Article

Celebrating the culture in silviculture By Mandy Haggith

Over the past two years, students at the to therapeutic workshops, to support L ( – Rowan) Letters Scottish School of Forestry (SSF) have creative writers to generate written The Gaelic tree alphabet links each been writing poetry, getting immersed content and to shape it into poems. letter of the Gaelic alphabet to a native in Gaelic tree tradition and perhaps A-B-Tree began in 2011, with a series woodland species, mostly, but not even trying out the odd magic spell. of creative writing events in woods and all, trees. It is uncertain how old this Meanwhile, elsewhere in the University gardens around Scotland to celebrate the tradition is. It may be an early form of the Highlands (UHI), of which SSF International Year of Forests. In 2013 a of writing that predates the arrival of is a part, literature and creative writing similar series was organised as part of a the Latin alphabet to Britain, with the students have been getting to grips poetry residency in the Royal Botanical Romans and then Christianity, or it may with the distinguishing features of Gardens Edinburgh. In 2018 the project be a local variant of the Latin alphabet. blackthorn and hawthorn, the spread moved to UHI (partly funded by Forestry It is based on an inscription script, of Chalara dieback and other issues in Commission Scotland, now Scottish called , which looks like (and forest ecology. This all happened under Forestry) to explore more systematically may have evolved from) Norse runes, the aegis of the ‘A-B-Tree’ project, the potential for the Gaelic tree alphabet and takes a different sequence to the which celebrates the ancient connection to be used for creativity and learning. Latin alphabet, with all vowels at the between trees and writing represented More than 300 people have since end. The earliest form of the alphabet by the Gaelic tree alphabet (18 native participated in events delving into tree had 20 letters, although modern Gaelic woodland species, each linked to a letter folklore, ecology, practical uses and uses only 18 (having ceased to use Q, Ng of the alphabet) by introducing and nomenclature including Gaelic, and and St/Z, and added P). researching interdisciplinary learning were encouraged to respond creatively. There are several different versions between literature and forestry. This The events led to insights about how of the alphabet, and some disagreement report gives a flavour of what has been to facilitate tree-related creativity and about which species should be associated going on and what has been learned generated several collective poems. A with each letter. Some letters are through this poetic inquiry into forestry. community of practice is growing at UHI uncontroversial: the first letter, B, is (and in partner organisations), linking almost universally agreed to represent B (Beithe – Birch) Background forestry and literature/creative writing, beithe, meaning birch; C is always hazel For nearly a decade, the Gaelic tree with plans for further work including ( or calltain); D is always oak (doir alphabet has been used for learning and curriculum developments, work with or darrach); S is always willow ( or creativity linking forests and literature, artists and production of materials for suillean). However there is debate about in a project called A-B-Craobh (A-B-Tree use in schools. whether A is elm or pine, whether M is in English). The project has at its heart vine or bramble, whether T or O is gorse, an interdisciplinary knowledge base and which species should represent the consisting of thousands of ‘tidbits’ of late-arrival P. ecological knowledge, folklore, place Seventy years ago, HL Edlin dug names, practical and medicinal uses, into an old Irish source and produced plus an anthology of poems (Haggith, a version of the alphabet, which was 2013). These poems and snippets of published in this journal (Edlin, 1950). knowledge have been used in a wide Since then numerous neo-pagan, druidic variety of contexts, from woodland walks and new-age mystical writers have developed a range of interpretations (Murray and Murray, 1988; Blamires, 1997; Kindred, 1999; Gifford, 2000), some inspired by and others resisting THE AUTHOR the Celtic revivalist elaborations of Mandy Haggith is the author Robert Graves (1948). There have also of eleven books, including four poetry collections and a tree poem been an interesting variety of uses of the anthology, Into the Forest. She alphabet as structures for community lectures in creative writing and woodland planting schemes, notably the literature at the University of the Millennium Forest project A’ Craobh, at Highlands and Islands. Borgie, Sutherland, and for educational [email protected]. displays such as the one at Inverness www.mandyhaggith.net Museum (Sutherland and , 2000). Urban birch in autumn. © Carol Crawford

