News

New podcasts highlight shared traditions of Gaelic Scotland and Gaelic Ireland

Pod-craolaidhean ùra mu phròiseact òrain is sgeulachdan na Fèinne eadar Alba is Èirinn

Tha TRACS (Ealain Traidiseanta is Cultar na h-Alba) air a bhith a’ toirt taic do phròiseact cruthachail, trì-chànanach bho 2022 a tha ag amas air beul-aithris is laoidhean Fhinn ‘ic Cumhaill agus gaisgich eile a thoirt air ais don t-sluagh ann an cruthan ùra.

Since 2022, TRACS (Traditional Arts and Culture Scotland) has been supporting an interdisciplinary, trilingual project to re-interpret the songs and stories of Fionn MacCumhaill and his warrior band, the Fianna, and to present them in an accessible way to a modern day audience.

Fad iomadach linn, bha sgeulachdan is laoidhean Fhinn ’ic Cumhnaill is na Fèinne gan innse ann an Alba is Èirinn is iad aig cridhe dualchas nan Gàidheal.  Chan eil iad cho cumanta san latha an-diugh a chleachd iad a bhith.

The tales and songs of Fionn MacCumhnaill and the Fianna stretch back to the 3rd century AD and reached the height of their popularity in Gaelic Scotland and Gaelic Ireland in the Middle Ages. They were an important part of the folklore and culture of both countries for hundreds of years but knowledge of these stories and songs has waned over the past few decades and they are not as commonplace as they once were.

Chaidh aig sàr luchd-ciùil is aithris Mhàiri Hall, Màiri Nic ille Mhaoil, Gráinne Holland, Éamon Doorley agus Màrtainn Mac an t-Saor measgachadh de làmh-sgrìobhainnean is beul-aithris nan Gàidheal à Alba is Èirinn a chleachdadh gus dreachdan ùra de na sgeulachdan is laoidhean a chur ri chèile, a’ toirt sealladh ùr de na sgeulachdan is laoidhean tro mheadhan na Gàidhlig is na Gaeilge.

Leading musicians, singers and storytellers Mhairi Hall, Mary MacMillan, Grainne Holland, Eamon Doorley and Martin MacIntyre, have used a variety of sources from the oral and written traditions of Gaelic Scotland and Gaelic Ireland to create ambitious new pieces together, showcasing these songs and stories through their original mediums of Scottish Gaelic and Irish.

Chaidh taisbeanadh de chuid de na sgeulachdan is laoidhean a chumail leis a’ bhuidheann anns na tachartasan, An Ceòl air Feadh na Fèinne, aig Fèis Sgeulachdan Eadar-nàiseanta na h-Alba (SISF) ann an 2023 is aig Celtic Connections ann an 2024.  Tha a’ bhuidheann a-nis a’ cur dreach den sgeulachd, An t-Amadan Mòr, air loidhne gus an cluinnear blasad den obair aca.  Thèid leabhar-èisteachd trì-chànanach a chur air bhog le sgeulachdan is laoidhean eile  ann an 2025.

The group premiered this work with live performances of their collaborative show, An Ceòl air Feadh na Fèinne, at the Scottish International Storytelling Festival in 2023 and at Celtic Connections in 2024. The group are now releasing a preview recording of the story of An t-Amadan Mòr / The Great Fool, as a preview of a new audio book to be released in 2025, aiming to make all of the songs and stories they have been working on accessible to a trilingual audience.

Cluinnear An t-Amadan Mòr air a’ phod-craoladh sgeulachdan Ghàidhlig aig Fòram Sgeulachdan na h-Alba, Sgeul is Seanchas, agus cuideachd air a’ phod-craoladh sgeulachdan Ghaeilge aig Gráinne Holland, Scéalta Thuatha Dé Danann.  Rinn Fiona NicDhùghaill bho TRACS agallamh tro mheadhan na Beurla leis a’ bhuidheann a bheireas barrachd fiosrachaidh dhuibh mun phròiseact Òrain is Sgeulachdan na Fèinne gu ruige seo.

An t-Amadan Mòr/The Great Fool will be released simultaneously on the Scottish Storytelling Forum’s Gaelic storytelling podcast, Sgeul is Seanchas, and on Gráinne Holland’s Irish Gaelic storytelling podcast, Tales of Tuath Dé Danann/ Scéalta Thuatha Dé Danann.  The track is accompanied by an English medium interview with the group by Fiona MacDougall of TRACS which provides an overview of the Songs and Stories of the Fianna project to date.

Ceanglaichean gu na pod-craolaidhean an seo/links to the podcasts here:

Sgeul is Seanchas – https://bit.ly/3ZJc8dN

Scéalta Tuath Dé Danann/Tales of Tuath Dé Danann – https://bit.ly/49ADsOU

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Le taic bho Bhòrd na Gàidhlig tron Sgeama Cholmcille aca a bhios a’ toirt taic do phròiseactan a tha togail ceanglaichean eadar luchd-labhairt na Gàidhlig is Gaeilge.

The project is supported by Bòrd na Gàidhlig through their Colmcille scheme, which fosters cultural links between Scotland and Ireland.

News

Scottish Music Playlist (41 & 42) – New Releases

The latest Scottish Music playlists by the Traditional Music Forum each feature 10 tracks of fantastic new releases.

