Blethers Issue 32 Summer 2016 Trad Arts Together

TRACS: 's National Network for Traditional Arts and Culture

 A living flow of song, music, dance, story and wordplay  Space for conviviality and collective energy open to all  Creative practice inspired by shared memory and experience  A wellspring for community identities and personal growth

Supporting Photo Credit Kim Ayres: The Macmath Collective Traditional Music, Storytelling and Dance with their national Forums, This issue of Blethers brings you project through which everyone respective networks and the stories of wizards and rhymers living in Scotland can tap into our languages of Scotland. from the South, of fishing boats in rich creative culture. What songs, the North, of rocks and pipers in stories, dance steps and seasonal the West. We reflect on the spirit customs should every child in Engaging with Scotland know? What belongs to of the ceilidh, an ancient tradition Lifelong learning, community of gathering and sharing with the them regardless of origin, culture or language? development, ecology and cultural power for reconnection that is diversity, contemporary arts, crafts, perhaps needed now more than This year we also celebrate 10 social enterprise, responsible ever in our fast-paced world. incredible years of the Scottish tourism, and social justice. We highlight the third annual Storytelling Centre. We take this opportunity to reflect on where TradFest Edinburgh, which kick we've come from and look forward Nurturing starts this summer season with a to an exciting future. Working feast of music, storytelling, dance, Creativity and cultural heritage in all closely with the traditional music parts of Scotland. folk drama, folk film, literature & and dance networks, together we talks, crafts. will explore and showcase the We introduce Tracs' pilot education immense diversity and shared resource, 'Gifting Every Child.' This commonality across the traditional is a collaborative and multilingual arts in Scotland and beyond.

Traditional Arts and Culture Scotland SC043009 Scottish Storytelling Centre, 43-45 High Street, Edinburgh EH1 1SR T: 0131 556 9579 E: [email protected] www.scottishstorytellingcentre.co.uk  www.tracscotland.org Blethers

TRADITIONAL ARTS: CROSSING BOUNDARIES Building on last year's Scottish International Storytelling Festival and its theme of Stories Without Borders, this year's TradTalk - TRACS' annual conference - takes as its theme the idea of crossing boundaries. We question the idea of participation: who participates, who might participate, and how do we widen the invitation?

The world is in the midst of volatile and overwhelming global challenges. We are living in an age of international migration and globalisation. Migration has inevitable connections with some of the most pressing issues in our societies, such as the mobility of people, diversity, equality of opportunity, sustainability and social cohesion or division. In Scotland, the traditional arts are underpinned by the idea of hospitality: sharing what we have to offer as people gather together, by invitation or happenstance, providing a means for voices hidden from mainstream society to be heard. Storytelling, music, song and dance can play a vital role in promoting understanding between people of different faiths, nationalities and abilities. The global influence on our day to day lives in Scotland is profound. Cultural diversity is inherent in the history of any nation, and Scotland has always been a place of migrations, influenced by the The traditional arts are generally TRACS is bold and innovative in its diversity of culture, language, characterised by re-creation, ambitions to take forward religion and beliefs around the constant re-animation and Scotland's traditional arts as a vital globe. The direct influence of reworking of material. New part of the country's contemporary countless generations of migration meanings are continually being wellbeing. We believe that the is underpinned by what we might created, where old and new traditional arts are a vital and call UNESCO Intangible Cultural combine into exciting entities of diverse element of Scottish cultural Heritage, or living culture. Scotland living value. Inevitably, the forms life, valued by people, communities, has adopted an inclusive definition and patterns of cultural expression locally, nationally and of intangible heritage which are ever changing and cross- internationally, whatever their pollinating. We might argue that the embraces the diversity of cultures background. found in Scotland today. traditional arts are at their most vibrant and exciting when they Mairi McFadyen The traditional arts have enjoyed a connect and meet with cultures mairi@scottishstorytellingcentre long, deep and meaningful history other than our own. @ScotStoryNetwrk amongst the people of Scotland. Some of these traditions have far- Far from belonging to our parochial past, the traditional arts are the reaching roots, others have been Mairi McFadyen is our new more recently developed or symbolic medium of a particularly Storytelling Network Co-ordinator. adopted, but whatever their origins powerful form of cultural ecology: With a background in ethnology, and provenance, they continue to an agent of collective awareness ethnomusicology, Scottish culture have great significance and value and cultural renewal. Through the for us today. process of tradition we create a and heritage, Mairi is a passionate continually evolving sense of self, of advocate for the traditional arts and Tradition is not static; it is community and identity. Our point is delighted to be able to contribute constantly in process and open to of departure is a celebration of to the developing work of TRACS. new influences. cultural difference.

2 www.scottishstorytellingcentre.co.uk  www.tracscotland.org Issue 32 Summer 2016

TRADFEST EDINBURGH  DÙN ÈIDEANN

From Wednesday 27 April to Sunday 8 May 2016 TradFest returns as Edinburgh's only multi-arts festival dedicated to Scottish traditional folk arts

Traditional arts are the foundation of Scotland's cultural "People are digging into that sense of heritage and national identity. Communities are bound by local cultural diversity. It doesn't need the stories and music that surround them. TradFest offers to be a kind of ersatz Scottishness an explosion of culture to ensure that this history is kept with everything mixed and matched. alive and that the traditional Ceilidh arts continue to be There are all sorts of different stories given a platform, allowing them to flourish and shape … the music, the localities, the ways Scotland's culture for future generations. of life … they are all part of it. The Scottish and international artists meet with local performers international aspect has always been for an exciting fortnight of music, storytelling, dance, crafts, in there as well but the point is it talks, walks, workshops and folk film. With over 90 events comes through the local traditions. across 25 venues, there is something for everyone! We are not international for the sake of it, we are international because it is The line-up also provides a great opportunity to place the part of the story." spotlight on some of Edinburgh's most iconic and unusual locations, with the Scottish Storytelling Centre - home of Donald Smith Scotland's Culture - being the hub for the Festival. www.tracsscotland.org/tradfest

www.scottishstorytellingcentre.co.uk  www.tracscotland.org/tradfest 3 Blethers

BOTH SIDES OF THE MINCH In the autumn of last year I was involved in two different projects, both working with the elderly. The first was in Ullapool and organized by the lively arts centre, An Talla Solais. The second was on home ground, in the town of Stornoway. I felt that elements of both could be worth sharing with the storytelling community.

