Blethers Issue 31 Summer 2015

STORIES WITHOUT BORDERS An inventory of intangible cultural heritage If you are telling stories, dancing couple and set Stories have the power to dances, step-dancing or dancing a Highland Fling, cross boundaries, transform playing traditional tunes or singing traditional songs perceptions and bridge you are contributing to and performing part of division. At the same time Scotland's 'intangible cultural heritage', although you stories can be distorted and might not realise it. Intangible cultural heritage (ICH) manipulated to create is a term used by Unesco to describe a whole range of divisions. Good storytelling practices, beliefs and customs that we regard as however is about good communication and being important to preserve for future generations. true to our human These may be significant due to their present or experiences. possible economic value, but also because they create The Scottish International a certain emotion within us, or because they make us Storytelling Festival (23rd feel as though we belong to something - a country, a October - 1st November) this tradition, a way of life. Whatever shape they take (songs that can be sung, stories that can be told, year takes the theme of Illustration by Sylvia Woodcock Clarke Stories Without Borders to crafts that can be mastered…) these things form part explore global issues through the power of storytelling, of a heritage, and this heritage requires active effort including specially commissioned performances exploring on our part in order to safeguard it. War and Peace, Welcoming the Stranger, Between the One of the things Unesco proposes to help safeguard Generations and Transforming Myths of Landscape. ICH is the creation of inventories that allow us to In 2015 the Festival's reach is focussed particularly on the identify what is valued and what needs to be Middle East and North Africa. Through the development safeguarded and encouraged to flourish. work within the Unesco frameworks, the Festival is TRACS's colleagues at Museums and Galleries pioneering new approaches to Intangible Cultural Heritage Scotland have been given the job of looking after the and Cultural Diversity by linking traditional arts with dynamic inventory for Scotland, but the idea is that it will be contemporary innovation, so realising the full potential of open to everyone to compile. So MGS has created an these resources and practices for present day communities. attractive, interactive website, a wiki, which means Humanity's continuing capacity to devise and share you can add your own content. experience through narrative is a precious cultural resource on which the world needs to draw urgently and deeply. What the wiki is looking for is examples of the Stories cross borders and build bridges if we actively create knowledge, practice and skills associated with the contexts, platforms and environments in which this can particular items of heritage. For example, you might happen. As the old proverb states, 'Once I have heard my cite the Arbroath Smokie as ICH, but it is not the fish enemies' story, they are no longer my enemies'. itself that counts, but rather the skill, knowledge and www.tracscotland.org/festivals custom of smoking fish in that particular part of Scotland. Similarly you would not, for example, put DIG WHERE YOU STAND Can You Sew Cushions up as an item of ICH, but rather the practice of singing lullabies. The important thing, From 1st September to 30th November the Scottish however, is that it is the people of any particular Storytelling Festival invites everyone to go out and discover country who decide what should go on the inventory. local legends that connect your community to the area where you live, including landscape, built heritage and You can see some examples on the website, archaeological sites. Free resources, posters and stickers organised by categories and local authority regions. are available as well as ideas for fun storytelling The site is also fully searchable and can be found on Y T E www.ichscotland.org activities. Have a look on R L L O I www.tracscotland.org/dig-where-you-stand T N S G

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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

Developing my Storytelling Practice

Whenever I am telling stories I always remind myself that this is not about me, but about the people who come to listen to my tales. I want to create an environment in which my audiences can switch off and let their very own version of my story appear before their inner eye. This plain and audience-centric notion of storytelling could seem at odds with theatre and all its illusion and egocentrism, yet I merge both art forms in my daily practice to create a fully immersive experience. As part of that, I always try to make each story relevant to everyone, irrespective of age, background and abilities, so that each story is not just for a select few.

It all started five years ago when, conceptual art, scripting with Louisa Thornton I founded and choreographing every Louna Productions, with the aim to gesture, movement and create storytelling shows that remark in fast-paced would appeal to a contemporary shows. As a solo performer audience. Louisa and I had bonded and during smaller shows, I over a love for everything am usually a bit more deliciously dark and provocative spontaneous, although I and we began retelling little-known always make sure to use my whole I also started to write my own fairy tales by the Brothers Grimm. body as a medium, in order to material and am now specialising in As a German, I grew up with the convey an idea. Movement, song, educational storytelling - uncensored versions of these world- puppets and miming are excellent communicating a certain topic or famous stories, and to this very day tools for very young audiences, historic event through stories. One I still retain a fascination for them. those whose first language is not of my most exciting commissions Louisa and I tried to communicate English and those with sensory our enthusiasm for folklore to a has been collaborating with impairments or learning difficulties. maverick artists collective 85A young adult audience; starting out I try to evaluate my artistic practice with storytelling shows at the during Festival 2014 at the on a regular basis and have started Commonwealth Games, writing and Fringe Festival, later performing at recently to experiment with club nights and offering bite-sized performing a 'promenade shadow puppets, which I am hugely storytelling experience' for the snippets of gory yet comical tales at enjoying. unusual locations such as derelict Gallery of Modern Art in Glasgow. factories and outdoor venues. Soon Keen to add to my repertoire, I have For this show, called Niki, Nana and after I became a member of the explored stories from many the Frog, an exploration of the life Scottish Storytelling Directory and backgrounds and traditions over and work of French artist Niki de the years. Over time, Louna Saint-Phalle, I collaborated with a Productions moved on from the Scottish writer who then invited classical Germanic tales to those of Louna Productions to the Black Isle Scottish and Gaelic origin and I to help her bring a new take on made some interesting discoveries - traditional Scottish tales to life. what the woods are to German Another, more recent, commission folklore is mirrored by lochs, rivers was to develop a regular interactive and the sea in the Gaelic tradition. storytelling concept for families Researching these tales led Louisa with children under the age of five and I to collaborate with academics at the Scottish National Portrait Credit Spudd Connor and university departments and we Gallery. started to look for new ways to re- And this is what I most enjoy about Louna Productions started to interpret tales that originally being a storyteller: the variety of receive requests for children's contained outdated morals, topics I get to work with and the shows, so we adapted our tales to misogyny and racism. Interested in people I meet along the way. My make them suitable for younger issues relating to accessibility, I also practice is predominantly inspired audiences as well. started to accept commissions from by the people I encounter - after all, I love to experiment with various different institutions, charities and interacting with people is what performance techniques and to arts organisations who wanted their makes stories come to life. collaborate with artists of different collections and work disseminated disciplines; blurring the boundaries in a fun yet sensible way to engage Anna Lehr between performing, visual and visitors and service users. [email protected]