Playlist 42 has new music from Tarran, Mairi McGillivray, Capstan Quartet, Falasgair, Jenn Butterworth, MAL, Afro Celt Sound System, Chloe Matharu, Ned Bigham | Mairi MacMillan | Edinburgh Quartet, and An Dannsa Dub.

Playlist 41 has new music from Iona Reid, Next To You, LÉDA, Ross Ainslie, Beth Malcolm, Malachy Tallack, Astro Bloc, Mairearad Green & Rachel Newton, Anna Cassidy, and Jennifer Wrigley.

News

TRACS to attend UNESCO’s 19th ICH Intergovernmental Committee meeting in Paraguay

TRACS (Traditional Arts and Culture Scotland) has been invited by the UK Government’s Department for Culture, Media and Sport (DCMS) to represent Scotland as part of the UK delegation at this year’s 19th UNESCO Intergovernmental Committee meeting on Intangible Cultural Heritage (ICH) in Paraguay (2nd-7th December 2024). 

The UK ratified the 2003 UNESCO Convention on ICH on 7th March 2024, and it officially came into force on 7th June 2024. In the same year, TRACS received official international accreditation as a Non-Governmental-Organisation (NGO) Advisor to UNESCO on ICH, recognising their work and expertise in the field. TRACS and Museums Galleries Scotland are the only two organisations with UNESCO ICH NGO accreditation in Scotland. Both organisations, along with the England-based NGO Heritage Crafts, are joining the UK delegation to represent NGOs and the important role they play in implementing the Convention and safeguarding ICH in local communities around the world. 

The 19th Intergovernmental Committee meeting is preceded by the annual ICH NGO Forum Symposium on 1 December 2024, which creates an opportunity to meet fellow accredited NGOs from across the globe. The ICH NGO Forum provides a space for sharing experiences on the participation of cultural and heritage communities, non-governmental groups and individuals in decisions and actions for safeguarding intangible heritage.

TRACS (Traditional Arts and Culture Scotland), Chief Executive, Steve Byrne says:

“We are delighted to accept the invitation to join the UK delegation in this first year of our  ratification of the Convention, which underpins TRACS’ work in helping to look after the local traditions that matter to communities across the country. We are looking forward to learning from likeminded organisations from all parts of the world on the approaches they have adopted, to help shape our own efforts in Scotland as we support our collective traditions into the future.” 

DCMS will be publishing the results of its initial public consultation in January 2025, as well as the next milestones in the UK implementation of the UNESCO Convention on ICH, with an inclusive, community-led, ‘bottom up’ approach. TRACS will be liaising with DCMS to support efforts in raising awareness amongst ICH communities, practitioners, fieldworkers and networks to safeguard our living traditions and local heritage.

Intangible Cultural Heritage is a tradition, practice, or living expression of a group or community. This can include oral traditions, performing arts, social practices, rituals, customs, festive events, and traditional crafts.  Examples of ICH in Scotland are wide reaching and include practices such as Shetland’s Up Helly Aa Festival or the Glasgow Mela, cultural traditions such as bothy ballads, bagpiping, and clootie wells, traditional games such as shinty, the making of food such as haggis, and traditional crafts such as thatching and Fair Isle knitting. 

TRACS has put together a Wee Guide on ICH, to start a public campaign in raising awareness around ICH and its importance. Last year marked the 20th anniversary of the 2003 UNESCO Convention on ICH and TRACS Chief Executive Steve Byrne, together with Traditional Music Forum Director David Francis, wrote and performed a special celebratory song, offering a flavour of what we mean by “Intangible Cultural Heritage”.

 

The ICH Scotland Partnership is a collaboration between Museums Galleries Scotland, Creative Scotland, Historic Environment Scotland, and TRACS (Traditional Arts and Culture Scotland). Since 2020, the partnership has produced a report mapping the current state of ICH in Scotland and has produced events helping communities to engage with and share their own ICH, while encouraging the ratification of the 2003 UNESCO Convention for the safeguarding of Intangible Cultural Heritage alongside the Scottish Government. In May 2023 and November 2024, the ICH Scotland Partnership hosted the first national ICH conference at Birnam Arts, featuring keynote speakers in the field, offering a day of discussion, sharing, and coming together. 

 

News

Getting To Know You – David Hughes

In our series of ‘Getting to Know’ storytellers who’ve more recently joined the directory I caught up with David Hughes.  Here he tells us about his journey into storytelling and how he’s worked on bringing together his love of language and science, music, performance, and poetics. It’s a great read!                  

And there’s an opportunity to catch Táin Bó Cúailnge in December: https://scottishstorytellingcentre.online.red61.co.uk/event/913:5781/913:25182/                 

Anne Hunter

 

I was working with a group of young people referred through CAMHS (Child and Adolescent Mental Health Services) in 2020. All the young folk were teenagers, referred to participate in an environmental education programme to support them with their mental health. Most of the young people had additional support needs like ADHD and autism. I had decided, prior to the session, that I would do some storytelling.

I had seen some storytelling before, I’d attended events at the Scottish International Storytelling Festival for a few years, attended a couple of workshops on rewilding stories and nature storytelling. I had subscribed to Martin Shaw’s online course and had read a few books on stories, but I did not realise truly that there was a whole world I was moving closer to.