ULLAPOOL - PORTABLE ART Painting Donald Smith, photo Jonathan Smith. On Tuesday 9th September, I caught the ferry to cross the Minch from my home port of Stornoway. Much of my work begins as extracts of logs of journeys by sea, out from the harbour town where I was born. This time, I sat back on the comfortable new Loch Seaforth and thought of the stories I might tell to an Ullapool Seniors group to link with an exhibition, originated in Ullapool but also shown on a barge in London and in a castle in Galicia. The hope is always that one story evokes another. I was one of the artists invited to devise a work which could travel, from port to port, in the confines of a standard cardboard post-box. I sent a video recording of the son of a previous owner of my own vessel El Vigo, describing how he and his father navigated the yacht from Strangford Lough back to Vigo in Spain and the yard where it was built, twenty years before. There is a hard sting in this tale of a successful voyage. people. There is the witty daughter man, bought one of the sleek First, I described how four artists of a poacher - the crop-haired 'Windfall' yachts which came to from each of the countries, freckled lass - who gets the better Britain as trophies after the Second Scotland, and Spain, were of the laird. She re-appears World War. Roy and Jessie's family invited to make a portable work throughout the countries of Europe were soon that team, charging which would fit into a small postal and through the centuries. through spray in the fast but wet box. Then I shared some stories In return, I was soon afloat again, yacht. Their daughter was no from my own home background - exception and her mastery of come down from my Lewis on a tide of strong stories from members of this friendly group. We sextant navigation proved her grandfather through my mother abilities as a sailor in her own right. and my uncles. For me, these chatted over coffee and I'm sure there could have been a yarn to be Florence Jamieson took part in a stories of a witty trickster or a seminal Scottish exhibition of poacher or a village distiller of had with each and every one, if there was only time for that. Three paintings - The Glasgow Girls. But illegal whisky are part of the fabric the story she had to tell me was not of my home port. These led to the of the individual stories were so powerful that I transcribed them really about her own achievements. stories brought to mainland and Rather it was about how skills and island Scotland by Travelling and checked them back with the tellers. The full accounts were stories, knowledge and experiences published in The Ullapool News. are passed on - in fact very like the works in the Portable exhibition. Ike Gibson was born Isaac Goldberger. He was the youngest of EILEAN | ISLAND five siblings who boarded the Eilean | Island is the title of a project second last Kindertransport out of initiated by the Borders artist Pat Nazi Germany in 1939. His story was Law in partnership with an Lanntair, all too topical at a time when the Stornoway arts centre. Pat's refugees were travelling all through concept was to explore the shared Europe. Jessie Osborne told me territory between netmending and how her husband Roy, a Gairloch storytelling.

4 www.scottishstorytellingcentre.co.uk  www.tracscotland.org Issue 32 Summer 2016

WARP & WEFT Kilbarchan Woven in Story & Song This project began as a dream to bring alive and celebrate the traditions and history of the small handloom weaving Renfrewshire village of Kilbarchan through story, song and music. Having lived half my life in the old prison and police station built in 1833, I wanted others to encounter this remarkable place too. I wanted to engage, enthuse and empower local primary school pupils to embrace the story of where they lived. She devised a live storytelling performance in the harbourside fish-market. I was invited to revisit a collaboration with the singer Kirsty Law, first aired at The Scottish Storytelling Centre. She also mounted an exhibition in a converted horsebox, which was moved from the quayside to a stance outside the gallery. Next, the local netmending ace 'Coy' Campbell and myself shared a workshop at the arts centre, alternating a practical hands-on introduction to netmending with samples of the kind of yarns spun while the timeless action goes on. An Lanntair are putting resources A few years ago I had talked to Into the mix came members of into a project working with local storyteller, singer and songwriter Kilbarchan Pipe Band, who brought dementia patients, caring staff and Ewan McVicar about my idea and he Habbie Simpson's tunes alive. The family carers and they arranged for said if I ever wanted to go ahead local ladies' 'Village Voices' choir us both to visit a local care home. with it, he would help me. Ewan's sang 'Lilias Day,' written and last Everyone was intensely moved father was a 'Habbie' as all folks heard in 1933 for the village's when 'Coy' recognised one of the born and bred in the village are unique annual festival day. Though town's most successful fishing named, after Kilbarchan's 16th piper a wild and wet evening, the hall was skippers but in a very withdrawn Habbie Simpson. packed with locals and it was voted state. He persisted, offering the With support from Creative a great success. netting needle till the memory of Scotland's TASGADH small grants From this event came two the physical action was stirred. scheme, the project began to take offshoots in November. The first Again, the stories I told seemed to shape. The first stage was research was a mini 'Warp & Weft' event for evoke memories throughout the into Kilbarchan's history, traditions the whole of the school - the P5/6 group. Several people told me they and culture. The next involved class performed their songs for the were reminded of gatherings, working with the p5/6 class over others. The second was an event before the coming of TV. One two months. We explored local for the Lowland & Borders Piper's woman recognized me from family stories, oral storytelling and Society in Peebles, telling the story resemblance and told me she sat songwriting. The project culminated of the 16th century piper Habbie beside my uncle Donald John Smith in a performance titled 'Warp & Simpson. We were joined by piper (an artist with a lifelong love of Weft - Kilbarchan Woven in Story & Pete Stewart, who dressed as painting but recently deceased) at Song,' involving talented locals as Habbie and played tunes that school. She was able to evoke that well as the children's own work. Habbie would himself have played, room from about sixty years ago. Each pupil received a CD of them on a set of pipes specially made. Conversations have been followed telling their own local stories and What a wonderful, exciting, up, along with an exchange of more songs. challenging and fulfilling project it stories, in the Blaire Buidhe This final performance was part of was! It is hoped that much more residential home, in the arts centre the Scottish International may yet come from the seeds that and Stornoway Library. It seems Storytelling Festival, tying in with have been sown in the bringing fitting to share some of Donald the 'Dig Where You Stand' local alive the traditions, culture and rich John Smith's many paintings of campaign which encouraged history of this little village. netmenders. communities 'to unearth a treasure- Anne Pitcher Ian Stephen trove of stories and legends in their [email protected] [email protected] community or local area.' www.kilbarchanwarpandweft.webs.com

www.scottishstorytellingcentre.co.uk  www.tracscotland.org 5 Blethers

GIFTING EVERY CHILD As Digital and Languages Apprentice for TRACS, Morag Wells has edited and developed the Gifting Every Child resource alongside guest editors Bea Ferguson, Christina Stewart and Mats Melin. Her focus is on developing and expanding the resources available on the TRACS website, with a particular focus on Gaelic and Scots. She can be contacted at [email protected].