2 www.scottishstorytellingcentre.co.uk  www.tracscotland.org Issue 31 Summer 2015

When does a storyteller stop being a storyteller?

There comes a time when stock must be taken and changes must be made. Such a time came for me last year, when I ruminated on how I was becoming rather less quick of mind in storytelling performances. This manifested itself in a very specific way, a sudden blank when a name had to be mentioned - a fellow performer, a person or place name, or the name of a thing in a story.

This is not at all uncommon at my song lyrics. These begin with fun guided tours of the exhibition, age, or something (as a former new verses, but then become whole pausing to point out and tell of psychiatric social worker) that story narratives in song. Though heroes and villains. would have me worrying about some of the narratives come from One of the surprising Flanders mental health problems. I could the topic a class is currently connections I found was a 15th flannel to cover the lapse well for studying, we more often research Century Bruges diplomat, Anselm the few seconds needed till the and share local tales and elements Adornes, who came to Scotland, name presented itself to me, but of local history old and new as a became a buddy of James III, was key elements of my storytelling basis for new songs. The songs are eventually made Captain of approach are fluidity and sharpness put on a new dedicated website, Linlithgow Palace, and at last in performance, and not knowing then the kids illustrate and record murdered by the King's enemies in when a break will suddenly pop up their songs to add to the website. a North Berwick monastery. His fairly dents the confidence. Narrative and story construction heart was sent back to Bruges, but A core element of storytelling is and delivery are a core part of the his body lies under the flagstones in that the telling should happen 'eye approach. St Michael's Church, over the back to eye' with no paper reminder International interest in our wall from my house. What visible, and such reminder is what I approach has taken Christine and storyteller could resist such needed. Rather than keep worrying me to Europe. An invitation to material? So in September the about it, so fearing I would start Brussels in January this year meant I Linlithgow Folk Festival will have a projecting uncertainty, I decided to researched connections between story and song show with Adornes become an ex-storyteller and take Scotland and Flanders over the a core element. my name off the Register. centuries. I was startled at the There is another aspect to this, and This did not mean stopping richness of the stories I found, of a new sphere of action for me. performing. As a singer I have a the sea-based trading, and of the Usually I have been ever rushing on printed set list lying on the floor, mercenary soldiers, nobility and to the next new project or and a thematic show needs a diplomats travelling in both performance, but pulling on my skeleton version of a script that directions, leading up to the Scots performing reins has given me time shows who says / sings / shows regiments in Flanders in two world in hand to capitalise on the books I what when. wars. have been writing and publishing Also for several years I have been This eventually resulted in June myself over the last few years, all of delivering schools songmaking performances in the Netherlands them stuffed with Scottish stories, projects jointly with one of village of Veere where Scots traders either traditional or historical. I have Scotland's finest traditional singers, had a monopoly for hundreds of become an e-publisher, with six Christine Kydd. We have developed years. The Scots Houses Museum in books now out as Kindles and more a tight approach in which we first Veere was hosting the multi- to come. So though I no longer give the classes a basic experience national Scottish Diaspora Tapestry, present myself as a storyteller, of Scots traditional song and music, and I did two song-based shows story continues to be central to emphasising any local material and there, one about the Flanders- what I do and how I do it. references. Then we use tunes Scotland links, and one about David Livingstone who features on several Ewan McVicar (mostly traditional Scots ones, but [email protected] others can creep in) to write new of the tapestry panels. Plus, I did

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The ABCs of Storytelling: tips, techniques and reflections

