Scottish Kilt

Total Page:16

File Type:pdf, Size:1020Kb

Scottish Kilt A kilt is (1) a ceremonial article of clothing worn in Scotland. It is made of a thick, woven fabric with a tartan (checkered) pattern. It resembles a pleated skirt except that it is worn by men. It is still worn during ceremonies by some Scottish and Canadian military units and by people who play the bagpipes (a Scottish wind instrument). It is also quite commonly worn by men at weddings. Dress kilt tartan Tartan is a pattern that has criss-crossed horizontal and vertical bands in many different colors. (From: Simple English Wikipedia) The kilt is (2) a knee-length garment with pleats at the rear, originating in the traditional dress of men and boys in the Scottish Highlands of the 16th century. Since the 19th century it has become associated with the wider culture of Scotland in general, or with Celtic (and more specifically Gaelic) heritage even more broadly. It is most often made of woollen cloth in a tartan pattern. Although the kilt is most often worn on formal occasions and at Highland games and sports events, it has also been adapted as an item of fashionable informal male clothing in recent years, returning to its roots as an everyday garment. Scottish kilt The modern Scottish kilt worn with formal evening wear (2009) The Scottish kilt displays uniqueness of design, construction, and convention which differentiate it from other garments fitting the general description. It is a tailored garment that is wrapped around the wearer's body at the natural waist (between the lowest rib and the hip) starting from one side (usually the wearer's left), around the front and back and across the front again to the opposite side. The fastenings consist of straps and buckles on both ends, the strap on the inside end usually passing through a slit in the waistband to be buckled on the outside; alternatively it may remain inside the waistband and be buckled inside. A kilt covers the body from the waist down to the centre of the knees. The overlapping layers in front are called "aprons" and are flat; the single layer of fabric around the sides and back is pleated. A kilt pin is fastened to the front apron on the free corner (but is not passed through the layer below, as its function is to add weight). Underwear may or may not be worn, as the wearer prefers, although tradition has it that a "true Scotsman" should wear nothing under his kilt.[3] The Scottish Tartans Authority, however, has described the practice as childish and unhygienic.[4] (From: Wikipedia) Highland dancer revealing the action of a kilt, worn here with a velvet waistcoat The modern Scottish kilt worn with formal evening wear (2009) “Each large clan has its own tartan: the colourful, checked material that is made into kilts (skirts for men), trousers, blankets and ties — basically anything made of cloth. But you don’t have to be a clan member to wear a Fraser tartan scarf. In fact, you can buy them on every street corner in Edinburgh Brian gives me a short history of tartans. Amazingly, this starts about 3,000 years ago, when the oldest existing example of tartan cloth was made by Celts living in what is now the Taklamakan Desert in China. Tartans then went on a long and largely undocumented journey through space and time, turning up in Austria, Scandinavia and Roman Britain, before they became associated with Celtic culture in the Scottish Highlands. Scottish tartans are mentioned in literature from the 16th century onwards. Over time, specific tartans started to be worn in certain regions — although not necessarily by specific families. at tradition developed after the Battle of Culloden in 1745, when Scottish clans loyal to Bonnie Prince Charlie tried to take the British throne from King George II of Hanover. After the British victory, all tartans were banned — except for those worn by Highlanders loyal to the British army. is exception established the association between tartans and specific clans. In 1782, the wearing of tartans became legal again. And they became popular not only as a form of Highland dress, but also as a symbol of Scottish identity. “ (From 'Spotlight' January 2012) How a kilt is made. Taken from Making a kilt ([email protected] Edinburgh, Scotland ) Pleating to the stripe. Look and see how the pattern fits! (Also from wikipedia) - The Authentic History of the Kilt. by Nancy A. MacCorkill Highland dress - Highland dress and the tartan are among the most powerful, romantic and dramatic of all the symbols of Scotland. It has Es ist behauptet worden been claimed that 'a man in a kilt is a man and a half'; there really is something about the wearing of the kilt that Es verleiht dem Besitzer besonderes confers extra stature on its owner. It is absolutely no „Format“ coincidence that the kilted 51st Highland Division was Kein Zufall, dass die Deutschen die rated by the Germans as the most formidable of all the schottenrocktragende 51st als die formations they came across during the First World War. bedrohlichsten Truppen einschätzten, denen sie begegneten. Certainly the British government had no doubts on the Doubt – Zweifel. Defeat – Sieg über matter when, after the defeat of Bonnie Prince Charlie, they banned the use of Highland dress and the tartan, which they clearly saw as an incitement to further subversion. Ansiftung zu weiterer Untergrabung Offenders were killed or sent to the colonies. The form of (ihrer Autorität) Highland dress has always owed much to the army and it Straffällige, also wer es trug. H D hatte immer viel Miltärisches was the Highland regiments which kept the kilt and the an sich. tartan alive until at last, in 1782, their use was once more permitted. Before that time, Scots were only permitted to Permit – erlauben wear any Scottish wear if they joined the British Armed Regimental colour – nicht der/das Services. Pipers were permitted to wear their kilt, but Tartan der Familie sondern des usually in a Regimental color. Other service men - most Regiments. Andere Dienende, als Soldaten..Mütze im Schottenmuster were permitted to wear the balmoral with their clan badge on it. A high price to pay to wear highland clothes, laying Das Leben riskieren, um...zu tragen their life on the line to do it. …....... Glossary for earlier texts: Fabric Stoff resembles ähnelt pleated gefaltet garment Kleidungsstück heritage – Erbe tailored - genäht wrap – einwickeln buckle - Schnalle.