I’ve always had a love of theatre, of performance and of language. I learned to play the piano when I was a teenager – my teacher was all about performing, learning the skills it took to play, to entertain, rather than just to recite classical pieces as they were written. He taught me how to riff on the piano, how to understand chord structures and piece something together with little practice. I still wouldn’t call myself a skilled musician by any stretch, but I can play, and playfulness is important. Musicality and playfulness are both skills I use in storytelling.

At school, when I was deciding on future career options, I remember being at something of a crossroads – I could follow my love for language and study French, or I could go down the route of science and study ecology. I picked ecology and was introduced to the scientific world – a world of logic and rationality. A world where you must say exactly what you mean, no fluffiness. One of my classes was in animal biology, we had a lab where we had to examine the jumping ability of grasshoppers. A grasshopper, like the one Mary Oliver watched eating sugar from her hand, with jaws that move back and forth instead of up and down. We had live grasshoppers in the lab, though we weren’t to celebrate their awe or philosophise about their beauty. They were there as our experimental objects. We measured their tibias then tickled their tush to make them leap, measuring the distance they could jump, collecting the measurements to process and write up in a scientific essay. I wrote my essay to capture the results and got absolutely raked over the coals for using ‘too much unnecessary descriptive language in describing the grasshopper.’

My writing style, my way of communication had to change. No poetic description, no emotion, no feeling, just hard facts. The grasshopper was not there for us to write poetry about, to question its existence beyond the lab. We had a subject-object relationship and that was all.

I’d decided on a story I would tell, practiced it, knew the beats and now had come the time to tell. The fire had been lit, marshmallows consumed, the tang of woodsmoke was in the air. However, the young people could not sit still. They were running around, arguing with each other, hitting trees with sticks – all the usual fun stuff sugared up teens like to do. I remember thinking ‘a story is absolutely not going to work here, no one is going to listen.’

Story can blast you out of logos and into mythos. It offers a wild response to questions. It goes where science dare not. I’d seen Dougie Mackay telling stories around a campfire as part of an Art of Mentoring gathering in Falkland in Fife in 2019. This was one of my first proper experiences of ‘hearthside’ oral storytelling. I lingered on the edge, watching him in wonder. He told the story of the Salmon of Wisdom. I swear this was the first time I heard this story, yet it felt so strangely familiar, like I’d heard it hundreds of times before. Maybe he was speaking to the ancient one that lives within each of us. I think good stories can do that.

My inner critic was strong. ‘Just let the young folk play, they’ll never listen to a story.’ I bit down on my tongue and took a breath. Ignore that voice, give it a go.

‘Right folks, gather in, I’ve got a story to tell you.’

Reluctantly, they came, shuffled towards the fire, grumbling about the smoke being in their eyes, about the audacity of having to sit on the cold ground.

I began the story. It wasn’t scripted, it was there, in my mind, playing out live as I saw it. I could see it in the minds of the young folk too. Their little mouths hung open, they asked questions, we added things together and as a group, around the fire, we made the story anew. It was pure magic.

This was the first time I ‘did’ storytelling. It unlocked something in me, I saw the effect that the simple act of telling a story can have on people. No technology, no props, just imagination. I wanted to know more, I needed to do more. I searched for other storytellers. I got involved with Daniel Allison’s yearlong Myth Singers course and joined the Storytelling Apprenticeship programme, and suddenly I found myself rubbing shoulders with people I really admire. Those people with that dark, mischievous twinkle in their eyes: creatives, artists, musicians, storytellers.

I am still early in my storytelling career, but I made a pact with myself that continues to stand me in good stead – I always say yes at an opportunity to tell a story. I said yes to performing at Stories on the Way, and it was through the apprenticeship programme I met Ailsa Dixon and Mark Borthwick. Mark suggested we put forward a proposal for SISF in 2022. I said yes, and from that we created a couple of beautiful shows together, including Speak Out the Other and Land Under Wave. Recently, Mark and I worked on an hour-long retelling of the Irish epic, the Táin Bó Cúailnge, which we sold out at the Fringe this year. I’ve also experimented with some personal storytelling with a solo piece I performed at Festival at the Edge this year and done a fair bit of festival touring. I’ve shared stories beneath a magical storytelling tree at Wildhood festival, (questionably) played the bodhran on the main stage at Hartlepool folk festival. This summer I stood beneath an old herring drifter and shared her story accompanied by an orchestra as part of the East Neuk Festival, in a piece devised by the incredible Esther Swift.

After leaving university in 2014, I decided that what I loved most about ecology was engaging people out in nature. I started volunteering for charities in Edinburgh, building up experience in that field. I had various jobs on the side, including working in science communication. Through science communication, I realised that science engagement does not need to be dull –there is a place for performance, passion, and emotion in science. It is at the confluence of mythos and logos that interesting stuff happens. Storytelling exists in that space between, where both rivers meet. It bridges the worlds between the imagination and with reality. My love for language and ecology need not be held separately – they work well together well. They need each other.

I’ve been so fortunate to work with and meet storytellers over these past few years, I’m constantly learning and pushing myself. It is a joy to have found the storytelling community, and to be mentored by those who understand the craft and care deeply about it. I am currently studying a masters in Outdoor and Environmental Education and have been looking at storytelling as a crucial part of education, of challenging capitalist and colonial worldviews, of finding ways to be in right relationship with nature, and each other.