Whit sangs, tales an dauncin culd we selection of some of the best When thinking back to our own gie ilka bairn in Scotlan fir a richt examples of the traditional arts, we childhoods it is often the guid handsel? Tae stert oot wi as a in turn gift the children with an association with specific seasonal smidgin, a wee seed whilk micht introduction to Scotland's creative traditions that comprise some of graw intae muckle trees o pleisur an culture and indigenous languages our most precious memories, as wunner. Here's a wee mindin tae which could serve them a lifetime of well as having the potential to begin wi fir aabody, reidy tae yaise benefit. Incorporating a multimedia strengthen intergenerational bonds an free tae aa. format of text, audio files (both within families and communities. On streamable and downloadable) and this note, Christina Stewart states: Dè na h-òrain, sgeulachdan, video, the resource is ideally dannsaichean, agus cleachdaidhean "One of the things that really designed to suit various abilities and excited me about the Gifting Every tradaiseanta nan ràithean, air am bu levels of interest - whether you chòir do gach leanabh no pàiste ann Child project is the opportunity for want to meticulously engage with intergenerational interactions. In an Alba a bhith eòlach? Dè tha each piece of the resource, or pick buntainn leotha as bith cò às a tha order for Scotland to have a robust and choose from what is available. living tradition, it needs to be iad, no dè an cultar no an cànan a th' The inclusion of Gaelic and Scots aca? something that our young people throughout is vitally important, with have that they feel is theirs, and the material provided also being What songs, stories, dance steps and something that they can share with very much geared towards the 6 to seasonal customs should every child adults and people of other age 9 age group, so as to ensure that it in Scotland know? What belongs to groups." is just as accessible as the material them regardless of origin, culture or in English. At a time where evidence of language? Gifting Every Child is a creativity in the classroom is being perfect starting point from which So what went behind choosing given a significant push - not simply parents, teachers and youth these specific materials - the as an aid to pass texts and exams, organisations can build their own stories, songs, dance steps and but as a key skill which can benefit local collections. customs? The target age group of 6 children for years and years to 9 year olds was kept to the onwards, TRACS feels that the Scotland's traditional arts scene foremost throughout the curation Gifting Every Child resource cannot be underestimated in its process, while leaving room for provides a perfect starting point for vibrancy and variety. But it is vitally flexibility on either end. Guest teachers, educators and youth important that we do not become editors Bea Ferguson (story), group leaders to engage with the complacent in assuming that its Christina Stewart (song) and Mats traditional arts through learning in current good health will be Melin (dance) have years of fresh and innovative ways. transferred automatically to the experience in their respective fields, next generation. In our increasingly and especially in engaging with Moving forward with the Gifting digital world, the oral tradition and children and education. The Every Child project, TRACS would intergenerational passing on of inclusion of basic dance steps which like to highlight individuals, songs and stories is in decline. fit naturally into many forms of organisations and groups who can However this does not need to spell Scottish dance aim to enable assist in delivering the traditional disaster for future generations, as children (and educators!) to feel arts in education of all kinds - in new opportunities to engage larger safe and enjoy Scottish dancing on schools, after-school clubs, audiences with the traditional arts their own terms. community groups, youth clubs etc. through digital mediums are If you and your work in the Furthermore, Donald Smith's emerging. traditional arts would be interested calendar of simple Scottish seasonal in being included on a listing of This was the thinking behind the customs is a lovely and accessible suitable educational practitioners, Gifting Every Child resource project. way for young people to grow up please email In providing educators, parents, appreciating an awareness of the morag@scottishstorytellingcentre. teachers and anyone else who different times of the year and ways com to request an application form. wishes to engage in creative work in which we can mark these. with children with an accessible

6 www.scottishstorytellingcentre.co.uk  www.tracscotland.org Issue 32 Summer 2016

Spirit of the Ceilidh Douglas Mackay reflects on the sharing of stories and his work in Community Development

"You know, in times past, ceilidhs weren't all about skipping around community halls. It wasn't just about the dancing, but gathering and sharing, with stories, songs, and whatever else folk had to offer. More about the craic than sets and reels."