that date, imagining it to be F is for my last morsel of pleasure on Food earth. The audience licked its F lips and leaned forward. Then it happened. Don't ask where it came from but what The following, and other happened next simply articles in this series, are seemed a natural extension of Ahmed's character. As I extracts from Michael's ‘swallowed’ the date, I forthcoming ebook The ABCs ‘choked’ on the stone. I of Storytelling: Tips, coughed, I sputtered, I Techniques, and Reflections gagged. A woman in the audience screamed. And in on StoryCoaching. that moment, I suddenly As a story lover, you cannot help realised why Roi had told me but notice the importance of food. to enjoy the food. It was a It might be Snow White's apple, a direct way of connecting wandering traveller's stone soup, or with my audience at a level the delicious meals served up by the I'd not imagined. Judging goat in One Eye, Two Eyes, and Three from that woman's scream Eyes. In fact, many fairy tales are and the concerned look on obsessed with food - or more the faces looking up at me, I usually, the lack of it - making us had convinced my audience realise that food is just as that I was really choking ... nourishing in a story as it is in our wonderful piece of advice: 'When on an imaginary date stone! bellies. you eat the dates' he said, 'take the I stopped, spit out the offending Yet, many storytellers gloss over time to enjoy them, really savour stone into my hand and showed 'it' the eating of food or overlook its them, taste them. They're very to them reassuringly. 'Look' I said, potential to nourish. I've been guilty important.' Indeed, they turned out 'It's nothing, I'm ok . . . really . . . of this myself, simply telling my to be more important than I could nothing to worry about.' audience that Snow White bit into have imagined. Momentarily caught in the web of the apple; or quickly miming sipping On the first occasion, I mimed disbelief, the audience shook soup or making rudimentary taking a date, smelled it lovingly, themselves free, roared with gulping gestures to indicate my and popped it into my mouth. I laughter, and broke into raucous character's table manners (‘gulp, rolled it around with my tongue, applause. I winked at Roi smiling in gulp…yum, yum’). closed my eyes, and imagined its the back row. Given that food assumes such an sweet taste. 'Hmmm' I murmured. The story was a great success important role in stories, why not 'Hmmm' echoed my audience in because I'd paid attention to eating express an appetite for it? Give our mouth-watering appreciation. I my food. So whether you're a attention to searching for it, eating stared into their hungry eyes, princess eating an apple, a starving it, savouring it? Why do we pass paused, and swallowed ... before man eating his last crust of bread, a over it so quickly? Is it because spitting the stone into my hand. king sipping on a fine wine, or a we've been taught it's rude to eat in Laughter rippled through the condemned man eating his last front of others? Should we show audience. date, take the time to enjoy your our audience the enjoyment of food On the second occasion in the story, meal. Your audience will leave the rather than simply telling them? I took my time with the date. I table feeling nourished as well as entertained. The lesson of food was one I savoured the moment, smelling it, learned some years ago while licking it, and taking little bites, studying at the International School before chewing it and spitting out Michael Williams of Storytelling at Emerson College. I the stone joyously into the air. Even [email protected] was about to go on stage to tell the more laughter. comical Iranian story, The Forty On the third and final occasion, and If you are interested in enjoying Fortunes. During the story, the main with Ahmed thinking that this imaginary food and improving character Ahmed eats dates on would be his last date, I took even your storytelling skills at the three occasions, each one marking more time with the tasting. I same time, contact Michael an important progression in the sniffed, I licked, I gently placed the Williams to talk about how story story. In fact, the eating of each imaginary fruit on my tongue and coaching might help you. Visit date marks a step closer to what he slowly and sensuously drew it into www.michaelwilliamsstorycoac believes to be his impending doom. my mouth letting every nuance of hing.com or email Before going on, my mentor Roi Gal- pleasure fill my being. I sucked [email protected] Or took me aside and gave me a every last drop of sweetness from 4 Fwww.scottishstorytellingcentre.co.uk  www.tracscotland.org Issue 31 Summer 2015

Amari, Immortal Valley of Story

The call to adventure came in the form of an email, and my response felt like a pull from the centre of my being. It was an appeal from the Friends of Amari, who needed help to explore future directions. The Friends of Amari is an association devoted to the revitalisation of the village and the valley of Amari in Crete through storytelling and through supporting local cultural initiatives, working in harmony with nature, the land and its people. Their values chimed with my own and felt like an irresistible song drawing me to the island of Crete.

In Rethymno I was warmly greeted Seven storytellers were tasked to by Arjen and our host Stella discover a new story for the Friends Kassimati, whose family of Amari, guided by an eighth who connections with Amari spanned took the role of creative facilitator, generations. As we drove up to the her expert techniques, songs and mountains, Stella spoke of the timkeeping keeping us focused. Our history of the valley: Amari means challenge? To present clear ‘immortal’ and Mount Psiloritis is proposals on how, through the mythical birthplace of Zeus. It storytelling and the arts, the Friends was here, in this breathtaking The government would like to build of Amari could build a community landscape, that I began to truly a wind farm, which has happened in connected to the land, where the imagine the ancient Greek gods other mountain regions of Crete to relationship between visitors and roaming the land, something that the detriment of wildlife, and the the valley would be symbiotic, had escaped me at the spectacular residents of Amari oppose this. following a principle of reciprocity. tourist attraction of Knossos. We These problems are common to Of course storytelling is not a first- passed olive groves with ancient many remote areas, like the trees, one of which is 1200 years old aid patch for the wounds of a Highlands where I grew up, but as I society in decline, nor do storytellers and is a living symbol of the listened I had a sense that with tradition and agriculture which has have the power to change imagination and determination legislation which prevents artisan sustained people in the valley for there could be hope for a better thousands of years. cheese makers and other cottage future. industries from selling their wares, We travelled high into the but what storytelling can do is re- mountains led by Dimitri, a friend of ignite a sense of pride and share the the shepherds we were to visit, and stories. It can encourage us to Eleni, a pioneer of ecological imagine different ways of being and tourism in the area. We watched a with these new imaginings demonstration of traditional understand that we are not cheesemaking in a shepherd bothy powerless in the face of change, reminiscent of old highland that with strength and ingenuity we dwellings. It had a roaring fire can shape our future. After all, for inside, a hole in the roof for smoke something to exist it must first be On our first evening Stella guided to escape and a big cauldron of us round the village of Amari. We imagined. Storytelling can call us to cheese, stirred by hand. Then we action and importantly, in the case visited the heritage museum, ascended to the highest well on Mt climbed the old bell tower and of Amari, encourage a re-connection Psiloritis, the well of life, to refill our with the source of myth and the heard stories of local characters and water bottles and discovered plant of how magical the village looked, strength of ancestors, whose fossils strewn all over the dusty generations of experience stand before the arrival of electricity, track. when lanterns lit the streets and behind the people of the valley as people's homes. All our wonderful experiences in the they face the uncertainty of Amari valley had the purpose of changing times. Early next morning I joined the imbuing us with the knowledge and Our task to provide storytelling other European storytellers in sense of place we needed to advice and inspiration may be visiting the offices of the undertake our task as storytellers. It complete, but this is only the municipality, where we were was necessary to feast on the beginning of an exciting new welcomed by local dignitaries and delicious organic produce, visit the journey for the Friends of Amari, and given an explanation of modern festivals, drink from the wells and challenges facing Amari. The valley enjoy the wine. We needed to one I would like to be part of . There is an area of unique un-spoilt understand the unique qualities that is a well of return in Amari and I beauty, ecological interest and visitors to Amari experience, as well made certain to drink from it. agriculture, yet the old ways alone as the challenges facing the Valley. are no longer enough to sustain it Jane Mather and many young people move away On day three we gathered in the [email protected] to find work. village hall around a lit candle.