When we tell a story, every person that told that story stands behind us in that moment. I love that image. My own story is co-written by all the mentors, the storytellers, the young people and the grasshoppers I’ve had the good fortune to cross paths with. They are absolutely with me when I tell a story. I’m so grateful for that.

David Hughes

News

Edinburgh Celebrates Scotland’s Rich Theatre History

A weekend of free talks and performances exploring Edinburgh’s rich theatre history, takes place at the end of November (30 Nov & 1 Dec) at the Scottish Storytelling Centre, as part of Edinburgh’s 900 celebrations.

Highlights include A Noble Clown – a new solo play, written and performed by Edinburgh born actor Michael Daviot, that tells the story of Duncan Macrae (1905-1967) who has long been considered one of Scotland’s greatest actors (Whisky Galore, Para Handy, Dr Finlay’s Casebook). Featuring excerpts from Macrae’s finest roles in plays such as Jamie the Saxt, Gog and Magog, and The Warld’s Wonder, as well as his signature song, The Wee Cock Sparra sung in Glaswegian Scots, A Noble Clown is a celebration of the renaissance of Scottish Theatre in the mid-20th Century. 

A Noble Clown, which will be performed twice, on Sat 30 Nov at 7pm and on Sun 1 Dec at 3.30pm, will be accompanied by a pre-curtain talk with Priscilla Barlow author of Duncan Macrae’s biography – Wise Enough to Play the Fool, speaking about Scotland’s theatre scene during Macrae’s lifetime.

Performer and playwright Michael Daviot said:

“For 20 years as an amateur and 23 as a professional, Duncan Macrae dominated the Scottish stage. He co-founded Scottish Equity and loudly promoted Scottish Independence. Remembered mainly for his Hogmanay rendition of The Wee Cock Sparra and as the Pipe Major in Tunes of Glory, his greatest work was done on stage in roles such as Jamie the Saxt, Harry Magog and Michael Scott in plays by Robert McLellan, James Bridie and Alexander Reid. But he was also acclaimed in Macbeth, An Inspector Calls, Ionesco’s Rhinoceros (with Laurence Olivier) and the original production of Joe Orton’s Loot. He and the works he found fame in deserve to be rediscovered.”

Donald Smith, Director, Scottish International Storytelling Festival said:

“A golden age of Scottish theatre talent fed into the Edinburgh International Festival and the Fringe, making it a special century in Edinburgh’s 900 official years.  Don’t miss out on a weekend of  drama backstage and out front.”

Other speakers in the talks programme include: Helen Graham author of debut novel The Real Mackay: Walter Scott’s Favourite Comedian based on the life of her ancestor Charles Mackay, one of the finest Scottish comedians of the 19th century who performed regularly at the Theatre Royal, and was one of Walter Scott’s favourite comedians; journalist and author of The Edinburgh Festival: A Biography David Pollock; author of Edinburgh: Our Storied Town Donald Smith speaking about the Pleasance and Gateway Theatres; and Development Director Charlotte di Corpo on the restoration of the Kings Theatre.

Scottish Theatre History Weekend Programme
30 Nov – 1 Dec

All events take place at the Scottish Storytelling Centre, 43-45 High St, Edinburgh EH1 1SR All Talks are free but ticketed. A Noble Clown tickets are £12.

Sat 30 Nov

2pm: Walter Scott’s National Dramas, Charles Mackay and the Theatre Royal (with Helen Graham, author of The Real Mackay: Walter Scott’s Favourite Comedian)

3:20pm: Restoring the King’s Theatre (with Charlotte di Corpo, Capital Theatres Trust)

4pm: Edinburgh’s Theatres and the Edinburgh Festivals (with David Pollock, author of The Edinburgh Festival: A Biography and Donald Smith, author of Edinburgh: Our Storied Town

7pm: A Noble Clown, a new play about Duncan Macrae (devised and performed by Michael Daviot)

Sun 1 Dec

1:30pm: Duncan Macrae: Writing his Life (with Priscilla Barlow author of Wise Enough to Play the Fool: A Biography of Duncan Macrae, and Iain Wigglesworth)

3.30pm: A Noble Clown, a new play about Duncan Macrae (devised and performed by Michael Daviot) £12

Book Tickets

News

ReFashion Edinburgh 2024 fundraises for the 10th anniversary of the Traditional Dance Forum of Scotland

What is the most stylish and sustainable way to celebrate our 10th anniversary? We started with Ten out of Ten – a series of events with traditional dance roots across Edinburgh in autumn 2024 highlighting the diversity and breadth of activities by our 200+ members. Then we were invited to be the national charity of choice for this year’s ReFashion Edinburgh – a sustainable slow fashion event curated by our Pomegranates 2024 festival fashion designer-in-residence Alison Harm of Psychomoda. This now traditional annual event returned for a third time to the Leith Arches on 17 November 2024 and together with 200 guests we were wowed by the sustainable fashion creativity of the nine Edinburgh designers, supported by 18 models, including a dancer, a collective of makeup and hair professionals, as well as an excellent light, sound, video, photo and welcome team – all working for free to bring us this event. We were overjoyed to hear that this spectacular ReFashion Edinburgh night raised £2,000 from ticket sales towards our charity. We couldn’t be more grateful for this generous and glamorous birthday gift marking our 10th anniversary. Thank you, ReFashion Edinburgh! This donation will enable us to continue embedding diversity and sustainability in traditional dance across Scotland.

