Article

Character

Comment

Friendship

Virtues

2 September 2025

6 min read

Guiding’s new badges don’t deserve this media criticism

Encouraging interests builds character now and for tomorrow

Paula Duncan

Paula Duncan is a PhD candidate at the University of Aberdeen, researching OCD and faith.

Girl Guiding.

As a Brownie leader, what I love about Girlguiding is the perfect blend of tradition and modernity. Lots of people will have memories of belonging to Brownies or Guides. In conversation, it’s often the uniforms that people mention first – for ex-Brownies it’s always the brown dresses, or the iconic yellow sweatshirt which has now been relaunched for adults as a retro range. I will admit to buying one almost immediately and have loved wearing my tribute to the Jeff Banks design era of uniform that I loved so much as a child.

For those unfamiliar with the organisation, Girlguiding began in 1909 with a small group of girls who joined a Scout rally and bravely asked that there be ‘something for the girls’ too. Today, Girlguiding has four youth sections: Rainbows (aged 4-7), Brownies (7-10), Guides (10-14), and Rangers (14-18).

I’m particularly excited to go back to our weekly meetings after the school holidays because a new range of interest badges have just been launched for all sections – 78 in total! These badges are designed so that girls can choose which activities they’d like to pursue – either a new skill or hobby or learning something new. Each badge fits into one of our six distinct programme areas: Be Well, Express Myself, Skills for My Future, Take Action, Know Myself, and Have Adventures.

A lot of the publicity surrounding the badges has been really positive – praising the organisation for representing the interests of young people. The badges were designed, after all, with the input of members and with extensive testing by groups across the UK, and feedback from 11,000 girls about the new badge offerings. My Brownie unit enjoyed being part of the testing pool for the ‘Passions’ badge, which encouraged them to think more deeply about the hobbies they have and try some new pursuits. Reading the final version of the badge when it was released was brilliant because I could really see the impact of the Brownies’ feedback.

I’ve been disappointed to see the organisation’s new badges be subject to some heavy media criticism and that headlines have been tailored to mock, rather than share the relevant and interesting content that the badges actually offer. The Telegraph used the current tensions around gender identity to create a clickbait title: “Girlguiding ‘hostess’ badge gets gender-neutral makeover” which, inevitably, caused a flurry of (largely unpleasant) Facebook comments about identity politics. While the article itself does well to describe some of the new badge offerings, leading with a controversial heading detracts from the truth that the previous ‘hostess’ badge was discontinued as part of the programme refresh and that member feedback brought about a return of a similar offering.

Victoria Richards writes in The Independent that: ‘Girlguiding is […] modernising the way it interacts with young people. Speaking their language. After all, what use is an organisation for girls if nobody wants to join it?’

This does not seem to be the opinion of Lucy Mangan who writes a particularly scathing indictment of the movement in general and in a large part advocates for teaching children how to use a gun and cut down trees. Obviously unfamiliar with the Girlguiding programme, she misses that our new interest badges are just that – part of a programme that encourages girls to pursue their own interests and often to try something new! “Interest” simply means that we allow girls to choose for themselves what they are interested in learning more about. We remain dedicated to teaching core life skills (things like first aid, I’d argue, rather than using a gun) as part of the Skills Builder set of badges that progress through each section.

An opinion piece in The Express says: ‘The new Girl Guide badges are so easy, it’s like awarding a gold star for blinking’… This simply isn’t true; even the youngest members are encouraged to try something new or improve on a skill. It’s strange that none of these critical articles come from current members or leaders. Sometimes we do offer badges for participation at an event or marking on occasion but part of the joy of those is collecting them. I love looking for a badge patch when I’m on holiday and adding them to my camp blanket. There are some fantastic blankets out there – with badges from people’s travels, awards they’ve earned, and badges they’ve swapped with others they’ve met at events.

Why shouldn’t we be encouraging our youngest members to have courage?

Most articles – including the BBC – have chosen to lead articles with the range of badges that fall under ‘Be Well’ or ‘Know Myself’ and are therefore designed to help young people learn valuable skills in self-care and identifying the things that are important to them. They are, by nature, designed to help young people learn more about themselves and how they interact with the world.