Recommended publications
  • Tartan As a Popular Commodity, C.1770-1830. Scottish Historical Review, 95(2), Pp
    Tuckett, S. (2016) Reassessing the romance: tartan as a popular commodity, c.1770-1830. Scottish Historical Review, 95(2), pp. 182-202. (doi:10.3366/shr.2016.0295) This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/112412/ Deposited on: 22 September 2016 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk SALLY TUCKETT Reassessing the Romance: Tartan as a Popular Commodity, c.1770-1830 ABSTRACT Through examining the surviving records of tartan manufacturers, William Wilson & Son of Bannockburn, this article looks at the production and use of tartan in the late eighteenth and early nineteenth centuries. While it does not deny the importance of the various meanings and interpretations attached to tartan since the mid-eighteenth century, this article contends that more practical reasons for tartan’s popularity—primarily its functional and aesthetic qualities—merit greater attention. Along with evidence from contemporary newspapers and fashion manuals, this article focuses on evidence from the production and popular consumption of tartan at the turn of the nineteenth century, including its incorporation into fashionable dress and its use beyond the social elite. This article seeks to demonstrate the contemporary understanding of tartan as an attractive and useful commodity. Since the mid-eighteenth century tartan has been subjected to many varied and often confusing interpretations: it has been used as a symbol of loyalty and rebellion, as representing a fading Highland culture and heritage, as a visual reminder of the might of the British Empire, as a marker of social status, and even as a means of highlighting racial difference.
    [Show full text]
  • Kilts & Tartan
    Kilts & Tartan Made Easy An expert insider’s frank views and simple tips Dr Nicholas J. Fiddes Founder, Scotweb Governor, Why YOU should wear a kilt, & what kind of kilt to get How to source true quality & avoid the swindlers Find your own tartans & get the best materials Know the outfit for any event & understand accessories This e-book is my gift to you. Please copy & send it to friends! But it was a lot of work, so no plagiarism please. Note my copyright terms below. Version 2.1 – 7 November 2006 This document is copyright Dr Nicholas J. Fiddes (c) 2006. It may be freely copied and circulated only in its entirety and in its original digital format. Individual copies may be printed for personal use only. Internet links should reference the original hosting address, and not host it locally - see back page. It may not otherwise be shared, quoted or reproduced without written permission of the author. Use of any part in any other format without written permission will constitute acceptance of a legal contract for paid licensing of the entire document, at a charge of £20 UK per copy in resultant circulation, including all consequent third party copies. This will be governed by the laws of Scotland. Kilts & Tartan - Made Easy www.clan.com/kiltsandtartan (c) See copyright notice at front Page 1 Why Wear a Kilt? 4 Celebrating Celtic Heritage.................................................................................................. 4 Dressing for Special Occasions..........................................................................................
    [Show full text]
  • THE MYTHOLOGY, TRADITIONS and HISTORY of Macdhubhsith
    THE MYTHOLOGY, TRADITIONS and HISTORY OF MacDHUBHSITH ― MacDUFFIE CLAN (McAfie, McDuffie, MacFie, MacPhee, Duffy, etc.) VOLUME 2 THE LANDS OF OUR FATHERS PART 2 Earle Douglas MacPhee (1894 - 1982) M.M., M.A., M.Educ., LL.D., D.U.C., D.C.L. Emeritus Dean University of British Columbia This 2009 electronic edition Volume 2 is a scan of the 1975 Volume VII. Dr. MacPhee created Volume VII when he added supplemental data and errata to the original 1792 Volume II. This electronic edition has been amended for the errata noted by Dr. MacPhee. - i - THE LIVES OF OUR FATHERS PREFACE TO VOLUME II In Volume I the author has established the surnames of most of our Clan and has proposed the sources of the peculiar name by which our Gaelic compatriots defined us. In this examination we have examined alternate progenitors of the family. Any reader of Scottish history realizes that Highlanders like to move and like to set up small groups of people in which they can become heads of families or chieftains. This was true in Colonsay and there were almost a dozen areas in Scotland where the clansman and his children regard one of these as 'home'. The writer has tried to define the nature of these homes, and to study their growth. It will take some years to organize comparative material and we have indicated in Chapter III the areas which should require research. In Chapter IV the writer has prepared a list of possible chiefs of the clan over a thousand years. The books on our Clan give very little information on these chiefs but the writer has recorded some probable comments on his chiefship.
