Summerlee Suffragette Stories 

 

CELEBRATING a century since the first UK women gained the vote, Summerlee Museum is hosting Hard Fought Victory – a play on the suffrage movement – with school matinees from 5-8 March and a public performance on 9 March from 12pm.

Performances are free, thanks to grant funding from the Scottish Government’s Centenary Fund, as the play tells the story of the campaign for women’s suffrage in Scotland.

Writer and Director, Sarah Jane Quinn said: “Everybody knows about Emmeline Pankhurst, but there are a lot of Scottish women who got involved that people know less about.”

“The Scottish suffrage movement was partly distinguished for its work in the Scottish Women’s hospitals – which were created during the war, by Elsie Maud Inglis, showing how women could work together to achieve social change.”

The play uses real life events told through fictionalised characters; two of whom – Doctor Green and Mary Richardson- are played by actor Betty Valencia.

She said: “Doctor Green is taking part in the Suffrage movement, but from a place of privilege; she is part of the National Union of Women’s Suffrage Society. Her way of petitioning is writing letters and she has a certain level of contempt for the women who have been using violent forms.”

Her second character, Mary Richardson, does not share these views.

She explained: “Mary is an English suffragette in prison, and she has been talking about how the women have been force-fed, when they were on hunger strike; this is one of the darker parts of the performance, because you hear her explain how she would rather die than let her protest go unheard.”

Bringing light relief to the drama is the character Nosey Jane, played by Jamie Lee Aitken.

She said: “Nosey Jane is quite gossipy, she has her fingers in all the pies and knows everything about what is happening in Coatbridge in this moment in time.”

Also capturing the suffrage movement zeitgeist is Jamie Lee Aitken’s character Violette.

Jamie Lee Aitken explained: “Violette is trying to juggle being a housewife and being a working woman, she is finding it quite exciting, but also it unfair that they are not getting paid as much, or getting the recognition that they deserve, so that is why she gets involved in the suffragette movement.

Getting everyone involved in the drama was key to Sarah Jane Quinn’s plans, as she wrote the interactive play.

She said: “Weather permitting the play will start with the audience on the tram, stopping off at a certain area where we will perform the first scene, and from then on in its going to be a walking tour up until the last scene when it will be back on the tram to the museum entrance.”

“At one point the tour will split in two, at the cottages, and one group will go one way and another will go the other, as two actors will be in separate cottages, doing different scenes at one time; then the groups will switch.” 

Hard Fought Victory is presented en promenade, using the displays, buildings and trams of Summerlee as a backdrop to the performance.

Jamie Lee Aitken said:  “You get the excitement of coming in and seeing the actors in the space that they would have naturally lived in, like Summerlee’s period cottages. Kids and the public will get to come in and interact.”

Betty Valencia added: “The play is very unique, I don’t know where you can find something as immersive as this, and it’s a mix of history, facts, and dramatic performance on a live set.”

“Here you have the experience in the period clothes, working with period props, so it is very exciting!”

For more information on Hard Fought Victory visit the CultureNL website.

Memory Spinners: Dementia Arts Workshops

Memory Spinners Airdrie Town Hall

Light relief for those living with dementia is on offer at Airdrie Town Hall, with the Scottish Opera and CultureNL Memory Spinners art workshops, running Mondays from 29 January – 23 March (1-3pm).

Using music, movement and visual arts, the free of charge programme helps both people with dementia and their carers relax and form support networks.

Park Springs Care Home employee Rose Brennan said: “Our group – Ronnie, Betty, Margaret and myself – has been attending since the first session and I can’t tell you how much we have enjoyed it.

“When the group have been going back to the home they have been telling everyone about it, they get so excited; all their families and friends have heard about it and they all think that it is a wonderful idea.”

The Park Spring group are just three of around twenty six participants coming to the workshops on a regular basis.

CultureNL Arts Development Officer, Deborah McArthur, said: “It’s been really nice to see how large a group we have ended up having, and that shows the need and the want for something like this in North Lanarkshire; we have such a lovely bunch of people involved.”

Each session starts with a half hour lunch, where the group can get to know each other before the activities begin.

McArthur explained: “Having lunch at the beginning means that the group can bring the social aspect back into eating. I am a great believer in food bringing people together and I think that the time at the start, where we all chat, is really important.”