That's as far as I understand it anyway, and whilst I'm sure very few reading this need explanation, over the past few years this to the needs of the space and including those within it. A simplicity and summary has often passed my lips. "Really?" I'm often answered adaptability that makes it the key to with a glint in the eye, "I had no idea. That's fantastic." the door linking storytelling and community development. I agree. People seem to feel some sort I found a book called The Power of Undoubtedly the ceilidh is a fantastic of excitement at this revelation. Stories, and that was it: I had to tell and under-used cultural resource. It Maybe it's excitement at learning some them. I wanted to tell the tale of reminds us of our heritage of inclusion, archaic hidden knowledge, some trivia Jumping Mouse to the young people I hospitality, equality, self-sufficiency to impart to curious pals, or discovering worked with...but how to get there? I and decent craic. This a resource something of our cultural inheritance. would surely need some practice dearly needed, perhaps now more than Maybe it's excitement at the thought before telling stories to surly ever in a time with escalating cultural of replicating such a timeless gathering teenagers. So I too organised ceilidh trends of isolation, competition, and feeling a rich sense of connection. gatherings. About ten of us would disconnect from the natural world and Something in the nature of the ceilidh meet in a friend's house, and we'd all each other, and empty consumerism. excites and enchants me as much as try out something new. Many in the Despite the ceilidh's subtle, the stories themselves: not quite the folk scene ken it well, but for us, at understated nature, it's something of a adrenaline rush of skydiving or the like - that time, this was something new, radical act to be gathering and sharing more the familiar buzz of an old pal fresh and dynamic. I could feel a in such an inclusive way and to actually returning from their travels, an community growing around me. There listen to each other. It reclaims a was a richness in the sharing - and we unexpected joke tickling your ribs or means to participate. It's about got a bowl of soup into the bargain. noticing the turn in the seasons togetherness and enjoyment (and reflected in the natural world. A wee People loved these simple gatherings, maybe a dram or two). Through the additional buzz comes at the sense of and with my development head on, the ceilidh, we can appreciate organic, being ahead of the mainstream curve, buzzwords were jostling through my social entertainment in a way echoed like tapping into the next big thing brain like monkeys up a mango tree. around the world and throughout the before the hipsters have arrived, as 'Sustainable entertainment.' ages. Instantly, in some small way, it brings us into harmony with people surely the ceilidh's time has come 'Community capacity building.' across the planet: those who've come again. 'Engagement.' 'Empowerment.' Confidence grew measurably. Many before us, and hopefully future With a background in Community people shared something in public for generations too. Learning and Development, the the first time. Bonds were built. There So, in that spirit, I'm championing the intrinsic value and social necessity of was a lot of gratitude in those spaces. ceilidh as key to these times. Whether such a gathering speaks clearly to me. These gatherings also highlighted via the hottest inclusive arts festival Personally speaking, if it wasn't for the this side of the Sahara, having pals something special in a particular style ceilidh, I wouldn't be writing this round for a hearty gathering, or of storytelling: having the right story article, or spending a good part of my sparking something off whilst waiting for the right moment - a week out and about telling tales. The at the bus stop, the spirit of the ceilidh responsiveness to the place and the ceilidh was where I first began my is an adaptable ally. This is about people present that elevates the story storytelling experimentation. A number rebuilding the chords of connection, of years ago, a friend organised a sharing experience. This involves not establishing creative communities and storytelling event in Edinburgh. This only honing one story to pristine exploring an ancient tradition that in was my first introduction to storytelling perfection, but having a treasure trove the modern cultural context is more in any kind of semi-professional, artistic of tales to draw upon, each with its pertinent than it has likely ever been. capacity. Collectively entranced, we own moment to create the magic. It's And unless something goes seriously journeyed to the village of Kittlerumpit about having a sensitivity to the right wrong, it should be decent craic. and bore witness to a witch with an 'story-medicine' for the right moment. unusual name trying to steal a baby At the time I was lucky if I could Dougie is currently working with The (the baby of course being the mother's remember the ending of the stories I Village Storytelling Centre in Glasgow, dearest love, except for a poorly pig was attempting, but still something in and in 2015 initiated and organised the called Grunty Grice). It was mad, the storytelling alchemy just worked. Inverness Storytelling Festival. enthralling, and it heralded the start of Now, the essence of the ceilidh Douglas Mackay something special. The gates of the underpins most of my current story [email protected] storytelling world burst open to me. sharing activities: A quality of listening https://wildedgestory.wordpress.com

www.scottishstorytellingcentre.co.uk  www.tracscotland.org 7 Blethers 10 Years Young . . .

There have been so many wonderful stories, experiences, laughs and tears during this time, and to celebrate, we have programmed some extra special events in our calendar.

We are also honouring our founding patron, Orkney poet and storyteller, George Mackay Brown, 20 years since his passing. We will bring visual arts together with storytelling performances, music and workshops, with opportunities for audiences to participate. The Ceilidh spirt alive and well, and here's to many more years. Daniel Abercrombie - Programme Manager, Scottish Storytelling Centre

Donald Smith was the founding Director of the Scottish More unsettling and also unexpected however was the way Storytelling centre and is now Director of TRACS. Here that our lead initial funder the he reflects on this long journey and looks to the future. Church of Scotland changed its This June we mark 10 years since the opening of the mind about the Scottish Storytelling Scottish Storytelling Centre. Centre soon after our opening. Financial pressures squeezed out Some of the things that have What was unexpected has been the their initial commitment to the happened since then were huge international interest and the widest possible community anticipated. We wanted to raise the boost that this has brought to dialogue and exchange. Some profile of oral storytelling and put Scottish storytelling and to our turbulence ensued but in the end this precious artform back on the international Storytelling Festival the Church's difficulties forced us to map. That has certainly happened each October. The Centre has been face another central challenge. though there are plenty of battles a beacon for others, at a time when still to be fought. Scotland generally has raised its How can a national centre truly profile worldwide. engage with local communities and cultures? We have found a way of Also beyond our expectations has beginning to answer that question been the stream of organisations by joining with the Traditional Music across Scotland who have brought and Dance networks in our new their story to our Centre. We are a TRACS umbrella - Traditional Arts national and international meeting and Culture Scotland. This has point where art and society meet - provided a much wider field of local a place for people to share and engagement and an activity base exchange, a Table genuinely open that justifies the support of public to all. funders for our next phase of growth across Scotland and HAMISH HENDERSON 1919 - 2002 beyond. We warmly acknowledge Poet, singer and songwriter, champion of the the assistance of both Creative Travelling people. Hero of the Italian partisans, Scotland and Edinburgh City Council socialist, internationalist, peace activist. in negotiating those new Portrait bust by Tony Morrow, gifted by partnerships. the artist and by Timothy Neat. 8 www.scottishstorytellingcentre.co.uk  www.tracscotland.org Issue 32 Summer 2016

This June we mark 10 years since the opening of the

Y T E Scottish Storytelling Centre R L L O I T N S G

H

C S

I

E

T

N

T

T O

Some core things however remain R C E constant. George Mackay Brown is "It is the word, S our founding patron and we also blossoming as legend, mark this year the anniversary of his poem, story, secret, death. that holds a community His inspirational grounding of the together and gives universal in the local, his incarnation meaning to its life." of words in living communities of music, story, dance and seasonal George Mackay Brown celebration remain a guiding light through changing circumstances. Making the Scottish Storytelling Centre possible was a huge labour of love on the part of many people. I would like to think that we have not let them down and that in the next ten years our planting will blossom into an ever finer young tree whose roots go deep and whose branches reach out into all areas of our common life. At the opening ceremony we had a hantle of blessings in the tongues and traditions of old and new Scots. All were inspiring but it was hard to better Stanley Roberton's Traveller wisdom:

Here's health and happiness aa yer days, Plenty o money and plenty o claes, A sugar bowl and a horn spoon, Under the earth I go And anither tattie whin that een's dune. On the oak-leaf I stand I ride on the filly that never was foaled Onto the next course! And I carry the dead in my hand.

There's method in my madness!...

Change elegy into hymn, remake it - Don't fail again. Like the potent Sap in these branches, once bare, and now brimming With routh of green leavery, Remake it, and renew.