How did it all come about? It was in April 2024 when we curated Vengefully Changed Allegiance – Alison Harm‘s first solo exhibition in a public institution exploring sustainable fashion and the role of tartan in traditional dance as part of our third annual Pomegranates Festival – Scotland’s third International Trad Dance Festival. Her work was on display at the Scottish Storytelling Centre in Edinburgh and Edinburgh Central Library and thousands of our festival visitors were stunned by her designs. For the last 30 years, Psychomoda has been challenging the living tradition of the tartan cloth still used in the Highland Dress dance costume and the kilt with all its accessories by mixing different tartan patterns together and upcycling industry scraps, vintage cloth and broken jewellery. In Alison Harm’s own words:

“When a kilt has been made, there is usually a long thin strip of fabric left over, pretty useless for making clothing and usually consigned to an enormous stash of remnants in storage in the kiltmaker studio. Some of it is used for small craft projects, but there aren’t enough of those to use this massive resource. I design these garments specifically made from scraps of that shape in order to use them up. Each of my ‘frankenkilts’ uses the remnants from up to about 15 kilts.”

 Alison Harm

 

In 2022 Alison’s passion for upcycling led her to founding the ReFashion Edinburgh fashion show – an antidote to fast fashion shining a spotlight on local designers who strive for sustainability and ethical creativity. A collective of nine designers showcased their latest collections at the event this year, supported by 18 local models and as many members of the back stage team, all united by Alison’s passion and the message: sustainable fashion doesn’t need to cost the Earth. Alison’s words with which she addressed  the audience will continue to resonate with us all: 

“It’s well known by now that fast fashion is the second worst polluter of the planet and since its rise in the1980s we’ve seen a terrifying dystopian future emerge, one with mountains of nasty cheap discarded clothing which will never degrade, covering beaches and lakes, depletion of natural resources and indigenous cultures, as globalism takes over. Human trafficking,  child labour and slavery go hand in hand. These are the problems.

At ReFashion Edinburgh we are joining our voices to the growing counter culture of a slower, more thoughtful way of expressing ourselves through the media of clothing. By taking part, designers are encouraged to find sustainable solutions. And the audience is given food for thought, how to have fun with your wardrobe but keeping it sustainable. The fashion industry is elitist and has a structural hierarchy almost impossible to penetrate. When they get their favourites, they stick with them, leaving it very difficult for micro businesses to succeed. Events are usually run on a profit-making basis and you might be surprised to learn that they can cost hundreds and even thousands of pounds for designers to participate. They also usually have a competitive theme, an award for example. Often they are only open to graduates or international companies. Recently, I was dismayed to learn that the Scottish Fashion Awards held no category that I could even enter.

ReFashion Edinburgh seeks to offer an alternative. We are a supportive environment, celebrating each other’s achievements. We are inclusive. The ranges in age from 18 to (cough) mid 60s. Seriously, I’m up near the top end. Never been known for keeping my mouth shut in the face of unfairness, I decided to take matters into my own hands and this is the result. Our receiving charity is the Traditional Dance Forum of Scotland, who do a lot of great work supporting dance projects locally nationally and internationally. Our intention is to support local businesses, nurture sustainable creativity and raise money for charity.”

Alison Harm 

At this year’s ReFashion Edinburgh award-winning slow fashion designer Jen Byrne presented the collection Junk Nouveau: waste textiles meet vintage fabrics, reborn as artful garments. Jen breathes new life into forgotten fabrics and her one of a kind garments are crafted in house with an attention to detail that redefines luxury. With a commitment to sustainability and creativity, Jen’s pieces embody the essence of mindful fashion and showcase the beauty of reuse.

Alison Curr is a Scottish design treasure. As a knitwear and crochet designer specialising in accessories for the home and person, her work is about style rather than dictated by fashion and her new collection included knitwear and a wide range of hats, mittens and other cosy stylish items in a wide range of colours. At ReFashion Edinburgh she presented two collections Lust for life: inspired by the music of the 1970s, crafted from repurposed materials and garments, as well as Moonlight and Roses: each garment celebrating the beautiful rose.

Séverine Fouché’s designs are steeped with refences to La Belle Epoque and known under her label Needlebow. A French designer, dressmaker and hand-embroiderer based in Edinburgh, Severine presented her latest collection Modern Love: romantic exploration of style using couture techniques combining different textures and decorations such as see-through fabrics with cut-out fabrics using up-cycled garments and second-hand materials. 

Gerry Gapinski is known for painting large-scale interior canvases and murals. For the last three years, he has been applying the techniques he uses for his artwork, onto upcycled and vintage clothing, creating one-off, mixed-media wearable street art. Each piece in his ReFashion Edinburgh collection Street Talking Graffiti: recycling of Beatnik, Hippie, Hip hop and Punk offered a fusion of street art, popular culture, and musical influences that spans from the rebellious spirit of punk rock to the vibrant colours and patterns of the psychedelic 1960s.