After lunch the group moves on to a warm up, which leads on to singing and acting activities.

McArthur said: “The exercises that we do allow everybody to take part at the same time; when you come to a session you get to see how much everybody laughs and enjoys it.”

Echoing this sentiment was visual artist Joe Gair.

He said: “When I was thinking of how to approach the project I wanted to bring a range of activities; some people enjoy colouring in and painting simple things, other people like to get a bit more creative, so I wanted to provide a bit of variety.”

He added: “The visual art aspect of the project is good, as people know what they are working toward, for example last week we did masks for the final show, and the group took a lot of care and time over them because they knew that they would be wearing them.”

All of the group’s crafted props and drama activities will be brought together at the end of the programme, in a show for their friends and family.

McArthur explained: “The Memory Spinners activities have no wrong answer, people can do whatever they want with the materials that we have. Then we make this fit into the end performance, and this creates a comfortable environment to work in.”

Beechwood Care Home worker, Emma Weir said: “The workshops are something new and something challenging, but they are very enjoyable.”

She added: “I came to bring Tommy and Jeanette, but I have been surprised how much I have enjoyed it myself. You get to meet new people; it welcomes anyone and everyone affected by dementia.”

Reflecting on the workshops, McArthur explained that no previous arts or performance experience is required.

She said: “I think sometimes people might be deterred by the idea of opera, or they might think that if a workshop is singing and dancing then it is not for them, but actually I would describe it as a group of people that are coming together to try different things and have fun.”

Scottish Storytelling Centre

Want entertainment in its purest form? Look no further than the Scottish Storytelling Centre (SSC) a creative hub off of Edinburgh’s Royal Mile. This bespoke building focuses mostly on spoken word performance, stripped of microphones and scripts. Bustling year-round, SSC is particularly busy in festival season.

Marketing and Communications Manager, Lindsay Corr said: “Each summer we become a venue for the Edinburgh Festival Fringe and our tagline this year is ‘local talent, international context’. All our shows and performers are based in Scotland, many in Edinburgh, but all deal with international themes.”

These themes include migration, fake news and LGBT rights. SSC has broken ground by breaking down many of these issues for its younger audiences.

Corr explained: “One of our Fringe shows was At A Stretch – a phenomenal mime and movement piece – about two girls who fall in love and don’t really know what is happening. This show is targeted at ages six plus. At A Stretch is a kids friendly LGBT+ show; we think it’s important to cover diverse stories in a way that is accessible to children.”

Making narratives accessible to everyone is something that SSC is passionate about, as Corr said: “People can dip their toe into storytelling at our Café Voices events, which are running during the Fringe. These events are hosted by a storyteller, but are also open floor – meaning the audience doesn’t have to get up and narrate, but they are welcome to.”

This spirit of inclusion runs throughout SSC’s 17 Fringe shows, including Is this a Dagger – Andy Cannon’s historical analysis of Macbeth, (More) Moira Monologues – with Alan Bissett discussing Brexit and Indie Ref 2 from Scotland’s working class woman perspective – and The Loud Poets, who perform poetry for the masses, accompanied by a live band.

“The Loud Poets believe storytelling is for everyone and is something everyone can do – you don’t have to have gone to Oxford University to practice it and it doesn’t have to be pompous,” Corr said.

True to this sentiment, SSC has worked throughout its history with outreach programmes, bringing storytelling to disadvantaged groups.

Corr recalled: “Over the years the Scottish Storytelling Centre has had lots of outreach projects on the go; including Living Voices, which helped older and younger people find common ground amid the digital divide. The project taught older people digital skills and younger people the art of storytelling, to bring their two words together.”

Another project SSC undertook, in partnership with BSL:UPTAKE at Heriot-Watt University was Stories in the Air. In this project SSC worked with BSL interpreters, to boost their narrative skills and make storytelling more inclusive for deaf audiences.

Corr added: “We are also now running a sensory storytelling project for children with additional needs; The Story Kist creates a relaxed space with props that children can touch and smell while experiencing a story, which is run by two highly trained and interactive storytellers.”

A relaxed environment is key to any storytelling and it was this realisation that led to the founding of the SSC building.

Corr said: “The Scottish Storytelling Centre started life as part of an arts centre. Within this centre there was a group of storytellers that had been performing all over the country, but they wanted to have a stand-alone national hub that promoted storytelling, instead of it being an add-on in venues such as theatres.”

