30.11.1995

Raise your banners

COMMEMORATING the songwriter and International Workers of the World activist, Joe Hill, on the 80th anniversary of his death, the ‘Raise your banners’ celebration of political song was organised by the Sheffield Socialist Choir. Originally conceived in terms of one big concert, it mushroomed to become more of a rally of musical partisans of the working class expressing optimism in the prospects for radical and revolutionary change.

With differing contents and styles, represented by singers of the stature of Frankie Armstrong, Dick Gaughan and Leon Rosselson, to groups and choirs from cities as far flung as Cardiff, Glasgow, Leeds and London, along with bands, poets and theatre groups - this was not just a weekend of outstanding performances. It was a time where all could share their understanding of the role of political song - not just in the movements of the past, but in the movement of the present.

Workshops were held for everyone. Those from the age of three could engage in cooperative games, dancing, circus skills, round singing and storytelling. For the more mature, the workshops ranged from dramatisation to improvisation, from Joe Hill of the Wobblies to political song in Chile.

I gained the general impression that women substantially outnumbered men. It may be that the changing and developing roles of men and women in the movement is being most strongly reflected in the writing and performances of song, but the message that nevertheless came through loud and clear was that we need to pursue our emancipatory struggles alongside one another as sisters and brothers.

This outlook was most strongly expressed in the performance given by Rosie Davis, Sandra Kerr, Janet Russell and Peta Webb, which for me was the highlight of this great singing occasion. Individual performers in their own right, they came together as Sisters Unlimited with a presence of intimate solidarity among themselves that was infectious. With uplifting optimism and a great sense of humour, they presented a skilful blend of political content and musical forms that at one moment had me in tears.

All sorts of songs arise out of particular struggles in the working class movement. Most will be ephemeral; some will be longer lasting. Some will be brought back into use as similar struggles demand and may even become the standards of many a repertoire. And then we have the more conscious practitioners of song who, by dint of study, research, hard work and practice in performance, become the leaders in the field, able to create political songs that generalise the particular and meet our need for optimism and solidarity.

Creatively reflecting and enhancing our understanding of the real world of the manifold political struggle, they can be songs that also point to the future.

Jerry Spring