Alison Harm, the founder of ReFashion Edinburgh, presented a fresh new take on her Pomegranates Festival solo exhibition Vengefully Changed Allegiance: post-punk and historical mash-up made from kilt industry scraps and found fabrics. Alison has over 45 years of experience in creating clothing for all occasions, including sustainable garments made from remnants and antique cloth, vintage and recycled jewellery, as well as knitwear. Her collections of history-inspired garments use both pre and post-consumer fashion waste.

Claire Pattison of Clara Textiles brought her new collection Typical Girls to ReFashion Edinburgh. It was inspired by the inventive, riotous passion and fury of women’s art and activism in the 1970/80s and the relevance that these artistic acts of activism still have on women’s place in society today. Claire makes bold, textured and playful designs, reusing and repurposing pre-used fabrics and found objects.

Carina Rose made her debut at ReFashion Edinburgh this year and presented her new collection Echoes of the Rebellion drawing deeply from the Jacobite Rebellion with a focus on the symbolic Jacobite rose which is intricately woven throughout. Each piece embodied both heritage and innovation, tying it to the narrative of courage, loyalty and sacrifice. The colour palette featured rich reds, deep greens and blues, touches of white and silver, with signature ruffle details crafted from offcuts and deadstock fabrics. 

Fawns Reid of Fabhatrix label presented her collection Fantastical Felt Hat Whimsy: uniquely devised shapes and techniques made from traditional blocked hat waste. Using off-cut waste her works featured fantastical whimsical shapes and the ever-popular tweeds.

Rita Szentivanszki’s collection The Little Blue Dress focused on basic silhouettes you can combine with your existing wardrobe. As a recent Textiles and Costume Design graduate, Rita has learned a lot about good design and focuses on the colour blue. Her key material is reclaimed jeans chosen for their durability and timeless appeal. The size limitation of this pre-loved material forces Rita to think creatively and she seeks to design a patchworked capsule collection you can enjoy wearing every day. 

 

The third ReFashion Edinburgh finale was a real blast with an art collection and a timely message encouraging us all to buy less and upcycle more this Christmas. The designers were given the option of making an art piece that expressed the theme of sustainability by using only waste products. It’s not fashion and doesn’t have to be something you could wear, but it does have to be actually wearable. The results were varied. Some are truly amazing and others, like Alison’s own complete with a placard, were just a bit of fun. Although the theme was serious, the costumes were not. What an absolute honour to celebrate our 10th anniversary alongside such incredibly talented designers, both new and established, amongst audiences who not only loved the designs but will stop and think next time they buy a new outfit and look for a sustainable alternative. 

Our way of saying thank you to Alison Harm and all who made ReFashion Edinburgh 2024 such a runaway success and trusting us, the Traditional Dance Forum of Scotland as this year’s chosen charity, is to invite the ReFashion Edinburgh team as special guests to our new series of Ceilidh Plus events open to all at Edinburgh’s King’s Hall which blend Scottish Ceilidh with dances and tunes from Greece and Italy (7 December 2024) or from Ireland and Bulgaria (22 March 2025) and more to be announced soon.

Further details about our Ceilidh Plus series here. 

 

Words by Iliyana Nedkova. Images courtesy of George Boyd, John Adams and John McAdam of 244 Studio and ReFashion Edinburgh 2024 team.

News

Traditional Music Forum Director

TRACS (Traditional Arts and Culture Scotland) is seeking to appoint a new Director to take forward and lead on the work of the Traditional Music Forum (TMF), one of its key member organisations.

The TMF Director will represent the TMF membership publicly and advocate on behalf of the traditional music sector in Scotland.  Supported by the TMF Development Officer, the Director is responsible for creating and putting into practice the TMF’s strategic vision and development plan, in consultation with the TMF board and wider membership. Collaborating with the TRACS team and the other artform forums for dance and storytelling, the Director will support the delivery of the overall TRACS Business Plan for 2025-28.

More information about the TMF can be found at traditionalmusicforum.org

Hours: 0.4 FTE, delivered flexibly

Contract: Permanent, PAYE

Salary: £15,000 per annum (£37,500 pro rata)

Location: TRACS office at the Scottish Storytelling Centre, Edinburgh. Hybrid/remote working by negotiation.

Application Deadline: 17.00 on Friday 6th December 2024

Interviews: Week beginning Monday 16th December 2024

Could this be me?

Our ideal candidate will be someone with a strong background in traditional music in Scotland, with demonstrable experience in advocacy, leadership and strategy.

You will have experience of project and budget management, knowledge of traditional music education, in formal and/or non-formal sectors, and an appreciation of the importance of Gaelic and Scots languages in the cultural sector.

A good communicator, you will be able to work across a team, sharing knowledge and working collaboratively to plan and deliver work in a timely manner.  You will have a clear understanding of the political landscape in Scotland as it applies to traditional music, while supporting the sector to foster inclusion, diversity, fair work and equal opportunities.

How to apply

  1. Download the full job description here
  2. Send your CV with a covering letter to [email protected]

If you require an application form in another format, please email [email protected]

All applicants must be eligible to work in the UK.