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Table 1: The Gaelic tree alphabet as used in the A-B-Tree project. The A-B-Tree project adopted a pragmatic approach to the alphabet, treating it as an organisational principle Letter Modern Name Old Gaelic Modern Gaelic Ogham Script for knowledge and celebrating its potential for stimulating creativity in response to woods and trees. The B Birch Beith Beith version of the alphabet that the project uses is shown in Table 1. It differs from Edlin’s in four letters: T is holly (), L Rowan Luis Caorann A is pine (ailm), O is whin/gorse/furze () and P is blackthorn (straiph). In addition, the traditional sequence of F Alder Feàrna letters is adhered to, with vowels at the end, so the alphabet begins with birch (matching all its folklore connotations S Willow Seallach Seileach of birth, conception and inspiration; its ecological role as a pioneer species; and practical value as a firelighter) and N Ash Nuin Uinnseann ends with yew (with all its connotations of death and toxicity). The traditional sequence of letters is a key justification H Hawthorn Huath Sgitheach for the association of T with holly, as it therefore stands in the centre of the alphabet next to oak, in their joint roles D Oak Duir Darach as the traditional Lord of the Woods, often depicted by ‘Green Man’ images with half of his hair and beard made of T Holly Tinne Cuileann holly leaves and the other half made of oak leaves. The common association of A with elm rather than pine may be due C Hazel Coll Calltainn to a false Anglicisation of the traditional name ‘ailm’. The choice of blackthorn for P is more arbitrary as the letter is M Bramble Dreas a relatively modern interjection into the Gaelic alphabet and therefore does not have a traditional tree association. Eidhann-mu- G Ivy Some versions repeat birch, linking chrann silver birch with B and downy birch with P, while Edlin links it with dwarf P Blackthorn Straiph Droigheann elder or danewort (‘peith-bhog’), an odd, non-native choice. We preferred to retain blackthorn, originally ‘straiph’, linked to the letter St or Z, partly because R Elder Droman of its fascinating ecology, folklore and practical uses (not least sloe gin!) and the pleasing, if inconsequential, fact of it A Pine Ailm Giuthas being a Prunus species. F (Fearn – Alder) Forestry O Gorse Onn Conasg education Over the past two years, the A-B-Tree project has explored whether students U Heather Ur Fraoch of forestry benefit from creative-writing and Gaelic-related activities, whether arts students benefit from an injection E Aspen Eadhadh Critheann of forestry knowledge, and whether the Gaelic tree alphabet is a useful structure for such inter-disciplinary activity. I Ye w Iadh Iubhar This research involved engaging with

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students at SSF in several ways: through an interactive display in the canteen (see C, below); through classes about forestry and Gaelic place names (see P, below); and through a more informal presence at events such as open days and workshops, and online. Giving literature and creative writing students a taste of forestry education was achieved at two creative writing residential sessions for first-year BA students, and through three workshops carried out by video- conference. In addition, some students working towards their John Muir Trust awards took part in a session involving a blend of outdoor tree encounters and indoor poetry writing. Each learning activity focussed on particular species in the alphabet, exploring ecological, practical, folklore and literary knowledge, and responding creatively. S (Seallach – Willow) Schools Figure 1. ‘Listen Feel Wonder Under’, a collaborative poem and artwork about oak trees, in the Sawyer The A-B-Tree project also led events Gallery, Inverewe Garden, in autumn 2019. with children from primary schools in the Inverness area and on Lewis, plus encounters with a range of other with the real world with their full animal D (Duir – Oak) Developing a people including academics and writers body. This sensory experience was community of practice in Assynt, Ullapool, Inverewe Garden, always coupled with sharing of tidbits One purpose of the A-B-Tree project Cromarty, Lochmaddy, Glasgow, of ecological and practical knowledge, was to establish a community of people Lerwick and even Plymouth and nuggets of folklore and poems about interested in creative work on nature Devon. Altogether at least one event the