Maker, ye maun sing them… Tomorrow, songs Will flow free again, and new voices Be borne on the carrying stream. Hamish Henderson (1919 - 2002) Stanley Robertson, Traveller's Joy 2007

www.scottishstorytellingcentre.co.uk  www.tracscotland.org 9 Blethers

Should we be Professionalising Traditional Music? At the recent collogue, 'Who's Got an A?' which focused on questions about how we go about organising teaching and learning in traditional music, Kathryn Deane suggested that we launch an investigation and call it 'How Ever Did It Go So Right?' Kathryn runs Sound Sense, the national community music organisation, which has long grappled with many of the questions we were dealing with. The headlines on the cover of recent issues of their magazine, Sounding Board, include, for example, 'On the importance of Reflection', 'On the Problems of Evidence', 'How to Ensure Music Education is for All'. The suggested title was in response to discussions around standards of knowledge, skills and understanding, quality of teaching, lack of frameworks, The teaching of the bagpipes has On the other hand, I think we owe it patchy training and so on. And yet long enjoyed a progressive, to ourselves as a community to do despite these apparent problems structured approach with a Piping better, which might be possible if we the standard of playing seems to do and Drumming Qualifications Board, think about adopting a framework nothing but improve. agreement on a world-wide common to non-formal teaching and Or that is the anecdotal account at standard of instruction, and a learning organisations across the any rate. How do we know? What general acceptance of the value of country, that the largely voluntary are our points of comparison? In the certificates which back this up. people running these organisations traditional music we have a wide Yet in the world of teaching and can buy into; if we give people who range of informal practices learning traditional music beyond are offering teaching a set of contained within an ad hoc system piping it is still the case that when common standards within a plurality for teaching and learning outside the door of the teaching room of activities and approaches formal education, and a formal closes the people hiring the teacher (standards do not have to mean standardisation); if we put in place a education framework that has by and large have no idea what is proper system for coaching and arisen in response to demand taking place, the students have no mentoring those we charge with created in the non-formal system. idea what they are going to get, passing on the tradition. You only have to go back twenty and the teacher has no benchmark years to find a Scotland with no by which to figure out what is In advocating for the latter approach I Plockton, no Scottish music course expected and how they are doing. might be accused of seeking to at the Conservatoire, and no professionalise something that has traditional music courses in Further always worked, however haphazardly. Education either. All of these However, with over 10,000 people initiatives were put in place to build learning traditional music on a regular on the work happening with young basis across Scotland, and with people in communities up and people paying for the privilege of down the land. But twenty years doing so, I think we owe it to them to ago, as now, the set up for emulate the pipers and take a radical providing learning opportunities for look at how we can act together to young people and adults alike was improve the system as it stands. based on a 'little black book' Otherwise we may one day stop approach to finding and hiring asking 'how did it go so right?' and tutors. 'We need a tutor. OK I am pulled in two directions. On start asking the other question you play the fiddle - can you come the one hand I value the progress instead. that has been made by the mosey- and do it?' Not a lot of rigour David Francis, TMF Co-ordinator involved. along, suck-it-and-see, seat-of-the- pants, ach-it'll-be-grand approach Associate Director of Tracs That does not apply to the piping that has contributed to the healthy [email protected] world, however. scene we enjoy now. @TradMusicForum

10 www.scottishstorytellingcentre.co.uk  www.tracscotland.org Issue 32 Summer 2016

The ABCs of Storytelling: tips, techniques and reflections G is for Golden pleasantries. You have to accept Moments them at face value. As Lipman G When a storyteller explains, it's not comes to one of easy for us to my coaching sessions and accept praise. Our emotional armour, shares a story, I follow the designed to telling with a ritual I call protect us from "Golden Moments". This is a pain, also screens time for the group to share us from praise. To appreciations or "golden open ourselves to moments" with the teller - praise, we must open emotionally. positive expressions of something which touched us In our "golden moments" session, or otherwise resonated with we offer two us. It might be a particular forms of praise - image, a gesture, or any global and specific. number of nuances in the Global or general appreciations the teller has the right to refuse story or the storyteller's such as, "I loved your story", "You further offers of criticism or performance. created a beautiful picture in my suggestions. For some tellers, just mind" or "That was such a sensitive telling a story and hearing the telling" are often emotional or appreciations is enough for one I borrowed the concept of the intuitive. When heard in tandem session. Criticism and suggestions "golden moment" from my with others' appreciations, these can wait. For others, further coaching work with American can help the teller form a general feedback is welcomed. Whichever storyteller and story coach Doug impression and emotional response the case, the storyteller's decision is Lipman. Lipman believes very much to his or her story. Specific praise respected. in the power of praise. Listening to offers a more detailed response to The offering of "golden moments" appreciations helps tellers form an particular aspects of the storytelling has become a ritual in my coaching overall impression of the telling and - a resonant image or phrase, an practice and I urge anyone who helps identify particular aspects of innovative story structure, a coaches, mentors, or teaches others the performance which worked gesture, some movement or vocal to adopt it. When praise is linked to well. Of course, praise should be inflection, or an aspect of actual observations of behaviours, sincere and honest. Perhaps it is characterisation. Specific praise manners of speech, gesture, because we have become so jaded further helps tellers identify those imagery, or characterisation, with insincerity that our society has aspects of their performance that storytellers can more readily identify become uncomfortable with worked, thus answering the teller's those aspects of their practice which offering appreciations. "Since our initial questions, "Was I good?", have made an impact. "Golden society is so squeamish about giving "Did they like the story?" and "Did I moments" serve as a positive praise," Lipman explains, "most of achieve my goals?" us have not developed this art to springboard into constructive fullness. It takes practice to become The offering of praise circumvents development. Appreciations open us an expert at this fundamental those listening to the teller up emotionally to ourselves, our coaching skill." (including the coach) from jumping colleagues, and the stories we tell. in too soon with their criticisms or By encouraging us to lay down our Lipman suggests two essential suggestions for improvement. First, emotional armour, our inner reasons for using appreciations in a we create a positive atmosphere storytellers can fully emerge into the coaching session: firstly, the where deeper listening can flourish, light and we can become the practice helps those offering praise then suggestions follow. I also ask storytellers we truly want to be. to pay closer attention to the gifts storytellers for their "golden they're about to bestow. By moment", thus helping them to Michael Williams separating an appreciative response focus on the positive rather than [email protected] from a criticism, one can more immediately succumbing to fear, clearly hear whether an doubt, and negative self-criticism. Michael Williams is a story coach, appreciation is just that - Once the appreciations have been storyteller, and host of the Teller and appreciative and sincere - or simply the Tale radio show. If you'd like to a segue into a critical response or offered and accepted, I ask my experience your own "golden interpretation. Secondly, the storytellers if they would appreciate moments" and learn more about practice of "golden moments" some further feedback and story coaching, contact Michael at assists the storyteller in receiving constructive criticism of the work. [email protected] or Asking permission is important as it visit his website at appreciations. By hearing a cluster www.michaelwilliamsstorycoaching.com of honest appreciations, it's more respects the teller's integrity as difficult to dismiss them as simple "author" of the telling. Of course, Gwww.scottishstorytellingcentre.co.uk  www.tracscotland.org 11 Blethers