    [Show full text]
  • Gaelic Scotland in the Colonial Imagination
    Gaelic Scotland in the Colonial Imagination Gaelic Scotland in the Colonial Imagination Anglophone Writing from 1600 to 1900 Silke Stroh northwestern university press evanston, illinois Northwestern University Press www .nupress.northwestern .edu Copyright © 2017 by Northwestern University Press. Published 2017. All rights reserved. Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication data are available from the Library of Congress. Except where otherwise noted, this book is licensed under a Creative Commons At- tribution-NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. In all cases attribution should include the following information: Stroh, Silke. Gaelic Scotland in the Colonial Imagination: Anglophone Writing from 1600 to 1900. Evanston, Ill.: Northwestern University Press, 2017. For permissions beyond the scope of this license, visit www.nupress.northwestern.edu An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high-quality books open access for the public good. More information about the initiative and links to the open-access version can be found at www.knowledgeunlatched.org Contents Acknowledgments vii Introduction 3 Chapter 1 The Modern Nation- State and Its Others: Civilizing Missions at Home and Abroad, ca. 1600 to 1800 33 Chapter 2 Anglophone Literature of Civilization and the Hybridized Gaelic Subject: Martin Martin’s Travel Writings 77 Chapter 3 The Reemergence of the Primitive Other? Noble Savagery and the Romantic Age 113 Chapter 4 From Flirtations with Romantic Otherness to a More Integrated National Synthesis: “Gentleman Savages” in Walter Scott’s Novel Waverley 141 Chapter 5 Of Celts and Teutons: Racial Biology and Anti- Gaelic Discourse, ca.
    [Show full text]
  • Enton QX Use 21/5/09 15:52 Page 1
    FENTON BIBLIOGRAPHY QX 198 x 129:Fenton QX use 21/5/09 15:52 Page 1 BibliographY 1955-2009 AleXander Fenton CBE , MA , BA , DL itt, Hon DL itt ( ABD ), FRSE , FRSGS , FSA , FSAS cot, HRSA Professor Emeritus of Scottish EthnologY Presented bY his colleagues at the European Ethnological Research Centre on the Occasion of his 80 th BirthdaY 26 June 2009 FENTON BIBLIOGRAPHY QX 198 x 129:Fenton QX use 21/5/09 15:52 Page 2 AleXander Fenton on the occasion of his graduation from the UniVersitY of Cambridge in 1953 . FENTON BIBLIOGRAPHY QX 198 x 129:Fenton QX use 21/5/09 15:52 Page 3 BibliographY 1955-2009 AleXander Fenton CBE , MA , BA , DL itt, Hon DL itt ( ABD ), FRSE , FRSGS , FSA , FSAS cot, HRSA Professor Emeritus of Scottish EthnologY ForeWord bY Margaret A MackaY European Ethnological Research Centre Celtic and Scottish Studies UniVersitY of Edinburgh 27 George Square Edinburgh EH8 9LD FENTON BIBLIOGRAPHY QX 198 x 129:Fenton QX use 21/5/09 15:52 Page 4 Printed in Great Britain The right of The European Ethnological in 2009 bY Research Centre to be identified as the The European Ethnological compiler of this book has been asserted Research Centre, bY it in accordance With the CopYright, UniVersitY of Edinburgh Designs and Patents Act 1988 . CopYright © European Ethnological The coVer illustration shoWs Pitglassie Research Centre 2009 Croft, Auchterless, AleXander Fenton’s childhood home. Painted bY MaY Beale, Images: as credited © 2009 c1950 . No reproduction permitted Without Printed and bound in Great Britain bY Written permission to The European Athenaeum Press Ltd, Gateshead, Ethnological Research Centre in the TYne & Wear.
    [Show full text]
  • Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland
    Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818929 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre.