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Tales of the Old Woman When I was 16 I walked across Rannoch Moor. It wasn't as an exercise or an adventure, but simply the most direct route to get from Blair Atholl to the west coast. With neither a road nor a rail crossing, walking was the only option and I walked long distances frequently. Loch Rannoch, photo by James MacDonald Reid

To get to the edge of the moor, I He then told me about a hunter on freestanding mountain called Babia hitch-hiked in stages along the the north side of Rannoch Moor Hora. Although it's not quite the Tummel road until its end at who had encountered an old same shape as Schiehallion, it seems Rannoch Station. From there the woman who lived with a herd of to have the same prominence over distinct form of the mountain deer. His description of this woman the landscape. And the name is Buachaille Éite Mór is clearly visible reminded me of tales I had heard intriguing, as it means 'The Old- across the moor to the southwest before, of a woman who lived in the Woman's Mountain'. So I asked local and, without a map, I used the wilderness with only the wild people for tales of an old woman. mountain as a point of reference. animals for company. She was Although the stories I heard from Although it was early summer, frightening, but could be helpful if them were not so specific, the old there was a strong, steady wind treated with kindness. The stories woman in them was similar in many from the west which kept the day that I had heard before had no respects to those I heard in cool and constantly tried to hold specific place, but he insisted that it Rannoch and in eastern Serbia. all happened on Rannoch Moor and Further, all of them referred to this me back from my journey. After v hiking along the north shore of he named each place with precise woman as Jezi Baba. Now, some of Loch Laidon for most of its length, detail. After probably less than an the versions of the Gaelic tales I noticed a small, ruined stone hut hour, I carried on walking to reach collected in times past called the old a short way up the hillside to my the Glen Coe road late in the night. woman Cailleach Bhiorra (The Prickly right. With a small supply of food Weeks later, I was with my piping Old-Woman - though none of those I in my rucksack, I climbed up there teacher, Alec Macrae, in Pitagowan heard orally used this name) so to take a short, sheltered break near Blair Atholl. He was teaching there could be a very direct parallel and to feed myself. As I me an old tune with a name that that dates back to prehistory. For in Slovak the word baba means an old approached the roofless ruin, I reminded me of this story I'd heard v v noticed small puffs of smoke rising from the strange man in the woman; jezi means 'prickly'. 'jez' is only to disappear in the wind. roofless hut. I asked him if he knew a hedgehog. There, in the lee of the highest this tale. He did indeed and he told remaining wall was an old man me his version. Later, he showed (old to me, anyway) by a tiny me the spot on a mountainside campfire. He wore a dark, heavy where the hunter met the old overcoat and had dark hair and a woman and her deer. Over the sunburned face with a few days’ following years, I learned more and growth of beard. more, bits and pieces, from gamekeepers and others in that He looked up at me, a bit area. The setting of the stories was apprehensively at first, and then always the forest and moorland I often tell these tales from the offered me a can of tea. He was overlooked by the strikingly shaped Gaelic lore, together with the pipe obviously not a recreational hiker; mountain of Schiehallion, which tune associated with them, and his canvass satchel was not of the stands at the very centre of related songs. As complete stories, sporting type. I suppose he was a Scotland. Although at that stage I I've cobbled them together traditional Traveller, or perhaps a was not consciously seeking stories, somewhat from several different fugitive, or simply homeless. I but rather songs, pipe tunes, sources. But I retain the places and didn't ask; nor did he ask me about dances and customs, the tales the details that I heard from the myself. If he told me his name, I've tended to come along with the rest, people I met who shared them with forgotten it. But we talked a bit though often in fragments or in me. And I always have in the back of about the weather and then about passing references. my mind the strange man in the the moor itself. He spoke in Scots As I reached my twenties, I dark overcoat in the ruined hut on but knew the Gaelic names of Rannoch Moor and the way he told places and pronounced them with wandered in Slavic lands; Serbia, Macedonia, Bulgaria and Slovakia. me his version. ease and fluency. In northern Slovakia, along the James MacDonald Reid Polish border, there is a distinctive [email protected]

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Keeping Alive the Oral Tradition In 1609 James VI imprisoned many clan leaders on a ship in order to exact promises of obedience from them. One of the key concessions the clan leaders were forced to make, in what would become known as the Statutes of Iona, was to banish the powerful Seanachaidhean, or storytellers, from their courts.