This leads readers to believe that all badges are ‘self-centred’ as critics like Mangan have written. Why shouldn’t we be encouraging our youngest members to have courage? Girlguiding’s research has shown that 50 per cent of girls surveyed felt anxious about their future in 2024. Showing girls how to manage feelings of worry from a young age can only be a good thing. Our Rainbows are encouraged to “share the laughter with someone else.” Brownie Guides are working on their friendship badge are asked to “spend time with a new or old friend”.

Dig a little further and look to the other interest badges and there can be no doubt that the programme Girlguiding offers is important and helps young people to challenge themselves and build new skills. The activities offered are relevant to the concerns of young people and the betterment of their communities. Rangers are supported to learn more about voting and how to ensure their voice is heard. In a world with fast fashion and markets like Temu dominating digital spaces, Guides can find out how to make informed decisions as part of their Conscious Consumer badge.

Brownies can learn new languages or work towards their Mechanic badge. Even the youngest girls have the chance to learn about key principles of architecture in their Construction badge – the full syllabus of which is online. For critics who say that traditional skills like knot tying, sewing, or semaphore are forgotten by Girlguiding, all of these can be found in our Skills Builders and unit meeting activities. It can be so easy to be critical of something new or something that is changing without doing any further research to find out whether the headlines are accurate. Clickbait headlines are designed to drive up traffic and revenue, but something of the truth is lost in the process.

I am incredibly proud to be part of an organisation that offers a rich, varied programme to young people. It has helped me grow from an anxious primary school child to a leader who can recognise the value of teaching life skills that are relevant to our time and place. Right now, girls need to have the resources and support to thrive in both the tangible world, and in an increasingly digital world.

For those disheartened by the reception of the new badges, it’s worth looking to smaller news outlets. Those who have taken the time to garner responses from members and young people are much more encouraging and help to celebrate an exciting new step in our programme. I hope that those who can see the value of the programme offered to girls through Girlguiding can use this opportunity to find out more. If anything in this article has resonated with you, please do check out volunteer opportunities.

From someone who likes to incorporate things like Star Trek into my academic work, why shouldn’t we be able to offer a badge about Fandoms? Why shouldn’t we celebrate the things that we enjoy? There really is something for every girl, even if the loudest voices in Facebook comment sections don’t make that clear. I’m incredibly proud to be part of an organisation that brings out the best in young people (and in me as an adult leader!).

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Review

Art

Character

Culture

Faith

6 June 2025

5 min read

Inside the minds of Siena’s finest artists

To exhibit art from a golden age, it first needs to survive.

Susan Gray

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

A split wooden sculpted head stands in an exhibition.

Lando di Pietro's carving from 1388.

Curating an art exhibition about the emergence of recognisably life like painting and sculpture, pre-supposes just one thing. That the once innovative and venerated art works survive to today, even if shorn of their original, usually religious, settings. Those that made it to the National Gallery’s Siena: The Rise of Painting 1300-1350 have some tales to tell. That give us insight into their creators and their beliefs.

A cracked skull is sadly not an unusual find in the aftermath of an explosion. But the head discovered in the rubble of a Siena church following a World War Two Allied bombing raid in 1944 was remarkable. Almost life-sized, made of walnut and depicting Christ’s face, the carving had originally been part of the figure on a crucifix, but now severed from its body, the head was almost sheered in two. From this destruction spilled more secrets.

Hidden inside the skull, its creator Lando di Pietro inserted parchment with personal prayers. What little documentation we have about 14th century artists is usually public: contracts, lawsuits and wills, but these two scraps of writing represented Pietro’s personal faith. He dramatically asserted himself as the creator of the work:

“Lord God made it possible for Lando di Pietro of Siena to sculpt this cross from wood in the likeness of the true Jesus Christ to recall for people the Passion of Jesus Christ…have mercy on all generations”

And Lando also prayed for good health and for the world.

The fragment of a crucifix dating from 1338, is the only surviving example of wooden sculpture by this renowned goldsmith and architect, one of the Trecento creators on display at Siena: The Rise of Painting 1300-1350. In the hothouse of creativity that was the Tuscan town in the first half of the 14th century, goldsmiths collaborated with sculptors and painters, and the images they collectively created inspired manuscript illuminators, whose works, passing through many hands, went on to inspire other artists.