school. This transition project with At the House the Wizard Built P7 classes was to link Abbotsford's grounds, Scott's life and work, and A few miles down the Tweed from home, set a little back from the river and tree folklore, a theme echoed in the surrounded on three sides by wooded hills, is the great turreted pile of above, most recent venture. This Abbotsford House. After extensive and expensive refurbishment, Sir Walter was the beginning of what has Scott's 'conundrum castle' re-opened to the public in 2013. continued to be real enjoyment of Even in his own lifetime, the extraordinary success and almost global 'The Shirra', the polymath and his appreciation of his writing lent Scott the title 'Wizard of the North'. I must say work, and an appreciation the that my association as a storyteller with the house and grounds the wizard breadth of his influence. built has brought an unexpected magic into my life - but as we all know, My plan for Tweedbank required magic can be unpredictable! multifaceted elements woven together to form a cohesive, manageable and relevant experience for the pupils, focusing on group and individual participation. By highlighting the relevance of oral storytelling to Scott's inspiration as an author, I hoped to raise pupils' awareness of storytelling, and its value as both a shared and personal resource. Fundamental was my wish to encourage a sense of identity with the participant's locality, and with the rich oral tradition that makes it so special. Soon after this I was commissioned to develop a new 'dressed character' to interpret Scott's Early last autumn, the Estate wonder, linked to Scott and his house and collection, through Manager, Philip Munro, invited me home, this man who was an avid storytelling, for the educational to bring input to an existing tree - planter, and who shaped his program. This request had been collaborative project between world. inspired by 'Mistress Quill', an Abbotsford Trust and Cornerstone, I carefully tailored each making identity created as part of my a charity offering care and support session to be accessible and repertoire, and a second seemed to adults with disabilities and other achievable. Possibly my favorite was too many. My Initial reluctance support needs. Having worked for a creating 3-D birds to inhabit our soon gave way to enthralling number of years with adults with special tree, using pine cones found emersion in the research and learning disabilities, both as artist on our walk, plasticine and native creation of 'Mrs Oakley, Visitor from and storyteller, and as support and exotic feathers. This particularly the Past'! Dressed for 1835, telling worker, I was delighted! enjoyable session brought out a legends and tales - historical, creative streak in the whole group, supernatural and local - which including staff of both inspired Scott's work, with options organizations! The sessions were offered to combine with creative very popular with Cornerstone workshops in the Learning Centre. staff, who enjoyed learning new I was also heartened to perform on skills which they could develop at Scott and Ballads to jam-packed the Support Centre.This was a joyful international audiences in and nourishing project to be part of, Edinburgh Museum, for SISF. And offering a group of local vulnerable on a memorable snowbound adults the opportunity to develop a evening in Yarrow valley - in meaningful relationship with a company with 'The Fisher Lassies' - Earlier sessions had focused on the heritage venue in tactile and we had a full house for song and outdoor environment - practical and intangible ways. story at the 'Gordon Arms' where craft activities aimed at providing My first contact with Abbotsford Scott and James Hogg last met. I stimulating experiences to promote Trust had been in the early spring of think storytelling and song gives health, wellbeing and social 2013, before the re-opening, when genuine expression to what moved, inclusion. Whilst successful in many the Learning and Engagement inspired and sustained Sir Walter ways, there was an identified need Manager, Dr Sandra Mackenzie Scott, and to what fed his energy to offer a wider range of activities approached me about storytelling. and determined genius. And after to enable all participants to engage Following enthusiastic discussions, all, should there not be stories told with the sessions, whatever their an initial project was commissioned in the House built by the Wizard? ability. Over subsequent weeks of to design and deliver a three day Mary Kenny kindly autumn weather, I told storytelling, art and story-making [email protected] stories of trees, full of magic and project for Tweedbank Primary www.marykenny.co.uk

12 www.scottishstorytellingcentre.co.uk  www.tracscotland.org Issue 32 Summer 2016

WALK THE LINE: GETTING LOST AT THE BORDER Have you ever found yourself wondering about borders? We have been repeatedly told this year about people 'crossing borders' into or out of 'their' country. Politicians have spoken of protecting their borders, of strengthening and fortifying the outer limits of their lands. Consequently these lines take on huge political and social significance. We define ourselves based on which side of a line we were born on.