tree in question, with everyone in general, and woodlands in particular, was organised for each letter of the participating by reading out text from developing a network of people at alphabet. In most of these, and in all slips of paper, before writing their own the edge-zone between forestry those involving schools, participants responses. and literature, and between art and were given leaf-shaped pieces of paper education, recognising and exploring and asked to write on them, following a H (Huath – Hawthorn) Health and ‘the potential of boundary encounters variety of prompts, sometimes using the wellbeing to generate new insights’ (Wenger- leaves to create a ‘poetree’. An example In most events, participants were asked Traynor et al., 2014). Several workshops can be seen below (in D). to write what trees mean to them, or were collaborative with artists in other how trees make them feel, and these media. An example of the fruitful nature N (Nuin – Ash) Nature words were used as the basis of poems of these collaborations is the artwork Most learning events focussed on a either made collectively at the time or ‘Listen Feel Wonder Under’, a hyper- single species and involved going outside created by the facilitator after the event. poem made from words on leaves by to give the students an encounter with This poetic inquiry was a key part of the participants at a workshop about oak nature and help them to identify the project, and led to a body of poetry that trees in Inverewe Garden, together with tree. For creative writing and literature demonstrates clearly that trees make us a poem about tree roots called ‘Under’. students this is particularly important as feel happy: indeed ‘Trees Make Us Feel This was installed on the floor in the some have negligible knowledge of trees, Happy’ is the name of a performance Sawyer Gallery at the garden, for an but even for forestry students, native poem resulting from participation in an exhibition there in September–October tree identification cannot be taken for event by more than 150 people, available 2019 – Figure 1. granted. Being outdoors is crucial to give on Youtube (https://www.youtube. students an experience of using all their com/watch?v=9g9CUVUek0E&t=10s). T (Tinne – Holly) Twitter senses to get to know the tree in many Analysis of words written across the Another way of engaging people in dimensions: by the texture of its bark project shows that ‘life’ is the single the conversation about the Gaelic and the smell, taste and sound as well as most common association with trees; tree alphabet, was a ‘forest of tweets’ the shape of its leaves – and to listen to other words associated with health using the hashtag #ABTree on the birds, smell the earth underfoot, sample and wellbeing (such as calm, peaceful, social media platform Twitter. Each edible plants, touch, notice and engage healthy and happy) far outweigh any day, for 18 days, all of the knowledge negative connotations.

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by Bram Thomas Arnold, Sam Mould, Zane Librele, Giulia Lepori, Jane Hull, Anna S, Bunny, Marchant Barron, Chris Richard Beale, Alison Summers Bell, Paul Blanchflower, Jason Griffiths, Petra Regent, Naomi Hart, Tilla Brending, Andreas Rutkauskas and others who wished to remain anonymous. G (Gort – Ivy) Gaelic place names Not all educational sessions involved poetry. One of the most successful was a session with advanced certificate forestry students exploring Gaelic place names that contain tree or woodland words. This was a way of introducing some Gaelic vocabulary and associated tree lore in a manner that was directly relevant to their studies. A chart of Gaelic tree words was used by the students to identify places on maps and interpret their names. The plethora of Highland place names that incorporate Figure 2. Interactive knowledge tree in the staff canteen at SSF. The tree of that week was alder. tree words (e.g. Kingussie, Tomatin, Fearn, Cullen, Barcaldine and Iona), plus M (Muin – Bramble) Multi- the ability to see how names suggest base of tidbits was posted as tweets, disciplinarity inviting comments and participation. habitats suitable for particular trees (e.g. Responses, including factual The following poem resulted from wetlands with willow or alder names), corrections and new tidbits, came from a session at a conference called gave the students a vibrant sense that a wide range of people from children to ‘Evolving the Forest’, bringing artists Gaelic is not simply a thing of the past, forestry industry professionals. and foresters together to celebrate the and has practical relevance to their centenary of the Forest Act in 2019. It future work. As