So after sourcing £3.5m, recruiting Malcolm Fraser Architects, and undergoing a five- year development, the SSC opened its doors on 6 June 2006.

The SSC building is gorgeous,” Corr enthused.

“It’s the first purpose-built architectural frame for a centre of storytelling, which has been important in providing good acoustics that cater to different storytelling styles and flexible spaces for events,” she added.

To truly appreciate the Centre, Corr encouraged people to drop in.

She said: “The best way to understand what we do is to attend one of our events. Storytelling is entertainment in its purest form, without the barriers of technology, and we want to help people enjoy it.”

Edinburgh Fringe for All

 

Edinburgh Fringe Accessibility 

Part of the Edinburgh Festival Fringe  thrill is navigating its many shows and people to find hidden gems. However, if you are a visitor with additional needs this can be daunting. Imagine tackling Fleshmarket Close with a cane or deciphering a Princes Street poet via hearing aid.

Fringe Community Engagement and Access Manager Lyndsey McLean said: “The city of Edinburgh is one of the Fringe’s biggest assets, but it also presents one of its biggest challenges; its medieval and Georgian architecture creates an immediate physical barrier, which in many cases cannot be altered. Venues for the Festival Fringe often appear non-traditional theatre spaces, so we work to help venues, performers and audiences improve accessibility.”

Improving venue accessibility can mean anything from installing a wheelchair ramp, to offering autism friendly shows. With such a variety of considerations, Edinburgh Fringe has once again collaborated with specialists at Attitude is Everything to optimise its efforts.

McLean said: “This year we are piloting a Venue Access Award, developed in partnership with Attitude is Everything. This provides venue managers with minimum standard of accessibility guidelines and offers different levels of achievement. This year audiences should start to see venues displaying Venue Access Award certificates.”

The certificates are a natural progression of the projects that Edinburgh Fringe has been undertaking since its founding.

In 2011, Edinburgh Fringe introduced its access bookings team to provide a personal service for disabled audience members. Now the team continues to build its access information database, and has trained customer service staff to provide improved booking services for disabled audience members.

Alternatively, customers who want to complete bookings online can establish a show’s accessibility via the Edinburgh Festival Fringe website or app.

McLean explained: “Audience members can filter their show search by accessibility. This allows you to see which shows are in venues that have level entry, wheelchair space, disabled toilets, and so on.”

She added: “Alternatively, if you find a show you would like to see – either online or in the printed programme – you can look for the access icons next to each entry. If you need more information then you can get in touch with the access bookings team, who will be happy to help.”

The Fringe booking process has also become friendlier with the introduction of free personal assistant tickets, allowing carers or friends of disabled customers to attend shows with them at no added cost.

After making it easier for disabled customers to see its shows, Edinburgh Fringe sought to give them more reason to want to see its shows. To do this the Fringe became an Attitude Champion.

McLean explained: “Being an Attitude Champion means setting goals that range from committing to ensuring that Fringe Society organised events are accessible to everyone, to creating an environment that encourages deaf and disabled people to work and/or perform at the Fringe.”

2017 Fringe shows that focus on disabled issues include include: Tom Skelton: Blind Man’s Bluff  – a comedy in which Tom talks about his and many more blind lives; Blank Tiles – a show about life after an Alzheimer’s diagnosis; and Bella Freak: Unwritten – a comedy show on three disabled individuals’ stories. These are just a taste of the many accessible shows that Edinburgh Fringe has to offer, the rest can be found at the Fringe website.

McLean concluded: “The Fringe Society works to make sure that the Fringe is as accessible and inclusive as it can be.”

Fools and Heroes Glasgow

LARP

  

LARP or Live Action Role Play is latest form of gaming to capture the UKs imagination. Using improv, costumes and outdoor settings, it is literally a breath of fresh air.

“It’s similar to games like Dungeons and Dragons, but instead of sitting around the table rolling dice you put on costumes and become the characters,” LARP veteran Claire Main said.

Main works as Glasgow Branch Liaison Officer to LARP group Fools and Heroes, in which she has gamed for four years.

She said: LARPing has been around for quite a long time; in the eighties we spotted the first groups in the UK. In the nineties the Cuckoos Nest was set up as part of Glasgow University LARP society, but it has now become its own separate entity. Lots of LARP groups have now sprung up in Glasgow.”

