisted to fight. [12] Its message encouraged women to force men to enlist in the army. [1]

Citations

  1. 1 2 3 4 5 "Women of Britain Say 'Go!'". Imperial War Museums . Retrieved 1 February 2023.
  2. Grayzel 2013, p. 57.
  3. 1 2 "'Women of Britain say 'Go!' ', a British recruitment poster". British Library . Retrieved 28 January 2023.
  4. 1 2 3 4 5 6 "How To Sell a War: Women of Britain Say, GO!". National Army Museum . Retrieved 1 February 2023.
  5. 1 2 Burnham 2014, p. 19.
  6. 1 2 3 Storey & Housego 2010, p. 5.
  7. 1 2 "Women of Britain Say 'Go!'". VADS . Retrieved 1 February 2023.
  8. 1 2 3 4 Hupfer 1997, p. 323.
  9. Adam 1977, p. 43.
  10. Ward 2014, p. 25.
  11. 1 2 3 "Poster, 'Women of Britain say – "Go!" '". Museum of New Zealand . Retrieved 1 February 2023.
  12. 1 2 3 "Women of Britain say "Go!"". Australian War Memorial . Retrieved 28 January 2023.
  13. 1 2 3 Smith 2008, p. 227.
  14. 1 2 Hart 2010.
  15. 1 2 3 Cohen 2012, p. 85.
  16. 1 2 3 4 Eskilson 2007, p. 120.
  17. Zack 2022, pp. 48–49.
  18. Cohen 2002, p. 5.
  19. 1 2 Abrams & Greenblatt 2000, p. 54.
  20. Paret, Lewis & Paret 1992, p. 52.
  21. Goldstein 2001, p. 272.
  22. Cohen 2012, p. 95.
  23. Smith 2008, p. 229.
  24. Smith 2008, p. 228.
  25. Williams 1989, p. 10.

Works cited