one student put it, C (Coll – Hazel) Canteen was constructed from words generated ‘Gaelic tree name history was something Another way of achieving interaction about the species in the alphabet was via an interactive tree, painted Bramble: Collective Gathering in blackboard paint, on the canteen A weekend in autumn country wall at SSF. During the academic year scrambling through hedgerows 2018–19 and again in 2019–20 (until with pricked and stained fingers. lockdown due to Covid-19), each week information about a tree was Fingers sticky with juice stains – purple, blue, black, red, pink – written up with chalk pen, with an licking, your tongue turns blue, purple, black, open invitation to staff and students to dyed blush red. contribute, e.g. Figure 2. We worked through all species alphabetically, and Squidged between toddlers’ tiny thumbs the measurable result was that 35 new (squelch) tidbits were added to the knowledge drips of sumptuous, juicy juice. base. Many foreign students shared tree names in their native languages. Several Some people have given me jelly, members of staff reported students whisky and jam, blackberry and apple crumble, repeating Gaelic names and information the marmalade of your heart untamed. they had picked up from ‘the canteen tree’, showing that it worked as an Snag – many plastic dog-waste bags effective vector for knowledge. Less rip-wrapping in thickets that continuously grow back tangible, but perhaps even more from impossible-to-dig-up roots. significant, was the feeling of pride and ownership of this representation of the You say ‘blackberries are not my favourite fruits’. rich cultural dimension of trees. Bramble, bramble, bramble, a nickname stained over time, untamed.

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I never thought of before; interesting to A (Ailm – Pine) Attitudes towards The bigger an educational institution consider when looking at woodlands.’ trees becomes, the more likely it seems to A key research question in the project create hierarchical structures that P (Straiph/Prunus – Blackthorn) was whether creative writing can change drive learning and teaching into faculty Poetry attitudes towards trees; one session gave and subject silos. Thus, it can appear Here is one of many lovely and powerful a compelling illustration that suggests it increasingly difficult to propose ways poems about blackthorn resulting from a can. In a workshop about hawthorn, four for science students to use the arts creative writing student workshop. young adults began the workshop with or for humanities students to address the following joint poem about what environmental issues. Yet although trees mean to them. institutional gaps are wide, universities are packed with people who genuinely Blackthorn Trees are green, believe in holistic learning. The two years Sleepy snow-white blossoms protecting life, of the A-B-Tree project showed clearly sprinkle spring strength, shelter, fuel, that staff and students at the SSF are over rustling spindle arms: they live so much longer than me. proud of the cultural content of their death breath. field and delighted by the creativity that Amanda Gilmour By the end of the session, they produced emerged at the boundary zone we created the following. with literature. Similarly, literature and arts staff and students were stimulated Trees are vessels for emotional exploration, and enjoyed the interdisciplinary R (Ruis – Elder) Results a lot more than just big plants - interaction, and want it to continue. Poetic inquiry methods were used for life-support machines analysing written and spoken responses soaking up the past, pumping out the future, E (Eadhadh – Aspen) Educational by participants at events so, unusually lighthouses of nature, wardens of time. benefits for a research project, most results An aspen poem by a creative writing take the form of poems or ‘poemish’ Similar (longer) transformation and student gives a final flavour of some of compilations of words (Leavy, 2015; deepening of expression have happened the delightful work created in the project. Lahman, Richard and Teman, 2019). with several other groups. Whether such The overt purpose of this analysis was change is lasting, and whether it has any to uncover indications of learning effect on behaviour, will require further and changes of attitudes as a result investigation. Aspen Dance of creative engagement. One of the A multitude of mini-tongues interesting surprises was that two O (Onn – Gorse) Outdoor and Murmur their message, members of staff, whose students online learning ‘Place your hands on my trunk, were involved in the process, were As lockdown happened towards the end Feel the