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Well known hymns were used again during this time period. The Battle Hymn of the Republic was parodied by women in a suffrage style song during a Women's Liberation March at Harvard. [4] The song was entitled, "The Battle Hymn of Women," replacing the lyrics, "glory, glory hallelujah," with, "move on over or we'll move on over you."
The march was also used during a large demonstration of American suffragists rallying in Washington, D.C., on May 9, 1914. [10] The Congressional Union for Woman Suffrage sent delegates to march up the Capitol building stairs and present a petition to the U.S. Congress and accompanied by a 1,000 singer chorus.
Suffs is a musical with music, lyrics, and a book by Shaina Taub, based on suffragists and the American women's suffrage movement, focusing primarily on the historical events leading up to the ratification of the Nineteenth Amendment to the United States Constitution in 1920 that gave some women the right to vote.
The New York State Association Opposed to Woman Suffrage (NYSAOWS) used grass roots mobilization techniques they had learned from watching the suffragists to defeat the 1915 referendum. They were very similar to the suffragists themselves, but used a counter-crusading style warning of the evils that suffrage would bring to women.
Oreola Williams Haskell (1875–1953) – prolific author and poet, who worked alongside other notable suffrage activists, such as Carrie Chapman Catt, Mary Garrett Hay, and Ida Husted Harper. [70] Mary Garrett Hay (1857–1928) – suffrage organizer around the United States. [71] Elsie Hill (1883–1970) – NWP activist. [72]
The Suffragette was a newspaper associated with the women's suffrage movement in the United Kingdom, as "the Official Organ of the Women’s Social and Political Union" (WSPU). It replaced the previous journal of the organization, Vote for Women , in 1912, and its name changed to Britannia after the outbreak of World War I .
The song included words written by Florence MacAulay and was sung using the tune of La Marseillaise. [1] Macauley lead the WSPU office in Edinburgh from 1909 to 1913. [2] The song was sung in many different settings, but most often as a form of protest or solidarity for women's rights in both the United Kingdom and the United States.
Having agreed, Shaw played a key role when the two suffrage associations merged when she "helped to persuade the AWSA to merge with Anthony's and Elizabeth Cady Stanton's NWSA, creating for the first time in two decades a semblance of organizational unity within the [suffrage] movement."