TRACS commits itself to meeting the aims and commitments set out in its Equality, Diversity and Inclusion Policy.  This includes not discriminating under the Equality Act 2010 and building an accurate picture of the make-up of the workforce in encouraging equality and diversity.

TRACS is an accredited Living Wage Employer, committed to paying a wage based on the cost of living to our staff.

The application deadline is: 17:00, Friday 6th December 2024

News

Ticket Sales Up For This Year’s Scottish International Storytelling Festival

Multiple sell-outs and packed performances were enjoyed by audiences and participants at the 35th Scottish International Storytelling Festival (18-31 Oct), thanks to support from Creative Scotland and the Scottish Government’s Festivals EXPO Fund.

The festival’s programme of live storytelling, music, art, and song, held at the Scottish Storytelling Centre in Edinburgh enjoyed a 9% increase in ticket sales as audiences gathered online and in pubs, gardens and other venues across the city, to hear local and  international voices.

This year there were over 130 events including more than 50 in the festival’s  Go Local programme, which runs until the end of November and takes place in village halls, churches, castles, and venues across Scotland. Many of the festival’s Go Local events coincide with the dates of other storytelling festivals in Orkney, Aberdeen, Dumfries and Alloa and included guest appearances by international storytellers from India, and from Ireland who were able to take part thanks to the support of Culture Ireland.

There were also multiple events included as part of the Edinburgh 900 celebrations which continue throughout November and will culminate with a weekend of talks exploring Edinburgh’s rich theatre history on (Sat 30 Nov and Sun 1 Dec) and a performance by Michael Daviot as Duncan Macrae in A Noble Clown. This new solo play tells the gripping public and private story of the man considered to be Scotland’s greatest actor and celebrates the renaissance of Scottish Theatre in the mid-20th century.

The festival’s 35th year also coincided with 35 years since the fall of the Berlin Wall and another of this year’s real highlights was guests from the Storytelling Berlin sharing stories and films from their divided and reunified city ahead of their own celebrations, thanks to support from the Goethe-Institut.

Donald Smith, Director, Scottish International Storytelling Festival said:

“The  response to this year’s  theme was exceptional. Between languages, cultures, generations and historical divides, the storytellers built bridges of imagination  and invited us to walk over. It felt as if in its 900th official year Edinburgh had become a city bridging Scotland and the world, stories and dreams.”

Dates for 2025 are to be announced.

Another Story, the festival’s new podcast series hosted by Daniel Abercrombie, Associate Director, Scottish International Storytelling Festival, is still available online – https://podcasters.spotify.com/pod/show/another-story

News

Ceilidh Plus: Dancing to Tunes from Scotland, China and the USA

Reflections by Xiaoxuan Zhong

Participating in the first-ever Ceilidh Plus was a vibrant and enriching experience that included traditional Scottish Ceilidh dancing, Chinese square dancing and American line dancing.

From the moment I stepped onto the dance floor, I felt an energetic and enthusiastic atmosphere. The lively Ceilidh music set the tone for the event, creating a dynamic environment where participants of all dance levels could easily connect with one another. The Chinese square dance aka Guangchang Wu segment was also very invigorating with an emphasis on the collective and team movement. The traditional square dance steps were enjoyable and highlighted the importance of synchronization and cooperation. Witnessing people from different countries participate, I felt a deep sense of unity that transcended language and cultural boundaries. The American line dance portion was another highlight. The movements provided a different rhythm and flow, and the repetition of the steps helped participants build confidence. I noticed that by the end, many people were left wanting more.

One of the most meaningful aspects of the Ceilidh Plus activity was its promotion of cultural exchange. Through these dances, participants gained greater insight into the cultures of three countries across three continents, enriching our understanding and appreciation of each dance form. Additionally, the event featured numerous interactive segments that not only facilitated cultural exchange and friendship among different nations but also promoted dialogue and social interaction among participants. I found myself chatting with others about their backgrounds and dance experiences, deepening our connections beyond the activity, itself. It was heart-warming to see how dance, as a universal language, can bridge cultural divides and foster friendships.

In conclusion, with a room for improvement, the first-ever Ceilidh Plus event was a resounding success, creating an unforgettable experience for participants and in serving as an excellent opportunity for engagement and cultural exploration.

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Reflections by Zhounan He

At the Ceilidh Plus dance event on 2 November 2024 at Edinburgh’s King’s Hall, I had the chance to experience three distinct types of dance: Ceilidh, Chinese square dancing and American line dancing. Each dance brought a unique cultural flavour and a sense of community, making the whole experience very enjoyable.

First we all danced Ceilidh, which created a warm and lively atmosphere. The upbeat music and the interactive nature of the dance brought smiles to everyone’s faces. Even those who were new to Ceilidh could join in without much difficulty, as we all held hands, spun around, and moved together to the rhythm. The group dynamics made this dance particularly joyful and engaging.

Next we tried Chinese square dancing, which featured beautiful fans as props, adding an elegant touch to the performance. The fans contributed a lot to the dance’s aesthetic, showcasing the graceful yet energetic side of Chinese traditional culture. This dance was also an excellent way to promote Chinese culture, attracting a lot of interest from the audience. However, the dance moves were a bit challenging, especially for beginners. Those standing at the back struggled to see the demonstration in the front, which made learning more difficult. Some of the people around me even mentioned that they couldn’t keep up with the steps and eventually stopped dancing.