    [Show full text]
  • Scotland [ˈskɑtlənd] (Help·Info) (Gaelic: Alba) Is a Country In
    SCOTLAND The national flag of Scotland, known as the Saltire or St. Andrew's Cross, dates (at least in legend) from the 9th century, and is thus the oldest national flag still in use. St Andrew's Day, 30 November, is the national day, although Burns' Night tends to be more widely observed. Tartan Day is a recent innovation from Canada. Scotland is a country in northwest Europe that occupies the northern third of the island of Great Britain. It is part of the United Kingdom, and shares a land border to the south with England. It is bounded by the North Sea to the east, the Atlantic Ocean to the north and west, and the North Channel and Irish Sea to the southwest. In addition to the mainland, Scotland consists of over 790 islands including the Northern Isles and the Hebrides. Scotland contains the most mountainous terrain in Great Britain. Located at the western end of the Grampian Mountains, at an altitude of 1344 m, Ben Nevis is the highest mountain in Scotland and Great Britain. The longest river in Scotland is River Tay, which is 193 km long and the largest lake is Loch Lomond (71.1 km2). However, the most famous lake is Loch Ness, a large, deep, freshwater loch in the Scottish Highlands extending for approximately 37 km southwest of Inverness. Loch Ness is best known for the alleged sightings of the legendary Loch Ness Monster, also known as "Nessie". One of the most iconic images of Nessie is known as the 'Surgeon's Photograph', which many formerly considered to be good evidence of the monster.
    [Show full text]
  • Download Article (PDF)
    PARTING SHOTS HOW FAR TO GLENCOE? Ian Parsons In their doomed attempt to keep me near New Mexico version was settled by the Coe the cutting edge of technology, one of my family, two of whom were outlaws, respon- sons recently bought me a grey cylinder sible for shootings and hangings. that, when connected to an electricity Scotland’s Glen Coe is a grand place of supply, answers (literally) to the name brooding dark cliffs (FIGS. 1 and 4). Its of Alexa. She speaks BBC English with a mountains are not high (the highest is mellow, alto voice and can, sometimes, 1,150 m), but they start from near sea-level answer my questions. Early in our relation- and in places are very steep. It is rightly ship, to see how smart she really is, I asked famous in the history of geology, because her a question with three answers, ‘How far it cuts through the first ancient caldera is it to Glencoe?’ to be recognized by geological mapping Glencoe is a village in the West Highlands anywhere. A paper by Clough, Maufe and of Scotland. ‘Glen’ is Scottish Gaelic for a Bailey (1909) introduced the term ‘cauldron steep-sided valley. Glen Coe is a splendid subsidence’ to the world. Greater detail and example of a U-shaped glaciated valley a description of the regional setting were Looking west down the archetype Glen Coe provided by Bailey and Maufe (1916). A (FIG. 1), now occupied by the River Coe, FIGURE 1 (Scotland), through the dissected caldera. superb modern geological guide and map ‘Coe’ being a word of uncertain, and PHOTO: IAN PARSONS.
    [Show full text]
  • "I Would Cut My Bones for Him": Concepts of Loyalty, Social Change, and Culture in the Scottish Highlands, from the Clans to the American Revolution
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2011 "I Would Cut My Bones for Him": Concepts of Loyalty, Social Change, and Culture in the Scottish Highlands, from the Clans to the American Revolution Alana Speth College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the European History Commons, and the United States History Commons Recommended Citation Speth, Alana, ""I Would Cut My Bones for Him": Concepts of Loyalty, Social Change, and Culture in the Scottish Highlands, from the Clans to the American Revolution" (2011). Dissertations, Theses, and Masters Projects. Paper 1539624392. https://dx.doi.org/doi:10.21220/s2-szar-c234 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. "I Would Cut My Bones for Him": Concepts of Loyalty, Social Change, and Culture in the Scottish Highlands, from the Clans to the American Revolution Alana Speth Nicholson, Pennsylvania Bachelor of Arts, Smith College, 2008 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Master of Arts Department of History The College of William and Mary May, 2011 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Alana Speth Approved by the Committee L Committee Chair Pullen Professor James Whittenburg, History The College of William and Mary Professor LuAnn Homza, History The College of William and Mary • 7 i ^ i Assistant Professor Kathrin Levitan, History The College of William and Mary ABSTRACT PAGE The radical and complex changes that unfolded in the Scottish Highlands beginning in the middle of the eighteenth century have often been depicted as an example of mainstream British assimilation.