Today, there are more than a roles of Bard and Seanachaidh hundred storytellers active in would be combined within one Scotland, there are many clan person; in others, they might be historians globally, but there are further subdivided into lawyers, perhaps only two clan storytellers musicians and clerks of written still practising in Scotland, in record. defiance of the 400 years old ban: There's an old Irish belief, according Scot AnSgeulaiche, for Chief to Scot, that a bard could recite a Maclean, and Paraig MacNeil, for satire against an unworthy chief Seanachaidhean today keep history the Clan Gregor Society. Both Scot and bring him out in hives and boils, alive. People can see the tradition and Paraig gather material from blemishing his body so that under bearer, hear the traditions, hear three sources: published books, Brehon law he'd have to stand how the stories were told. Hearing archives and from the oral tradition. down. This sounds a bit fanciful, but stories is the actual method of It's surprising just how much is still we all know that any regime can be transmission, the stories have to be available from talking to people. brought down by adverse public told. There is something about a The internet on the other hand is opinion. And poetry and song were living being telling you a story that not a good place to research powerful means of forming public no modern technology can equal, ancient tales, the material you can opinion and responding to it at the there is a value in the human voice. find there is usually shallow and time, equivalent to TV and It gives the story credence, gravity. much repeated. newspapers nowadays. It makes it alive. James VI understood this very well. Story has a great advantage over After centuries of trying to simple historical fact: it contains subjugate the MacDonalds of the 'human interest'. Tales can connect Isles and other independent us to landscape. If you go to the clandoms, he finally realised that he remote Moy Castle on Mull, there is could only succeed by extirpating a worn stone high up with the the propagandists, the life blood of inscription Deoch agus Biadh le the clan chief and the clan pride. MacCormaig, ‘Drink and food with The Statutes of Iona sought to the son of Cormaig’. It's an banish 'vagabound, baird, juglouris exhortation to offer hospitality to and suche lyke', because they were that Irish family, and there is a story A Seanachaidh is a keeper of powerful inciters of unrest, at least behind it. In the 1500s the young, history, genealogy, agreements and from James's domineering displaced chief came back to Moy stories, gathered and recounted viewpoint. If you take away the from Irish exile to recover his family orally. The English word ‘storyteller’ memory of a people, how strong lands from the Dubhart Macleans. is used to translate this role, but His name was Murchadh Gearr, or clearly underestimates the remit. can they stand against you? short, dumpy Murdo. He raised his The role is often hereditary and Storytellers disappeared with the late father's people and battle lines encompasses the full opus of a dismantling of the clan system. In were drawn with the Duart clan's history. A Bard is a more recent times the desire for Macleans. On the eve of battle, performance poet. The art was clann has grown and birthed the Murdo and his Irish lieutenant, strictly governed, both for how the modern clan societies, yet the role MacCormaig, snuck into Aros castle poems were composed (for of poet or storyteller was not where Maclean slept and he example, in Dàn Dìreach's mode of reinstated. A lot of modern clans swapped swords with him. In the alliteration, stress and meter) and in simply don't understand what a morning, Maclean realised the the subject matter, usually limited Seanachaidh does. Many clan switch and that Murdo had shown to praising the chief, hunting societies have custodians of written him mercy. A reconciliation scenes, laments and such. A Bard is word, and that is absolutely happened, battle was avoided and similar to the modern Poet invaluable, but it is a passive role. Murchadh was restored as chief. All Laureate. Paraig MacNeil's job as a Knowledge is not yours until it's in that lies behind a worn inscription Bard is to extol the virtues of clan your head, not on the bookshelf. A on remote castle, and it is a story Gregor people, ancient and current Seanachaidh actively stuffs memory worth knowing. So Scot tells the full and to decry the decriers. This into the clansmen's heads by tale at least once a year. however does not mean all spirited, inspirational storytelling, panegyric spin. There were chiefs song and poetry. Only then do the Samantha MacKenzie across all the clans which the bards ordinary clansfolk know and feel [email protected] have said very little of, because they their history and who they are as a (Interview with Scot AnSgeulaiche and didn't merit it. In some clans, these clann. Paraig MacNeil)

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Step Dance in Scotland I was introduced to step dancing at the age of eleven, when I saw Cape Breton dancer Harvey Beaton and fiddle player Buddy MacMaster perform in Scotland. The following year I attended a course with Harvey at Sabhal Mòr Ostaig, on the Isle of Skye. From there grew my love for the dance and an interest in how Scottish traditions were retained by emigrants and their descendants. This leaves less room for variation, between the music and the dance, The majority of step dancers in whereas, at a square dance or which means that often the tempo of Scotland today, including myself, house cèilidh, people pick up new strathspeys is too slow for the Cape have learned from our Cape Breton steps by watching other dancers, Breton style steps whilst the reels are cousins and, therefore, the steps and, more importantly, responding more often than not played too fast. are part of a re-introduction of the spontaneously to the music. dance form rather than its revival. It would be great to see step dancing Cape Breton is an island which is Music sessions like house cèilidhs as a regular and integral part of the are social contexts, where tunes are music scene in Scotland too. A dancer part of the Maritime Province of passed around and shared and getting up at a session shouldn't be a Nova Scotia, on the East Coast of musicians are able to learn from grand, show-off performance, step Canada, where many Gaelic each other and pick up tunes by ear. dance should be both a response to speaking emigrants settled from The momentum of a session is built the music and also the driver behind the mid-eighteenth century through by the shared energy, as musicians the music, like a percussive the nineteenth century. Although follow each other's inflections and instrument. the Gaels left with very few cadences. In Nova Scotia and Prince At the moment the traditional music personal belongings, they took with Edward Island this ethos also them a wealth of culture - their scene in Scotland is a burning furnace extends to the dancers, and dance of activity, full of vibrance, colour and language, their religion, their rhythms are a central and integral stories, their music and their dance. excitement - the country is alight with part of musical performance. From fèisean, workshops, summer schools, For a dance tradition to continue, dance halls to festival stages, the sessions, concerts and festivals. It is and continue in a way it may grow energy and driving force behind the an exciting time for traditional music and flourish, it is important that the music comes from the constant and I believe there is an opportunity tradition exist within a social rhythm of foot percussion and step for step dance to be further context. In Cape Breton, particularly dance, and musicians will almost developed and integrated within this in Inverness County, step dance is always sit down to play so that they sphere. There is also a strong both a solo dance and also retained may tap their foot. movement towards fusion in within the square sets and the In Scotland on the other hand there traditional music and it would be Scotch four (a four person social is no such close interrelation great to see this movement embraced dance brought over from Scotland). by dancers experimenting and The social setting creates a natural combining different styles and forms. context for cultural transmission When I teach workshops I hope to which allows for variation and impart the importance of not only spontaneity. In other parts of passing the tradition on, but of Canada, where step dance is purely allowing the tradition to take the a performance dance, routines and natural course of growth and competitions are gradually regeneration. Social integration is a standardising the steps. This vital part of this regeneration and I formalised mode of transmission is would encourage step dancers to use also the norm in Scotland, where their steps during social dances such the majority of step dancers have as a Strip the Willow or a Dashing learned though organised classes White Sergeant and also to join in and workshops. When I am with musicians at a session. After all teaching, I find that my pupils the tunes are calling us to respond prefer to learn a definitive version with rhythm, with movement - with of a step and then, to help them dance! remember that step, they like to Sophie Stephenson put the steps into a set order or Credit Ruth O' Sullivan [email protected] routine. www.sophabulous.co.uk