Although one of many, Main explained that the Fools and Heroes group works as part of a wider network.

She said: “The society, as a whole, works by allowing members of one local branch to play in the games of others throughout the country. So you can play as your character and travel as them throughout the UK.”

Main recalled: “I had a phone call this week from a couple in the Plymouth branch of Fools and Heroes, wanting to match our LARP session dates with those of their holiday, so that they could join the game while on their break.”

She added: “I have friends all over the UK now that I wouldn’t have met otherwise; it is a wonderful social network!”

Although part of a national scene, Fools and Heroes Glasgow branch practices most in Mugdock Country Park.

Main set the scene: “The park has a lot of terrain to play with. It has an old World War II bunker that can be adapted to be a trap in the game; it also has open fields and marsh that can be farmland, battlefields or graveyards. Nature can set a wonderful backdrop to get your mind going. Some of the best games that I have had have been when the mist has come rolling in or there has been snow on the ground.”

She added: “Nature is however, only a starting point. Its up to the player to get immersed into the character and for the referees to set each situation up well, so that the game feels authentic.”

This authentic vibe is created by splitting the game and group in half; the first half sees one lot of fools and heroes assume characters on a noble quest, while the second lot will play the villains and damsels in distress. Then after lunch participants swap around, so that everyone gets a chance to play both signature and supporting characters.

Signature characters have become synonymous with LARPing, as many players use the medium to become their idols. However, Main explained that is not quite how it works in the world of Fools and Heroes.

She said: “All LARP groups are different, but Fools and Heroes sees you play one main character of your own design. You will start of as a primary character, such as a squire, then as your character grows in experience and wealth they can progress. For instance, after a while your character can join a guild, join a church, learn magic and develop into an epic hero.

“This development allows you to learn as the same time as your character, for instance the first time your character encounters a troll they won’t know what to do, so a more experienced character will need to step in and show you. Then as you learn and progress you will help those less experienced.”

This learning also expands players’ life skills.

Main explained: “It gets you exercising and encourages you to develop other skills on the side. I have learned to sew, knit, crochet all through LARPing.”

While the game is progressive, it is high contact, so not suitable for everyone.

Main cautioned: “Fools and Heroes LARP is a physical game, it involves running and combat so it would be more challenging for people with mobility restrictions, however there are all kinds of LARPing out there, so it is up to the player to find one that suits them.”

Likewise Fools and Heroes only allows full membership at the age of eighteen, due to its adult content, but Main explains that there are other groups out there that will cater to younger players.

She concluded: It is hard to describe what LARPing is, so I would say to anyone that is curious about it to just come along and give it a go. It would lend itself well to team building and an alternative day out.”

 

 

Traditions and Tales of a Victorian Christmas

 

Victorian Christmas

 

Christmas brings nostalgia, often with chocolate box images of Victorian Britain; an association immortalised in Charles Dickens’ novella A Christmas Carol. Now Edinburgh Castle is exploring the period’s festivities with celebrations running from December 19 – 23.

Launching this festive cheer is Assistant Events Manager at Historic Environment Scotland, Fran Caine.

He said: “Our Traditions and Tales of a Victorian Christmas was developed to provide visitors with a festive event that would explore history in an engaging way. It’s always a popular fixture in our events programme.”

Caine explained that the UK Victorian era, through its German royal family members, brought the tradition of decorating yew bows and eventually trees to the country. In keeping with this tradition, Edinburgh castle’s Victorian Christmas will be adorned with evergreen.

He described: “The centerpiece of the castle’s decoration is a Noble Fir tree, which usually stands at around 17-feet tall. Situated in the Great Hall, it proves to be an additional draw for our visitors over the festive season.”

Festivities will also include historically dressed performers, with tales and verses from the Victorian era.

Caine said: “Our performers source their own authentic costumes. Inspired by Charles Dickens, the event centers around a re-enactor portraying one of this period’s most iconic writers.”

Dickens’ depiction of festivities in A Christmas Carol showcases many Victorian conventions that have prevailed.

Caine recalled: “This particular period in time can be seen by many as the origin of the Christmas that we know and celebrate today. It was the start of a number of festive traditions that continued over a century and a half later.”

Among these traditions are annual leave from work and gift exchanging, both made possible by Victorian industrialisation.