Yet, what are they? Frequently they My plan was to tell the story at night are passing places that we give only in pubs to patrons as I worked my a split second thought to. There may way along the border line. be a cheer or boo that resounds For me the story brought up themes around the car depending on your of Nationalism and Unionism that I particular sense of belonging. Maybe hoped would sow the seeds of you take your last few breaths of debate long into the night. Maybe Scottish air before you cross over to I'd return with some truths of my 'the other side'. You might even pull own. What started as a journey into an into Carter Bar, take a photo of the So what happened? To cut a long unknown world of Scottish and bagpiper and grab a bacon butty story short, I got lost, a lot. I failed English politics turned into an from the perennial burger van that to follow the border exactly on emotional trip into my past and the seems to reside there. However, many occasion and I would regularly discovery of my need to tell a part of what would happen if you decided find myself toppling face first into my own folklore, a story of loss and to spend some time there, make it thistles whilst completely alone. And grief. your destination, even walk along it lost. However, no matter how from one side to the other? Well Throughout all this I tried to walk elusive it seemed, I kept trying to that's what I did. the line, inhabiting a position of walk the line. I don't mean this in the constant reflection, allowing each Having grown up forty miles south Johnny Cash sense. He never really world to blur into one another. I of the Anglo/Scottish border and accomplished his own interpretation suppose that this is my challenge to now currently resident in Glasgow, it anyway. I mean that I constantly storytellers out there. Go take a felt right to choose this one. I searched for a position, a position of story for a walk. Let your feet guide wondered if this line had taken on a perfect inbetween-ness, of neither you. Go and make discoveries under greater significance following a being in one place or the other. In the rocks and in the rivers. Trudge fraught year of independence search of a position that allowed me and amble your way through several referendums and whitewash general to look, question and challenge both stories at once. Try though, to walk election results. I wondered if the sides. To understand the the line, the line between one line meant more or less to the ridiculousness of a line that position and the other. Challenge people who lived close by and separates people and yet also the your common held assumptions perhaps more significantly, did it sense of belonging that comes from about belonging and folklore and mean anything to me. Some might treading on the land where you live, tradition. We as storytellers are too say that this was a frivolous attempt where you're from. often comfortable with our images to avoid actually sitting at my desk As I travelled, I found myself walking and our words as we describe a and writing my Masters dissertation, into the story, white horses and deserted forest to a group of wide which in hindsight may have been pitch black rivers appeared in my eyed school children. Well, stop. Go considerably easier, or at least drier. path as if the story was unfurling in into that deserted forest, stand on Nevertheless, on the 7th August, I front of me and all I needed to do the line between the 'real' world and set off from Gretna. With all my was place one foot in front of the the story, and most importantly let food, accommodation and kitchen other. The line between the real your tale come through too. We equipment attached firmly to my world and the story world became storytellers are constantly training back I had seven days to get to more difficult to see, I moved quite our minds to wander freely between Berwick-upon-Tweed, when my train seamlessly between the two worlds many places, well why not let your was booked back to Glasgow. as one influenced the other. All the legs go wandering too? So where does storytelling come while, there was another story One important point though: If you into this? Well, I decided to take a playing out in front of me. An do find yourself in a deserted forest, story as a walking companion. After unexpected story. My own. An please keep your eyes peeled some not inconsiderable trawling image emerged that thrust me back because I might be lost in their too through borders folklore, I settled twenty-five years to a memory: a and I'd quite like a nudge in the right upon Thomas the Rhymer. In short, hazy picture of my mother taking me direction. Thomas gets whipped away to to the border when I was six years Daniel Serridge Elfland for seven years by the Queen old. An image that I have played Daniel works for The Village of the Faeries herself and returns over and over again in my head Storytelling Centre in Glasgow with the gift of truth and prophecy. throughout my adult life. [email protected]

www.scottishstorytellingcentre.co.uk  www.tracscotland.org 13 Blethers In Memory This past year we lost two great friends in the world of storytelling, Colin Mackay and Angie Townsend.

COLIN MACKAY 1936 - 2015 ANGIE TOWNSEND Angie & I were both wearing pillowcases on our heads when we Always known as Colin, this great Our storytellers share their first met, that was our version of friend to storytelling died just memories of their dear friend below. medieval royalty! From that a before Christmas 2015. Many friendship was born. I was struck by tributes to Colin Mackay record his her warmth & compassion and this outstanding public service as was apparent in everything she did. teacher and headteacher, We had several storytelling memorably at Craigmuir in Pilton, as adventures, enjoying ourselves Scout leader and pioneer in thoroughly each time. Scouting for disabled youngsters, and as a lifelong church volunteer Her powerful telling of Elsie Inglis' at St David's in Broomhouse. story was simply one of the best things I've seen. However, we especially celebrate Colin as a storyteller, flourishing Angie was, without doubt, a shining after his retirement in 1998, building light and while she will be much on decades of work with young missed her memories, spirit, stories people. Being Colin, he also took a & songs live on with us. leading role in supporting Lindsey Gibb storytellers and was Chair of the Scottish Storytelling Forum during Angie Goodbye Angie Townsend, my the vital years leading up to the We ate scones, crammed with fruit opening of the Scottish Storytelling memories are many but perhaps the no butter most vivid... The Roman Walk, Centre. He was also a pioneer in the your choice March 2012. Romans are not my Life Stories group working You sipped tea from a china cup creatively with older people, and co- green tea, of course thing, so my research involved edited Blethers with Ann Davies. You planned to delight the world watching Gladiator but as usual you with stories ... threw yourself into the project with Of Elsie you talked of courage enthusiasm and became obsessed 'her story should be told' by Mithras. On the night I dressed Yet, in telling we saw you as Cleopatra along with a fake asp your true colours and you were a Votadini complete standing there with shopping trolley; we stopped out front, lights up traffic that night, a police car if I veins full of chemo recall. The world was a better place hair barely grown with you in it. X Never had we seen one so determined, Nicola Wright so, defiant You delivered alright Angie made every minute she had left us marvelling left count and amazed us all with as though witnessing a comets trail her incredible ability to remain a blazing red headed comet upbeat & cheerful despite all the love and inspiration in your wake, gruelling treatment she endured. I The most important thing for Colin touching each and every one of us am desperately sad for Chris, as you passed through was the power of storytelling to Bethany & Ceri-Anne that Angie convey afresh the wisdom of love. Angie, Storyteller, song writer, can't share their future. However, I Colin is a much missed friend, but singer, radio presenter, teacher, know their faith, friends & family brilliant mother and wonderful will be there for them always. his many achievements live on as friend. Missed and loved beyond part of many other peoples' stories words but carried forever in our No-one who knew Angie will ever and memories. stories xx forget her. Donald Smith Lea Taylor Robbie Fotheringham

14 www.scottishstorytellingcentre.co.uk  www.tracscotland.org Issue 32 Summer 2016

Music Blethers This past season has seen a huge number of new music releases filed under folk. We offer a selection below. Highlights for us include Hamish Napier's The River, Songs of Separation, Jarlath Henderson's Hearts Broken Heads Turned and Rachel Newton's Here's My Heart come Take it.

