Red Clydeside

Although socialist ideas were permeating through Scotland prior to the First World War, there was scant representation in parliament and the majority of the skilled working-class voters remained loyal to the Liberal Party. Most working-class people were not entitled to vote and the political agenda was vastly different before the war. Home Rule had been a major political issue since the 1880s, with devolution motions gaining majorities in the parliaments of 1894 and 1895 before being dismissed on the grounds of a lack of parliamentary time. In the years immediately prior to the War, momentum had built on this issue until a Home Rule Bill passed its second reading in the House of Commons in 1914, only to be dropped when the country entered into a state of war. It was the war which seemed to change the political direction of Scotland.

Many Scots were beginning to feel under-represented by the Liberals at the time and this was aggravated by the Liberal government’s handling of the War. Prime Minister, Lloyd George, treated the Unions and Socialist organisations on Clydeside with distrust: as subversive elements which were a danger to the war effort, and this led many Scots to dissociate with the Liberals as champions of the working classes.

It was a time when Scottish politics became polarised and the middle classes swung to the right-wing Unionist Party in reaction to the ‘red menace’. These fears were perhaps accentuated by the recent events of the Russian Revolution, but a demonstration of how seriously the government took the situation was evident in 1919, with their reaction to a 40-hour strike in Glasgow. The protest of 100,000 people quickly escalated to a riot, with the red flag being raised in George Square and the police responding with baton charges. The government’s backlash to the riot was extreme: the protest was viewed as a Bolshevist rising, with 12,000 troops, machine guns and tanks called on the streets of Glasgow. What was seen by most workers as a protest against unfair working conditions and rents was viewed as imminent revolution by the government. The strikers’ demands were dismissed and the whole debacle obviously strengthened socialist convictions in industrial Scotland. Red Clydeside, the Labour Party and Trade Unionism were to be a major force in Scotland throughout the rest of the century.

Artist’s Response

The story I was given was Red Clydeside, the name encompassing an era within WW1 in which the working-class people of Glasgow fought back against the neglect and maltreatment they were facing during the war. The reasons for the term Red Clydeside were mostly linked to the government’s fear of a Socialist uprising, particularly following the Russian Revolution.

This idea of propaganda against working-class civilians led me to look into old war leaflets for stylistic inspiration, and I felt the bold shapes and striking colour schemes would work well with the woodblock printing technique. One leaflet in particular was titled The Red Dawn, a Glasgow publication for young workers that featured an illustration of a figure on the cover, which I used as a basis for my own design.

The addition of the red flag is a link back to one of the most significant events of Red Clydeside, the battle of George Square. One famed photograph shows a red flag being flown in the square, supposedly heightening the government’s fear of a full-blown uprising, and causing the police to needlessly attack the strikers, even deploying tanks. Ultimately, I hope to have captured the energy of this inspiring movement.

Lauren McSharry
City of Glasgow College

Initially being afraid to study art for fear of ruining a lifelong hobby, Lauren studied English Literature and Language for two years, before realising art was the path she would rather be on. In her past few years of studying Lauren, has developed a stronger sense of who she is as an artist, and have had the chance to experiment with techniques she never would has thought of otherwise. Following graduation, Lauren is hoping to find a job in the arts, either in a gallery or studio, while still finding time to create on her own terms.