Industrial boom in the 19th Century brought newfound wealth that allowed middle class families to take time off work, over December 25 and 26. December 26 then became known as Boxing Day, when lower class people would open the parcels of money gifted to them by employers or benefactors.

Other gifts made popular by the 19th Century were those of toys that, with the introduction of factory production, were made more affordable to the middle classes.

Just as toys became associated with Christmas in the Victorian era, so did games.

Caine said: “We might have swapped festive parlour games for more contemporary versions, but the traditions of Christmases past can still be recognised today.”

Today’s Christmas dinner also has its roots in Victorian custom.

Caine explained: “During Victorian times turkey became the popular meat dish on the Christmas table. Previously goose or beef were the preferred choices. The Victorians were also responsible for the development of the mincemeat filled mince pies that are still enjoyed at this time of year.”

He added: “Many of the festive traditions such as decorating the home, pulling crackers, sending Christmas cards and even the popularisation of the Christmas tree can be traced back to the Victorians.”

To trace these traditions in person, revellers can visit Edinburgh castle from December 19- 23, at 11.15, 12.15, 14.00 and 15.00; during this time Traditions and Tales of a Victorian Christmas is included in the cost of admission to the castle.

Caine concluded: The event will offer a real insight into the festive traditions and customs and how Christmas might once have been celebrated over 160 years ago. It is definitely one for all the family to enjoy.”

Southside Fringe

SSF

Showing how Scots do Southern hospitality is Glasgow’s Southside Fringe. Running from May 13 – 29, the celebration includes in and outdoor events.

Co-founder Corinna Currie said: “We have an amazing selection covering live music, theatre, cabaret, comedy, spoken word, burlesque, literature, visual art, film and well being events.”

With such a mix of activities its no surprise last year’s festival welcomed over 9000 revellers.

Now in its third year the Southside Fringe has returned with exciting new features.

Currie explained: “This year we are delighted to introduce a dedicated heritage programme, welcoming on board Pollok House and House for an Art Lover. “ 

House for an Art Lover hosted the festival on May 14 with Art on the Park, the programme’s first alfresco event. Delivered in partnership with Art on Scotland, the event included an art fair, live entertainment and food stalls. 

Continuing festival firsts Southside Fringe 2016 launched its ‘legacy’ work, with the Clutha Trust, bringing activities to Castlemilk Youth Complex.

Catering to all ages the festival includes activities across 52 venues, including historical buildings, cafes, pubs and even a pool.

Currie said: “Govanhill Baths have a wonderful range of theatre events.”

She added: “Loks bar have a full programme of events from Ceilidhs, to David Bowie tribute nights. We’re also really excited to see how the open air space down at Pollokshield Playhouse will be used.”

As well as pop events, the festival will have international activities.

Currie said: “We have singers all the way from Kenya, Ogoya Nengo and the Dodo’s women’s Group, performing at the Glad Café; music from Brazil, in Nossa Bossa on May 19,, and a Traditional Eritrean Coffee ceremony, hosted by MILK on May 16.

Tastebud treats continue at the festival with a Gin and Food evening at the Salisbury and also the Spanish Tapas & Wine Tasting Evening at Bell & Felix.

The festival will conclude with a cabaret party at Loks, starring acts like Creative Martyrs, Kim Khaos and Tom Harlowe.

Currie anticipated: “With Music from the Glasgow Swing Society and the Acquiescent Orchestra there will be a party atmosphere and good measured rowdiness! “

Closing party tickets are £10 and available in Fringe HQ or online.

Currie concluded: The atmosphere at Southside Fringe is electric and full of love. We’re all in it for our love of the Southside. It’s great to feel the area buzzing during the fortnight.

 “You can grab a programme or go online and come along to Southside Fringe. You’ll only regret it if you hear how good things are after they’ve happened!”

Merchant City Festival

Merchant City Festival

Preparations have begun for this year’s Merchant City festival and it promises to be the biggest yet. Running twice the length of previous events, the 2015 bill will span July 25 – August 2.

Festival Executive Producer, Lorenzo Mele, said: “The 2014 Festival was exceptional because it supported the Commonwealth Games, acting as the cultural centre for the programme. Last year’s festival brought the city alive with outdoor content and that will continue this year.”

The outdoor content is expected to include acting, circus performances, and of course music.