NITEWORKS - NW MAIREAD GREEN - Summer Isles 26 Oct 2015 26 Feb 2016 Comann Music Buie Records Nitework's debut album combines Second solo album from highland multi- bagpipes, electronic effects and instrumentalist Mairearad Green with keyboard work with guest Gaelic vocals. new compositions inspired by The Summer Isles. WOVEN - Sarah Hayes 20 Nov 2015 IMPRINT - Aidan O'Rourke Sarah Hayes Feb 2016 An ensemble suite of music and song Reveal Records with traditional roots and classical A suite of music inspired by abandoned influences. human settlements in North East Aberdeenshire. BLAZIN - North 11 Dec 2015 ASTAR - Breabach Blazin' Fiddles 11 Mar 2016 The eighth album release from the Breabach Records award winning Blazin' Fiddles. New album takes inspiration from the sights and sounds of Australia, New HAMISH NAPIER - The River Zealand, Norway and Québec. 1 Jan 2016 Strathspey Records DEAD STATIONS - Mike Vass & Charlotte Hamish Napier's multi-instrumental Murray composition for ' 2 Mar 2016 New Voices series, partly inspired by the Unroofed Records Spey. Combines live music, song writing and recorded audio drama to tell a thrilling JARLATH HENDERSON - tale. Hearts Broken, Heads Turned DELIVERANCE - Nordic Fiddlers' Bloc 27 Jan 2016 8 April 2016 Groundbreaking debut solo album NFB Records features traditional songs interpreted Combining the rich music heritage of for the modern day. Norway, Sweden and the Shetland Islands with sparkling touches of NUALA KENNEDY - Behave the Bravest innovation. 28 Jan 2016 Under the Arch Records MATTER OF TIME - Dallahan Fourth solo album of beautifully 11 Apr 2016 produced songs and tunes from singer Dallahan Music and flautist Nuala Kennedy. Second album exploring a mix of Irish, Scottish and Hungarian heritage to BOREAS - Ahoy Hoy create a unique and seamless musical 29 Jan 2016 montage. ISLE Music Scotland Female vocalists and instrumentalists HERE'S MY HEART COME TAKE IT - explore the connected cultures of Rachel Newton Scotland and Norway. 15 Apr 2016 Cadiz Music Ltd Songs of Separation Drawing on folklore and tradition, multi- 29 Jan 2016 instrumentalist and singer Rachel Navigator Records Newton performs songs in English and Bringing together ten female folk , alongside original musicians from Scotland and England, instrumental compositions. to create a recording which reflects on the issue of separation. RECLAIMED - Lothian and Borders Pipers Society SCOTIA NOVA: Songs for the Early Days Tunes and songs with strong Border of a Better Nation resonances, many of which have not 5 Febr 2016 previously been recorded. Greentrax Unique album showcasing a broad RANT - Reverie variety of songwriting styles and 13th May 2016 singers, each inspired by the idea of a Make Believe Records new Scotland. Hypnotic and many-layered, the second album from Scotland's chamber-folk quartet.

www.scottishstorytellingcentre.co.uk  www.tracscotland.org 15 Blethers Issue 32 Summer 2016

Book Blethers

George Gunn's The Province of the Or Words to that Effect is an Cat is based on a life lived close up impressive academic volume on with the most northern part of the orality and literary history, Scottish mainland. The book is encompassing some of the latest eloquently about poetry, research and perspectives. We note storytelling, literature, the it here because of the contribution environment, politics and our of storytellers- Dan Yashinsky, and THE PROVINCE OF THE CAT connection with all of the above. It our own Stuart McHardy whose George Gunn is an outstanding book that article is titled 'The Story of Story- The Islands Book Trust deserves to be read, re-read and and a Canon of Story', emphasising ISBN 9781907443428 cherished, both for what it is and the historic, educational and for what it aspires to for a renewed cultural contribution of oral WE ARE THE ENGINEERS! Scotland. traditions. It is gratifying to see the Margaret Bennet We Are the Engineers! by Margaret increasing recognition being Given Grace Notes Publications Bennet opens up the experiences of to Stuart's ideas, many of which ISBN 9781907676666 working people with a focus on were first shared in these pages. Perthshire and Fife, and in Wicked Willi's Saga is a rare one-off, SCIENCE THROUGH STORIES particular the Melville-Brodie a tale of Hebridean cats couched as Chris Smith and Jules Pottle Engineering Co. The book is one a Norse saga, as written by eminent Hawthorn Press outcome from a Heritage Lottery folklorist John Lorne Campbell. The ISBN 9781907359453 project which explored a variety of book is a delight combining JLC's trades and professions under the characteristic lucidity and grace of HIGH HOPES-THE WESLO STORY title 'End of the Shift'. language with excellent illustrations Raymond Ross by Laura Barrett. Beautiful work by Weslo Housing Management Science Through Stories by Chris ISBN 9780955343315 Smith and Jules Pottle is another Grace Note Publications, and a strand of the Storytelling Schools storytelling treasure not least for cat lovers! OR WORDS TO THAT EFFECT initiative supported by Hawthorn Daniel F. Chamberlain and J. Press. The stories range over many We would like also to commend Edward Chamberlain aspects of science and are Fantasies, Fables and Frolics a John Benjamins Publishing Co contextualised with active learning collection of stories by traveller and ISBN: 9789027234643 resources, and cross-curricular mountaineer Hamish Brown- connections. The narratives inventions in the manner of WICKED WILLI'S SAGA BY JOHN themselves are eclectic- traditional, traditional tales; Silver Lines which Lorne Campbell contemporary, devised, historic- all next in the saga of Leith lives that Grace Notes Publications driven by their potential to Millie Gray's books have brought to ISBN 9781907676635 stimulate curiosity, imagination and vivid attention- surely there should learning. be TV adaptations or a film; and FANTASIES, FABLES AND High Hopes - the Weslo Story by Eavesdropping on Myself, a memoir FROLICS Raymond Ross takes us into the of childhood by the multi-talented Hamish Brown world of social action and and complex Norman Maclean, Pettycur Publishing community development. Ross has whose storytelling defies genre been given a free hand to tell the distinctions. Last but farfrom least, SILVER LINES story of this West Lothian Housing Michael Kerins series of weetom Millie Gray association from the perspectives books continues with weetom and Black & White Publishing of tenants and staff. He does a the New Bed upholding a proud ISBN 9781845029975 good job- in line with what Weslo tradition of miniature people in has achieved for its communities. storytelling. EAVESDROPPING ON MYSELF Norman Maclean Grace Notes Publications ISBN 9781907777676710

WEETOM AND THE NEW BED Michael Kerins Big Pants Ltd-Books ISBN 9780993482311

T: 0131 556 9579 E: [email protected] Scottish Storytelling Centre, 43-45 High Street, Edinburgh EH1 1SR 16 www.scottishstorytellingcentre.co.uk  www.tracscotland.org