8 www.scottishstorytellingcentre.co.uk  www.tracscotland.org Issue 31 Summer 2015

Mairi's Musical Musings It's hard to describe what I do these days. My music has melded and fizzed and integrated into something new… again. This time it feels more daring, spontaneous, rooted, elemental and textured.

In 1990, after 4 years at the get a bit limp and lose direction, Guildhall school of music and three and the most effective way to years in the viola section of the maintain momentum was to Kreisler String Orchestra, I hit the subdivide the beats. We'd be road and spent a year backpacking playing this gorgeous slow music, in Mexico. Leaving somewhat bows gliding up and down the unraveled emotionally and in a fuzz, strings and underneath, silently, we I headed for Cape Breton in Canada were counting and subdividing the where I first saw Scottish step beats like ducks' feet. Step dancing dancing and fiddling: the diaspora's is also based on subdividing, on account of our culture. This playing with the internal rhythm of discovery of our native, indigenous the tunes. It's fun, spontaneous and stepping provoked a profound can change every time you do it. A keening that held me in its grip for good step dancer can give the NOTICE THE many years after. Like a piece of my tunes great lift and momentum. LITTLE THINGS heart missing, it was like a pulse The story of this particular time in that I knew but didn't know… a my life - the crossroads of moving Play the tune as if you were pulse that left Scotland and went from my classical career into singing it, so the breath of West with the hundreds of traditional music - is told in Pulse. the phrasing is embedded thousands of Scots that settled in When Dave Gray and I made the deep. Don't let your bow Cape Breton and beyond between album Pulse, I felt it was more of a get bossy - the left hand 1750 and 1850. A powerful sense of show than a gig and started to should lead. Make a loss, confusion and sadness hit me dream up this new offering. The connection between your hard. This was met with the cheery result brings together dance, foot tapping and your left outlook of Cape Bretoners - also storytelling, live music, animation hand fingers. well aware of the tearing apart of a and recorded tracks. The wonderful culture - but they would jolly me director Kath Burlinson is a huge along with their generosity and kind part of it too, with her words. Minnie McMaster, mother of extraordinary ability to do alchemy Natalie McMaster, took me in and with what seem like random taught me my first steps and this elements at first. FOOT TAPPING was followed by many more trips to When I played with the Bella learn the steps and the music that So twenty five years after that McNabs, we had a wide went with them. It's a very fateful trip to Cape Breton I'm still range of foot tappings. particular lift and tempo, one that I exploring beats, gravity, the power Fiona, the piano player, was instinctively wanted to learn. of sound and my spiritual and historical roots. Fifteen years of a heel/toe roll; Derek Hoy I was particularly drawn to step meditation has added layers and was a knee bouncer. I got dancing because I love playing the levels and allowed a renewed into that too as I liked the drums with my feet - intricate exploration of what our culture way it lifted the tune; Dave rhythms that play against the tunes, is/could be. We have let go of much Francis and John Young were and I wanted to understand how to in Scotland, but we also have new foot slappers. The slap, the play the fiddle for dancing. In many possibilities and fresh outlooks. The quick-lift, the knee bounce ways the classical and aural audiences' reaction to Pulse has and the heel/toe roll. Heel traditions are polar opposites, but been overwhelming so far and I'm toe roll is best if you're in this little exploration I found very excited about what is yet to playing for step dancing as it common ground. I remember come. tends to hold the offbeat playing Tchaikovsky's serenade for longer. strings with the Kreisler String Mairi Campbell Orchestra. The music was sublime [email protected] but in the slow movements could www.mairicampbell.co.uk