Mele said: “The festival will include lots of different art forms, but its central element will be music. We have two outdoor stages every year and this year they will host a variety of artists, playing everything from rock, to RnB, and dance music.”

The Brunswick Street Stage will have a marquee with large screen and bar area; while the Emerging Talent Stage will showcase new bands.

Indoors, the Blackfriars Stage will once again feature music acts, but this year it will also become a comedy hub.

Headline comedy and music events will be cost ticketed, however Mele explained the majority of festival events will be free.

Bargain-seekers can enjoy a variety of performances and workshops throughout the day.

Mele said: “We want the festival’s daytime schedule to appeal to as much as the night; so we are hosting a weekday family zone, in Merchant City Square, from 27 –31 July.

“The festival will have interactive workshops for toddlers and parents; music for adults; and this year – for the first time – a programme for those 55 and older.”

Mele welcomed guests from all ages and walks of life.

He said: “The Merchant City Festival is good at bringing the focus on art, but also at attracting members of the public who wouldn’t usually go to gigs.”

He described plans to attract shoppers with interactive fashion and beauty events.

Mele said: “The team are examining ways to make the fashion element of the festival interactive, with things like upcycling and accessorising workshops.”

He added: “We have a Barcelonan act coming to the festival, called Osadia. This group create fantasy makeovers, taking people from the audience and transforming their look with hair and make- up sculpture.

“Osadia performed at the festival last year and they were hugely popular, so we look forward to having them back.”

Another international act Mele anticipates being a hit, is Dutch musician-come- chef: The Screaming, Cooking Prince; whose act does what it says on the tin.

As well as international acts, the festival will showcase home-grown talent.

Mele explained: “One of the highlights will be a UK dance performance called Fragile; a world Premier show from the Motionhouse dance company. It will involve around 25 performers dancing in, on and around JCB diggers. It should be quite spectacular.”

He concluded: “The Merchant City Festival really does have something for everyone. As well as great acts there will be stalls selling food from around the world.”

The festival’s themes include: Scotland’s Year of Food and Drink, and Glasgow’s Year of Green; these themes provide inspiration for organisations hoping to participate.

Organisations hoping to participate in Merchant City Festival can apply for grants of up to £500, through the Get Involved Fund.

Proposals should include specially planned activities that incorporate city space.

Galoshans Festival

GALOSHANS PIC

There’s a new UK arts festival and it’s called the Galoshans. With the Scots name for ‘guising’ it’s unsurprisingly scheduled North of the border. The exact location is however, more surprising. Unlike most Scottish festivals, it isn’t going to Glasgow or Edinburgh, rather Inverclyde.

Bringing the festival to Inverclyde is Scottish charity UZ Arts. The group works to commission, produce and distribute art in all its forms.

UZ Arts Executive producer, Jo McLean, said: “The Community Trust had been organising events as part of the Inverclyde Space programme and, in 2014, they spoke to UZ Arts about growing a festival.

“The Galoshans was an idea that the Community Trust had introduced to us. They told us it was a traditional folk play about George and the dragon. The original custom was to perform the play in spring;  but Inverclyde adapted it to take place around Halloween [alongside guising]. ”

Now UZ Arts are expanding the custom into an arts festival. The festival will still nclude the Galoshans play, as well as music, performances, and installations throughout Inverclyde.

Galoshans will run from 30 October to 1 November, with a complimentary fringe programme that ends in  Inverclyde’s firework display (November 7).

As well as this, the festival will launch with a symposium entitled Moving Out, which pushes artists and audiences outside of their comfort zones.

Using the European network IN SITU, UZ Arts will bring artists across seas to engage with the people of Inverclyde. The artists will create work outside conventional venues, reimagining iconic landmarks.

McLean said: “UZ Arts are part of IN SITU, a 19 country network, which funds international arts projects, and enables collaberations. IN SITU artists will be coming to the Galoshans festival to showcase their work.”

As well as artists, the public can get involved with the Galoshans.

McLean explained: “UZ Arts will be looking for volunteers to assist at the festival. We will also be running internships and opportunities, especially aimed at young jobseekers.

“Whenever UZ Arts run a festival we always try to make it benefit the local community.”

All visitors will benefit from the Galoshan’s reasonably priced and free events (ticket details to be confirmed).

McLean concluded: “We hope the festival will celebrate the international community, while reflecting the Inverclyde’s local pride.”