    [Show full text]
  • A Culture Strategy for Scotland 2 a CULTURE STRATEGY for SCOTLAND
    Prepared by The Scottish Government February 2020 A Culture Strategy for Scotland 2 A CULTURE STRATEGY FOR SCOTLAND Contents 1. Introduction by Nicola Sturgeon MSP, 04 First Minister of Scotland 2. Foreword by Fiona Hyslop MSP, Cabinet 05 Secretary for Economy, Fair Work and Culture 3. The Vision for Scotland 07 4. Ambition 1: Strengthening culture 11 5. Ambition 2: Transforming through culture 29 6. Ambition 3: Empowering through culture 42 7. Summary of actions 52 8. Links to key documents and other strategies 56 Endnotes 59 Cover image: Young people performing in Chronicles, A National Theatre of Scotland, Project X & Thulani Rachia production at the National Museum of Scotland, 2018. Supported by National Museums Scotland as part of the National Theatre of Scotland’s Futureproof Festival marking Scotland’s Year of Young People in 2018. Credit: Photographer – Pete Dibdin Scotland is a place where culture is valued, Our protected and nurtured. Culture is woven through everyday life, shapes and is shaped by society, Vision and its transformative potential is experienced by everyone. Scotland’s rich cultural heritage and creativity of today is inspired by people and place, enlivens every community and is celebrated around the world. Strengthening Culture Transforming Empowering Sustaining and nurturing Through Culture Through Culture culture to flourish and to evolve Demonstrating that culture is Celebrating culture as part as a diverse, positive force in central to Scotland’s wellbeing of every community; essential society, across all
    [Show full text]
  • SCOTLAND's COASTS and WATERS 2020 Orkney and Shetland
    SCOTLAND’S COASTS AND WATERS 2020 Orkney and Shetland search Seastack at Yesnaby, Orkney search Breckon Sands, Yell, Shetland search Ness of Ork, Shapinsay, Orkney search Braewick, Shetland An island holiday is a very special experience. The distinctive Formed by ancient hills sitting on the submerged continental shelf, coastlines and culture of Scotland's northern isles, Orkney and Shetland boasts over 100 islands, 15 of which are inhabited. Shetland Shetland, make a trip to remember. has an incredibly long coastline of over 2700km, equating to 15% of the entire UK coastline, including some of the highest sea cliffs in The Orkney Islands are an archipelago of around 70 islands (20 of Britain, hundreds of pristine, sandy beaches, sea stacks and caves. which are inhabited) lying a mere 10 miles north of the Scottish mainland. The number of islands, countless cliffs and endless white The unique scenery is due to the diverse geology (all of Shetland is a sandy beaches make for a dramatic shoreline sculpted by the seas UNESCO accredited Geopark), with some rocks over 370 million years over thousands of years. You’re never far from a cliff walk in Orkney. old, the beautiful landscape also including trout lochs, salt marshes, The magnificent red sandstone cliffs on Hoy, the striking natural arch sand dunes, exposed ancient sea floors and the best cross-section of known as the Vat of Kirbister on Stronsay, or the cliff walks at Yesnaby a volcano in Britain. and Marwick Head on West Mainland are just some examples Shetland's wildlife is rich and varied, with 12% of Britain's otters Thanks to its coast, cliffs, wetlands and moorlands, the Orkney around its shores, significant common and grey seal populations, Islands invite waterfowl, waders, raptors and seabirds, including some of the UK's largest seabird colonies (including puffins and the much loved puffin, to make their homes here.
    [Show full text]
  • Scotland's Epic Highland Games
    Your guide to Scotland’s epic Highland games history & tradition :: power & passion :: colour & spectacle Introduction Scotland’s Highland games date back almost a thousand years. Held across the country from May to September, this national tradition is said to stem from the earliest days of the clan system. Chieftains would select their best fighters and nothing can compare to witnessing the spectacle of a household retainers after summoning their traditional Highland games set against the backdrop clansmen to a gathering to judge their athleticism, of the stunning Scottish scenery. strength and prowess in the martial arts, as well as their talent in music and dancing. From the playing fields of small towns and villages to the grounds of magnificent castles, Highland games Following the suppression of traditional Highland take place in a huge variety of settings. But whatever culture in the wake of the failed Jacobite rebellion their backdrop, you’ll discover time-honoured heavy under Bonnie Prince Charlie, the games went into events like the caber toss, hammer throw, shot put decline. It was Queen Victoria and her love for all and tug o’ war, track and field competitions and things Scottish which brought about their revival in tartan-clad Highland dancers, all wrapped up in the the 19th century. incredible sound of the marching pipes and drums. Today the influence of the Highland games reaches A spectacular celebration of community spirit and far beyond the country of its origin, with games held Scottish identity, Highland games are a chance to throughout the world including the USA, Canada, experience the very best in traditional Highland Australia, New Zealand and South Africa.
    [Show full text]