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

He told us he was a great fan of A Song and a Brew Irish music and of Elvis Presley and began bringing CDs, which he sang A Song and a Brew is a project that started in January 2015 with the aim to along to. When the group was create opportunities for parents to develop their musical confidence. introduced to the recording studio Community musician Gica Loening and I launched the project after receiving in North Edinburgh Arts to record funding from the Youth Music Initiative to develop work with children and some ukulele tunes and songs, families attending Craigroyston Early Years Centre in North Edinburgh. The Davey became excited about the project had three interweaving strands: a strand aimed at children, a strand prospect of recording some Elvis aimed at parents, and a strand aimed at staff. tracks. His father had died the After a few months at North Edinburgh Arts, from April 2015 the group was previous year and his party piece finally based at the Early Years Centre. This allowed all participating children to had been Wooden Heart, so David come to the first part of each session even if their parent could not attend. began singing the song and was keen to put it on a CD for his mother as that, he said, 'would make her greet'. During the duration of the project Davey moved from singing along to a CD to singing alone to the children in the Early Years Centre and performing at a big family celebration. By the end of the project Davey had cut a CD with two Elvis songs and performed at an informal launch at the Scottish Storytelling Centre. We were able to support Davey to achieve something he was immensely proud of and he has been very vocal about what the group has meant to him and how it has improved his confidence, not By repeating the same songs week The children are nurtured through only in a musical sense. after week, the children became plenty of eye contact and smiles. familiar with them and knew where Therapist Patsy Cogen has Finally, we ran two twilight staff to join in. A recording of the group described eye contact as 'the bridge development sessions exploring session at the end of June showed between two brains'. both the theory behind our work methods and creating opportunities how much more vocally In terms of work with the parents, participative the children had for staff to develop their own we knew they would be reluctant to confidence in leading music and become over time. We ended each engage with the singing and musical session with the children lying down story activities. Staff engagement activities, so we included their with the overall project was greatly for a rest and listening to the Fairy children in the sessions to lead the Lullaby played by Gica on the fiddle. enhanced by these sessions, and we way. Each week we began with a were delighted when Melody, a The great strength of oral song and story session for the member of staff, brought great fun storytelling and song is that it parents and children, with the same to the CD launch at the SSC by promotes language and literacy pattern each time and lots of dancing along to Davey singing his skills within the context of warm repetition of material, so it became Elvis songs live. Nicky Leadbetter, and nurturing relationships. familiar to both the parents and the Senior Early Years Practitioner, even children. allowed herself to be nudged gently The children then returned to the out of her comfort zone and nursery with the staff, and the recorded the story of The wee tiny parents had some time to explore man at NEA just last week! their own musical creativity. We It has been a pleasure and a began this process with ice- privilege to be involved in working breaking musical and storytelling with this group of parents, children activities, which helped the parents and staff. We can see that little by to feel comfortable. We obviously little a culture of enjoying music, were successful in this because we song and story is growing and we 'As the adult's face communicates had more than one parent who are very hopeful that we will be her thrill and delight in the remarked that they did not usually able to continue building upon the child…..the child sees the gleam in enjoy groups but they enjoyed work we have begun. the adult's eyes. This specific and coming to this one. Claire McNicol unique visual experience directly We had one participant in [email protected] stimulates the infant's brain, which particular, a father called Davey, in turn produces pleasure chemicals'. who attended throughout the life Photographs by Ruth Barrie. Schore, 1994 of the group.

10 www.scottishstorytellingcentre.co.uk  www.tracscotland.org Issue 31 Summer 2015

CREATE A LEGEND . . . WIN A PRIZE! LEGENDS have a habit of travelling around - through time, from language to language, between cultures - attaching themselves to different places, and cunningly adapting to their new homes.

The story below is taken from my The challenge is to adapt A Ceilidh Highland Folk Tales, and one of The collection Argyll Folk Tales, which will Story to your own area. I've chosen Little Book of Hogmanay (both be published in November 2015. it because it could happen almost published by The History Press); and While this particular telling is from anywhere, since its basic elements a copy of my CD of Cairngorm Mull, there are versions from other are pretty much universal. For the stories with music, Between Two places in Scotland, including three most imaginative and Worlds. Montrose and Blair Atholl. ingenious adaptations, I'm offering First, read the story. I hope you as prizes one copy of my collection enjoy it - it's one of my favourites. A CEILIDH STORY In the days before radio and television, before computers and The young man was cast up in the mouth of a creek, near to a mobile phones, before video games and streaming, people cottage that was on a hill above the shore. When he enquired at would meet in the evenings to gossip and sing, tell stories and the cottage, he found an old woman and a young girl living jokes, ask riddles and play a little music; they would often take there. The old woman's husband, the father of the girl, had died with them some domestic work such as darning, or sewing, or a few weeks before. He had been a fisherman, and now his boat spinning with the drop spindle. In the parts of Scotland where was idle. The lad from Mull got on well with the old woman, and Gaelic was spoken, a gathering like this would be called a particularly well with the girl. He knew how to fish too, and so it cèilidh, and the place where it happened would be well known seemed sensible for him to stay there, marry the daughter, and in the community. It could be someone's house, but it might take over the management of the boat. also be another important location; a smithy for instance, a The young couple made a good partnership, and it wasn't so mill, or a kiln for drying corn. long before their first child was born. Quite quickly they had On the southwest coast of Mull there was such a kiln, a place three more children, and the house became filled with the where men and boys gathered to tell stories. They sat in a row sounds of a happy family, working and playing and eating around the fire and the owner of the kiln began with his story, together. Then one evening the Mull man was out fishing when followed by the others in turn. The rule they had - their 'law' - a great storm rose up, and his boat was blown back over the was that everyone there, with no exception, should sea, past Islay, Jura, and Colonsay, to the very place in Mull that contribute a tale. he had left all those years before. He climbed the hill to the kiln, On one occasion a young man from another district was which was still there above the beach. When he went in, he was present at the session. He didn't know the house rules, and, astonished to see the same band of men and boys, sitting in just when it came to his turn, he had no story to tell. The regulars the same places, and none of them looking a year, or even a day were outraged at this flouting of protocol. Blows were close older. to being struck, when the owner suggested that the young The owner of the kiln asked where he had been, and the young man go outside to put some straw in a hole in the wall, as it man told about the storm, the voyage to Ireland, his wife and was letting in the wind. four children. 'Well, at last you have a story to tell,' said the The lad stepped out into the dusk, glad to be away from the owner. The others started to laugh, but the owner hushed prickly atmosphere inside the kiln. There was indeed a strong them, saying that the lad had been under a spell, and that his wind and, when he looked out to sea, he saw that a ship was experiences had all been a vision conjured up by magic. That being driven dangerously close to the rocks. The boy ran may have been true, but it didn't stop him mourning the wife down to the shore and found a small boat, pushed it out, and and children who were as real to him as if they'd been flesh and began to row towards the ship in distress, but the gale caught blood. hold of his little vessel and dragged him out to sea, past People say that the owner of the kiln was a master of the black Colonsay, Jura and Islay, and over to the north coast of art, and was himself responsible for the young man's vision, but Ireland. that surely is an old wives' tale.