Galoshans may continue to be an annual source of pride, as UZ Arts have provisionally planned to roll it out in future years.

To get involved with the 2015 festival, visit the UZ Arts Website or email the team.

From Coatbridge to Kiev

billytim

An interview with author Des Dillon

In Glasgow some things will never change, the Scottish Premier League will divide opinion and home-grown comedy will fill seats. Perhaps this is why Des Dillon’s play, Singing I’m No a Billy He’s a Tim, continues touring theatres years after its debut.

The drama tells the story of a Rangers and Celtic fan clashing during a night in the cells. Although the subject of sectarianism is an old one, Dillon keeps the play fresh by adding contemporary twists to each new tour. So it is no surprise the play struck a chord with audiences across the UK, and received a standing ovation in Belfast. Remembering this, Dillon cites it as the most rewarding moment of his career.

“I felt like I was finally getting recognised as the author I consider myself to be. What’s happened recently for me is that people who won’t read my books will come and see my plays. I’m No a Billy sold 2000 seats at the Armadillo in 2011, and I have never sold 2000 books.”

Commercial success hasn’t come easy to the author who claims he progressed into the writing scene over a period of years. Having grown up in Coatbridge, one of nine siblings, he worked jobs ranging from fruit machine engineer to bouncer, before going to university.

“I went to Coatbridge college to get three Highers and become a PE teacher, but I got the best mark in the country that year for one exam, and that was when my teacher said I should go on to uni and do English.”

Taking this advice Dillon joined Strathclyde University, where he first became published as the winner of the Keith Write literary competition. While Dillon’s poems were popular among the department, he felt his fiction more at odds with the world of academia. Drawing inspiration from the blue collar Glasgow he grew up in, Dillon claims his stories remain at odds with literary circles.

“I wrote my first novel and it took seven years to get published. When I did get published the reviews were like ‘Ned writes book, and ned writes another book’, and it was like this for the first five years.

“My problem is I write for a demographic of people who don’t read books. I’ve got a value system that is totally at odds with the one you meet at book readings and university tutorials.”

The value system Dillon recognises in his work is that of oral narrative, which he claims is inherited from his Irish Scots background. Taking inspiration from his own experiences, Dillon approaches stories as a conversation with his reader.

“Coatbridge has a real Irish culture, with lots of storytelling, and a lot of my work is based on my family and people I know; true stories but fictionalised. My novel Six Black Candles is my six sisters getting together to do a witchcraft spell to kill the girlfriend of one of their husbands…my sisters do actually do witchcraft.”

Quirky as it sounds, the novel became a best seller in Moscow, and when adapted to play was translated into Russian for performance at the Kyiv Drama Theatre on Podol (Ukraine).

“One of the reasons my stuff does so well in the Ukraine is because the area is just one big Glasgow, they have the same dark sense of humour as us, but less of a class structure.”

Parallels between the two places sparked Dillon’s interest in Eastern Bloc history and catalysed his latest project, a story set during the Siege of Leningrad. Unlike previous work, Dillon spent days researching, and learned to speak enough Russian, to navigate his way around the city. Leningrad, now known as St Petersburg, is famous for having endured the longest resistance to German siege, during World War II. It is the pivotal moment of this siege that Dillon focused on.

“During the attack they played Shostakovich’s Seventh Symphony, which had been written during the siege for the besieged city. When they played it they broadcast it to the Germans and the German morale fell apart. So this was the turning point of the Siege of Leningrad, therefore the turning point of the war in Russia, therefore the turning point of the whole Second World War.”

Dillon credits his interest with pivotal moments down to his abstinence.

“I have been sober for twenty years, and when I go to AA meetings I like to hear stories about the guy’s turning points. I have always had compassion for the underdog, cause I’ve had a rough life myself. When I was a drinker I used to get into fights, but I do all the adrenalin sports, like rock climbing and mountain biking so that’s like my substitute.”

As for relaxation, Dillon turns to poetry.

“I feel at my most blissful when I am in the garden writing poetry. No one really knows me for poetry, but that’s my main thing, that’s what I’ll end up doing once I get these books out the way. I use it to express my more philosophical ideas; questioning the meaning of life. Of course you never find out, but trying to find out is good.”

To read his poetry for yourself, visit the Scottish Poetry Library.