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The Cultural Renaissance of the Highlands Bryan Beattie & David B Pirnie

Cultural Renaissance of the Highlands and Islands

1. RENAISSANCE?

Context

Are we living through a cultural renaissance in the Highlands and Islands?

Its a significant claim to which the short answer, we would propose, is

yes, but one that is still in its infancy and needs careful nurturing.

The circumstances are right for a renaissance - the areas sustained upswing in

economic and population growth; the continued focus on national and regional

identity created by devolution; and, we would suggest, an expectation that things

need to improve.

The European Renaissance of the 15th century arrived after a long period of cultural

decline and stagnation characterised by a surge of interest in discovery, invention

and learning1.

Do similar circumstances apply in the 21st century Highlands? There was a long

period of cultural decline following the Jacobite rebellion. The legal proscription of

fundamental elements of Highland culture was compounded in the following

centuries by the often calculated erosion of language and the social system.

In his excellent millennial history of the area2 which provides valuable historical

context to a discussion such as this, Jim Hunter charts the beginning of the

renaissance of the Highlands and Islands to the 1880s and a growing political

awareness and activism in the area.

His work indicates that the fact we are still able to debate the matter at all almost

three centuries on is a sign of an enduring, deep-rooted culture.

1 Encyclopaedia Britannica

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The Cultural Renaissance of the Highlands Bryan Beattie & David B Pirnie

We would propose that this resilience coupled with new political impetus regionally

and nationally, could result in an extraordinary flowering of Highland culture in the

21st century.

What is it?

The National Cultural Strategy provides a comprehensive definition of culture3 which

we endorse, but Donald Smith is pithier;

Culture is shaped and influenced by landscape, climate, economic,

social and religious organisation and in turn can shape and

influence these areas except perhaps the weather.4

Contemporary Highlands and Islands communities have been shaped by immigrant

cultures - Nordic, Gaelic, Irish, Lowland Scot, English and increasingly the

assimilation of other European and Asian cultures, among them Polish, Italian, and

Indian.

Highland culture is therefore a celebration of diversity, not a homogeneous type - a

Shetlander would no more call himself a Gael than a Moray loon claim he was a

Muilleach and attempts to pigeonhole the culture simplistically should be resisted.

We would argue for an inclusive definition of Highland culture one which

recognises the breadth of geography, of cultural disciplines, and of origins a

culture that respects the Pakistani as well as Pictish influence and acknowledges the

contribution of the skateboarder and line-dancer as well as the weaver and piper.

It is impossible to separate issues of the land from the culture of the Highlands and

Islands. The landscape is a powerful omnipresent influence, and land ownership and

use pervades the nature of all its communities.

2 Last of the Free, James Hunter (Mainstream, 1999) 3 In its widest sense culture may now be said to be the whole complex of distinctive spiritual, material, intellectual and emotional features that characterise a society or group National Cultural Strategy, Scottish Executive, 2000 4 Donald Smith, Director of Edinburghs Netherbow Centre, private correspondence, 1997

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The Cultural Renaissance of the Highlands Bryan Beattie & David B Pirnie

Interestingly, the European Renaissance witnessed the decline of feudalism. Perhaps

recent landmark legislation on land reform from the Scottish parliament is therefore

another indicator of a growing Highland renaissance?

Where is the evidence of renaissance?

This is not a time for negativity there are too many positives to consider but it is

a time for an honest assessment of the cultural environment and a pragmatic

approach to its development.

If in this paper we appear to focus too much on the downside it is merely to

emphasise the tremendous potential, rather than ignore existing good practice.

So, how substantial is this current cultural renaissance of the Highlands and Islands?

Where is the evidence? And would the sceptical eyes of the resident population

recognise it?

In a recent list of the 50 Scots who are allegedly shaping world culture5 only two hail

from the Highlands and Islands: the Shetland fiddler Aly Bain, and the Argyll novelist,

Alan Warner. Not a scientific study, but revealing of external perceptions.

Perhaps more acutely, despite imagination, collective effort and a substantial

financial contribution from the leading regional and national public agencies, the

recent Inverness Highland 2008 bid for the title European Capital of Culture failed to

make the competition shortlist.

There are few theatres, cinemas, quality sports venues, or adequately invested-in

museums, in the area. If you take a conventional view that culture by and large

takes place in purpose-built buildings and arenas then the Highlands and Islands is

indeed in some degree of poverty.

Are these signs of an area in cultural renaissance?

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The Cultural Renaissance of the Highlands Bryan Beattie & David B Pirnie

We would maintain, however, the culture of an area is primarily shaped by its

physical environment, its people and the things they do, and on that basis the

Highlands is rich indeed.

Our assets are unconventional we have no Old Trafford, Tate Modern or Covent

Garden. But then other areas have no Cuillin, River Spey or Maes Howe. It is difficult,

redundant perhaps, to measure our assets against conventional cultural provision.

The voluntary sector is the bedrock of Highlands and Islands cultural life. They

ensure the presence of over 30 independent museums, 1,3006 sports clubs, 2,000

arts organisations and over 5,000 events, performances and festivals each year that

attract 1.5 million people7.

Arts and sports organisations alone involve 31,500 local people, generate 65m per

annum and create 1,600 full time jobs, 3,000 part-time, and 2,100 ftes8.

People are interested in culture. In Orkney over 10% of the population participate in

the arts alone9. Almost 60% of Highland adults participate in sport10. Highlanders

attend music events three times more than the rest of Scotland, and contemporary

art exhibitions twice as often11.

Highland culture should, we propose, be considered as a natural resource which is as

yet under-exploited. It merits at least the same care and investment from the public

sector as any other natural resource and has the added benefit of being continually

renewable.

Statistics, though impressive, are only part of the picture. There are specific green

shoots of a renaissance that can be pointed to:

Achievements such as the creation of the An Leabhar Mr (The Great Book of

Gaelic); the success of Olympic and Commonwealth athletes from this area; the

5 The Scotsman Magazine, 8th February 2003 6 13% of the Scottish total, from 4% of the Scottish population; (one study estimates the total as nearer 1,700) 7 Economic and Social Impact of the Arts in the Highlands and Islands, HIE, 2001 8 Assessment of the Social Economy of the Highlands and Islands, HIE, 2002 9 Orkney Arts Audit, Orkney Arts Forum, 2001 10 Sports participation in Scotland 200, SportScotland, 2001

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The Cultural Renaissance of the Highlands Bryan Beattie & David B Pirnie

increasing recognition of the feisean movement and the upward rise of interest and

participation in traditional music by young people; and the expanding export market

of the Orcadian craft industry.

In just one area literature in the latter half of the 20th century the Highlands and

Islands produced the Caithnessian, Neil Gunn, the Orcadian, George Mackay Brown,

the Leosach, Iain Crichton Smith, Robin Jenkins from Argyll, and Sorley MacLean

from Raasay. Writers of international significance.

Todays crop of young writers are just as geographically disparate, Inveresss Ali

Smith, Alan Warner from Oban, Michel Faber in Tain and the tremendous outcrop

of writers in Ross-shire Bess Ross, Anne MacLeod, Cynthia Rogerson, and Moira

Forsyth, brought to the surface through local authority-inspired writers residencies.

New Media

There are more green shoots evident in new media. The proposed film studio in

Inverness could open extraordinary doors of opportunity, perhaps also leading to a

film school. The planned Centre for Creative Industries at Sabhal Mor Ostaig will act

as a catalyst both for ideas and trained professionals. The possibility of a