Now think about how you could  The reason for remaining on the  A storytelling gathering from retell this story. You can omit the other side of the great divide which an individual is expelled first paragraph entirely if you want, doesn't need to be a wife and because he or she doesn't have a and be as wildly imaginative as you family. story to tell. like. For example:  The return to the starting point  A journey to a new set of  Your legend can be set in the can be the result of a storm, but circumstances. past, present or future. could just as easily be a  A motive for staying in the new  Its location can be anywhere in mysterious voice calling out, a location. the area in which you live. message brought by a carrier  Eventual return, for whatever pigeon etc.  Your protagonist may leave the reason. storytelling venue on any pretext You get the idea. Go where your  Discovery that nothing has whatsoever. imagination takes you, as long as changed. your story is set in what's  He or she can cross a river, a recognisably the area where you  'At last you have a story to tell.' road, a lake or a galaxy, if there's live, and as long as you preserve the a good reason to do so. Bob Pegg basic elements of the original tale: [email protected]

You can find out more and download the story on www.tracscotland.org/tracs/resources/a-ceilidh-story

www.scottishstorytellingcentre.co.uk  www.tracscotland.org 11 Blethers Issue 31 Summer 2015

Book Blethers

Scottish Borders Folktales by James The sinuous rhythms and Spence is another Scottish triumph evocations of sea or land in the ambitious plan of The History reflect the author's own Press to provide every region of journey to explore that Britain with a storytelling volume. northern land's powerful James Spence has risen to the mythology. It's a fine read for challenge with a classic volume, all age groups. ranging from ancient folklore to weetom and the Bank Robbers community reminiscence. The is also devoted to capturing stories are arranged broadly in the spirit and style of a terms of their time period though distinctive storyteller. Michael there is also a focus on providing Kerins' weetom stories have stories suitable for children at the achieved classic status, often start. The whole collection is deeply turning on the emotional SCOTTISH BORDERS FOLKTALES felt as part of this storyteller's roots connection between small tom and James Spence and identity, and he writes his gigantic yet gentle Uncle Dan. throughout in a melodious natural The History Press The book is beautifully illustrated by ISBN 9780750961387 Scots. There have been many Elaine Davis and produced by collections of Scottish Borders Dominic Kerins under a designated stories in past times but this one is label Big Pants Ltd-Books. ARGYLL FOLK TALES for now and the future, and holds Bob Pegg Finally on the wider front of its head up with the very best. The History Press intangible heritage, Tracs recently Next up from History Press is Bob hosted a day on Scotland's Wells Pegg's Argyll Folk Tales. This begins and Sacred Springs. This brought WILD SONG with a fascinating introduction that together three writers of new Janis Mackay acknowledges both the succeeding volumes relating to this subject. Phil Piccadilly Press generations of storytellers, but also Cope's Holy Wells Scotland is a ISBN 9781848124424 the way that Argyll collectors have superbly illustrated guide to the defined Scotland's place in world known and little known wells across WEETOM AND THE BANK storytelling. Again this is an our landscape. Phil Cope deserves ROBBERS excellent collection covering the full profound thanks for helping us to Michael Kerins range of Argyllshire stories across uncover this fantastic heritage. Big Pants Ltd-Books the centuries. There is a special Valerie Gillies' Cream of the Well tribute to Duncan Williamson as the brings together her new and Argyllshire storyteller par excellence selected poems many of which are HOLY WELLS SCOTLAND in modern times. No-one interested explorations of place, journey, Phil Cope in Scotland's living traditions should pilgrimage and water bubbling from Seren miss out on this volume, which will hidden depths. The poems are ISBN 9781781722589 be released in November. The book perfectly pitched and resonant. carries illustrations by the author Donald Smith's Pilgrim Guide to CREAM OF THE WELL himself, which is also the case with Scotland traces 14 pilgrim journeys Valerie Gillies James Spence. Good storytellers across Scotland encompassing Luath Press Ltd clearly have strong visual sacred places, traditions, poems, ISBN 9781910021682 imaginations! stories and blessings, based on 25 In her latest novel for young years of walking by the present PILGRIM GUIDE TO SCOTLAND readers Wild Song, Janis Mackay writer. This volume is dedicated to Donald Smith continues her special blend of the late Andy Hunter, a true pilgrim and loved companion on the road. St Andrew Press storytelling and writing. This book ISBN 9780861538621 takes us to Finland and explores the Donald Smith healing power of friendship, nature, [email protected] and the sometimes hurtful requirements of truth.

T: 0131 556 9579 E: [email protected] Scottish Storytelling Centre, 43-45 High Street, Edinburgh EH1 1SR 12 www.scottishstorytellingcentre.co.uk  www.tracscotland.org