fire within. impressed, indeed ‘amazed’, by what of the project, some sessions planned for Put your ear to the Earth, the writing revealed about the depth outdoors had to be held online instead, Hear its heartbeat and sensitivity of the students’ feelings by video conference. There are some And dance with me!’ about trees, who were at the start ‘very interesting advantages to online learning Geoff King cynical’ about the session. Here is the (a commonplace at UHI), in particular poem constructed from words given by the ease of sharing textual material some forestry students in answer to the between facilitator and participants question ‘What do trees mean to you?’ and among participants, e.g. using the I (Iadh – Yew) Ideas for the future chat facility. However, there is no doubt The A-B-Tree project demonstrated Healthy life that outdoor experience is a vital part that the Gaelic tree alphabet is a good Sit with peace, of a creative encounter with trees – no structure for learning and creativity. peace, peace, peace, amount of pictures and discussion Gaelic matters in forestry, especially freedom, happiness, wellbeing, can provide the texture of bark, the in the Highlands, and adding a cultural adventure, life, nature and biodiversity. percussion of twigs, the scent of crushed layer into forestry education leads to leaves or the taste of a hazelnut. So, one a sense of pride in the link to heritage Good forestry forms wood, jobs, money, outcome of the project is a plan for a and generates pleasure in creativity. timber, firewood, oxygen and clean air. learning system that combines individual Likewise, exposing arts students to outdoor nature experience with online trees gives them great pleasure and A scenic view changes life: collective sharing and creative responses. stimulates them with content to use in social life, life of gatherings, their work. We also have good evidence place to air freedom, U (Ur – Heather) University that students deepen their thinking key to life. constraints and possibilities about the significance of trees as a result There are undeniable challenges in of creative responses to them, and that overcoming the disciplinary divides trees make us feel happy. that exist within tertiary education.

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All staff participating in the project References Oracle: A System of Divination. St Martin’s Press, New York. called for more, so we are making plans Blamires, S (1997) Celtic Tree Mysteries. Llewellyn for future developments of the project. Publications, St. Paul, Minnesota. Sutherland, G and Beith, M (2000) A’ Chraobh: The Tree. Dornoch Press, Dornoch. These include creating materials to Edlin, HL (1950) The Gaelic Alphabet of Tree support school teachers to use creative Names. Scottish Forestry 4 (3) 72–75. Wenger-Traynor, E, Fenton-O’Creevy, M, Hutchinson, S, Kubiak, C, and Wenger-Traynor, writing about trees, particularly in a Gifford, F (2000) Celtic Wisdom of Trees. Godsfield Press, Hants. B (2014) Learning in Landscapes of Practice: blended learning environment, which we Boundaries, identity, and knowledgeability in practice- Graves, R (1948) The White Goddess. Faber and hope will be helpful in the ‘new normal’ based learning. Routledge, London. Faber, London. of post-lockdown education. We’re also planning to deepen our understanding Haggith, M (editor) (2013) Into the Forest. Saraband Books, Glasgow. on how attitudes about forests and nature, more broadly, are improved by Kindred, G (1999) The Tree Ogham. Glennie Kindred Books. creativity and how this links to health and wellbeing. We’ll continue to grow Lahman, MKE, Richard, VM and Teman, ED (2019) Ish: How to Write Poemish (Research) Poetry. our community of practice and welcome Qualitative Inquiry 25(2), 215-227. engagement with anyone who finds Leavy, P (2015) Method Meets Art. The Guildford this project interesting. Above all we Press, New York. will continue blurring the boundaries McEwen, C and Statman, M (2000) The Alphabet between arts and sciences, between of the Trees: A Guide to Nature Writing. Teachers and natural and virtual, and between old Writers Collaborative, New York. traditions of language and new futures McMahon, K (2019) Land as teacher: How of land use, ensuring we continue to connection with land, nature and place can support Aspen near Moffat. © Andrew McQueen. nurture the culture in silviculture. creative writing pedagogy. Writing in Education, 78, This sits behind the Aspen Dance poem above. 26-33. Other images so-used are Bramble © Simon Murray, L and Murray, C (1988) The Celtic Tree Stuart and Blackthorn © Carol Crawford.

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