Finally, there was American line dancing, which was fun and easy to learn. The dance had simple, repetitive steps, allowing everyone to quickly catch on and enjoy the music. The lively and relaxed atmosphere made it accessible to people of all ages and dance experience levels, bringing everyone together in a casual, friendly way.

Overall, the Ceilidh Plus event allowed me to experience different cultural dance forms, each with its own beauty and cultural background. Each dance left a memorable impression and made for an enjoyable and enriching experience.

 

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These reflections were written by Xiaoxuan Zhong and Zhounan He and edited by Traditional Dance Forum of Scotland Curator Iliyana Nedkova.

Xiaoxuan Zhong and Zhounan He are the two dance artists-in-residence on a curatorial placement at the Traditional Dance Forum of Scotland from October to December 2024 as part of their MSc studies in Dance Science and Education at Moray House School of Education and Sport, University of Edinburgh. Their residency is part of our ongoing agreement with this major academic partner which dates back to 2018. More about our partnership growing from strength to strength here. 

This first-ever Ceilidh Plus was held on 2 November 2024 at Edinburgh’s King’s Hall. It spotlighted dances from China and the USA alongside the typical Scottish Ceilidh. One of the highlights in our Ten out of Ten series of events with which we mark our 10th birthday in 2024! More details about our Ten out of Ten events here: https://www.tdfs.org/ten-out-of-ten/
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This Ceilidh Plus was co-curated and hosted by our dance musician-in-residence Chris Lyons (multi-instrumentalist). This night of multi-cultural dancing was set to live trad music by Chris Lyons, Morag Brown (fiddle) and Lewis Powell-Reid (guitar), Eddie McGuire (Chinese bamboo flute), Chenhao Wang (two-stringed Chinese fiddle) and Tai Shing Lin (Chinese dulcimer percussion). The dances were called by Marina Sharp, Angel Godwin and Yanmei Bowie, supported by Yuxi Jiang and Tony Chen. The Ceilidh Plus-themed pop-up drinks and food bar was provided by the local award-winning establishment Taste of Home. Ceilidh Plus images by Basya Volodarskaya. Portraits courtesy of Iliyana Nedkova, Xiaoxuan Zhong and Zhounan He. 
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We are grateful for the support from Creative Scotland through TASGADH (Traditional Arts Small Grants) towards this first Ceilidh Plus. All the proceeds from this community Ceilidh Plus are reinvested in our efforts to diversify the traditional dance practised across Scotland and co-curate more events, including our
next Ceilidh Plus blending Scottish, Greek and Italian dances and tunes on
Saturday, 7 December 2024 at the same King’s Hall in Edinburgh.
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Book now as we expect a full house. JUST Scan the QR code below or folloW this link:  https://www.ticketsource.co.uk/traddanceforumscotland

 

 

 

 

 

News

Board Treasurer – TRACS (Traditional Arts and Culture Scotland)

TRACS (Traditional Arts & Culture Scotland) is looking for an experienced Treasurer to join its Board of Trustees.

TRACS is a co-operative network which champions our shared traditions of music, song, storytelling, dance, crafts, customs and local languages.  Find out more from our website www.tracscotland.org.

The Treasurer is responsible for having a clear and detailed understanding of TRACS’ finances and financial policies.

In conjunction with the Finance and Risk Committee, the Treasurer will provide governance-level direction, advice and support on fiscal matters.

In Brief

  • Role Title: Board Treasurer
  • Member of/elected by: Board of Trustees
  • Reports to: Board of Trustees
  • Main staff contacts: TRACS Chief Executive Officer and Finance & Administration Officer
  • Term of Office: Three years (with re-election up to 2 further times)
  • Position: Voluntary (unpaid); reasonable expenses

 

Could this be me?

Alongside a strong understanding of financial reporting, forecasting, management, policies and procedures, our ideal Treasurer would also have a keen interest in the Traditional Arts.

How much of my time would it take up?

The TRACS board meets 4 times a year for up to 2 hours at a time.  Meetings are held in person or online. In the event of an in person meeting, we will reimburse travel expenses and meet any access needs.

The Treasurer plays a crucial role on the Finance and Risk board committee, which meets an additional 4 times a year, around 1 week in advance of board meetings.

Additional time is also required for reviewing papers ahead of meetings (sent at least 1 week in advance) and liaison with relevant staff – in particular regular check-ins with the CEO and Finance & Administration Officer; for our annual Development Day; and for the occasional board training session.

How to apply

If you’re interested in joining the board of TRACS at a crucial and exciting time in its development, please send an email to [email protected] outlining your interest and providing details of the relevant skills, experience and/or qualifications you would bring.

A full role profile can be downloaded here.

If you would like any further information or to have an informal conversation with Board Chair Andrew Bachell before applying, please email him to arrange a suitable time.

TRACS has a strong commitment to Equality, Diversity and Inclusion and Fair Work.  We encourage applications from candidates regardless of sex, race, disability, age, sexual orientation, gender reassignment, religion or belief, marital status, pregnancy, or maternity.

We also welcome applications from young people or those interested in applying for their first position as a Board Member.

Deadline for expressions of interest: 17:00, Monday 2nd December 2024