Siena’s position on the Via Francigena, the major pilgrim route between northern Europe and Rome, ensured the city’s artistic innovations spread to Britain and eastern Europe and beyond. And Sienese painter Simone Martini’s patronage by cardinals and members of the Papal curia in the Pope’s court at Avignon, showcased the techniques, materials and styles of Siena to influential church leaders and royal courts throughout the Catholic communion. Interconnected through marriage and diplomacy, the courts of northern Europe would have diffused Sienese style through the exchange of gifts, and hosting and commissioning peripatetic artists from the city.

The portability of devotional objects also spread the developments of Siena’s more naturalistic and emotional style, way beyond the city’s boundaries.

Decorative crosiers would have been in motion during processions, and the sculptural decoration contained in their curved tops were viewed in the round. On the Master of San Galgano Crosier, about 1315-20, the cast figure of the saint kneels in front of his makeshift cross. St Galgano’s praying hands and bent elbows form a perfect line with the sheathed sword, that the twelfth century knight miraculously drove into a rock. The Abbey of San Galgano grew up near the site of the miracle, and the intricately decorated reliquary containing the saint’s head is faithfully reproduced in enamel at the top of the staff.

Simone Martini’s Orsini Polyptych, dating from around 1310, can be understood as a freestanding, miniature, double sided altarpiece, depicting a silent Annunciation on one side, and a tumultuous Passion cycle on the other. The polyptych’s probable patron, Cardinal Napoleone Orsini is portrayed at the foot of the cross in the Deposition. Fully closed for transportation, the eight panels resemble a block of marble encased in gold. With the outer wings closed, the marble ‘covers’ become a setting for an Annunciation diptych. Fully opened, the panels tell the Passion, story Christ’s torture and death.

Originally the panels were likely hinged together, so the work could fold like a concertina. After a period at the Papal curio in Avignon, the panels were separated centuries ago. Seeing the panels individually lost the tangibility of the object’s manipulation of space, through folding and portability. Seeing them united in the National Gallery for the first time in centuries is incredibly moving.

An early fifteenth century French prayer book The Belles Heures of Jean de France, Duc de Berry, has a Lamentation scene sharing many motifs with the Orsini Polyptych, including the woman tearing at her hair, Saint John the Evangelist covering his eyes, and the back view of Mary Magdalene crouching over Christ’s feet. Within a hundred years, the Sienese emphasis on human emotion and portraying figures in recognisably three-dimensional space, had rippled out to other art forms and other countries.

One of Britain’s medieval treasures, the Wilton Diptych, commissioned by Richard II about a decade earlier than Berry book of hours, also reveals the influence of Siena: from the king’s animated pose kneeling before the Virgin and Child, to the egg tempera paint, and gold leaf sgraffito, where the surface is scratched away to depict sumptuous textiles.

In an exhibition full of showstoppers, the unification of the back predella (altarpiece base) of Duccio’s Maestra altarpiece is a standout moment. Installed in Siena Cathedral in 1311, Maestra has the oldest surviving narrative predella. On the front, depicting the Virgin Mary at the centre of a heavenly court, the painter had included his signature and a prayer.

“Holy Mother of God, bring peace to Siena, and bring life to Duccio who painted you like this.”

While the front image of the heavenly court would have been viewed from afar, the congregation could move close to the back predella and view a sequence of panels on Christ’s teaching and miracles as they prayed.

In 1771 the Maestra was sawn in half, and the predella dismantled. Its individual scenes were dismantled and displayed, and then sold, separately. The eight surviving panels are reunited in the National Gallery for the first time in 250 years.

The Black Death struck Siena in 1348, killing up to half its population, including many artists. Over centuries, plague, war, differences of religious doctrine, and fashion for Grand Tour mementoes, saw objects dismembered and repurposed. Yet the emotional resonance of maternal love seen in Ambrogio Lorenzetti’s Madonna del Latte, c.1325 or the humanising family drama of Simone’s last surviving work, Christ Discovered in the Temple, 1342, could never be undone. Art grounded in human emotions and human perceptions of the spaces around us, was here to stay,

The wartime work of the Monuments, Fine Arts, and Archives (MFAA) unit in preserving treasures such as the Head of Christ found in the ruins of the Basilica di San Bernadino all’Osservanza, was dramatised in George Clooney’s 2014 film Monuments Men. Creativity’s boundless resistance to the forces of destruction will always be box office.

Siena: The Rise of Painting 1300 -1350 National Gallery, until 22 June.

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