Artists against Austerity

From time to time this blog has been known to go on (and on) about the importance of cultural work in the struggle for a socialist and just society, Occasionally it has been known to hanker for the days when labour movement  bodies used theatre, film and books to both entertain and further the struggle; to create A Good Night Out in John McGrath’s memorable phrase.

John McGrath (pic Scotsman)

Indeed Joyce MacMillan in today's Scotsman, reminds us that this January is the 12th Anniversary of John's death, and he (along with others like the recently lamented Dave Maclennan), was a major talent in the development of artistic work (in his case popular theatre) to further political aims, although the involvement of Trades Councils, Left Book Clubs and Workers’ Theatre Groups pre-dates John’s important contribution. Yet another theme, particularly apposite currently in Scotland, is for the left to come together, to park Yes/No antipathy and to start to mend the divisions of that debate. 

That’s why I’ve always been heartened by initiatives that the labour movement takes to utilise the hugely sympathetic and untapped talent that is out there in ‘CultureLand’. The activity now taking place around MayDay in Glasgow, a similar blossoming around the St Andrew’s Day Rallies in Scotland and the film show series tentatively undertaken by a local GMB branch, are excellent examples of things that can be done!

It is even better news to hear that one of the major bodies that has been largely successful in drawing broad support to the Anti Austerity struggle is also to dip its toe into the artistic pool in Scotland.

The Peoples’ Assembly against Austerity in Scotland has put out a call for the formation of an ‘Artists against Austerity’ assembly in the New Year. The aim is to put together a multi-platform arts event to be held before the 2015 General Election. They are looking for artists from all disciplines to come to an assembly in either Glasgow or Edinburgh on Saturday 31 January to pull together a steering group. I suggest that some of the people involved in the initiatives already mentioned could usefully help this one?

More details can be found here, or email artistsassemblyscotland@gmail.com by 18 January 2015 to confirm your attendance or if you have any queries or questions! Or if you want to contact me direct, I can point you to the relevant people.

Referendum shows weren't the highlight.

The Morning Star asked me to review the cultural side of the struggle for 2014. This is what I felt were the key moments of an eventful year. Next year already looks as if it too, is shaping up to be a goody - with a retrospective of Ewan McColl's music, and a celebration of Arthur Johnstone featuring at Celtic Connections 2015.

The 2014 referendum debate inevitably had an impact on this year’s productions. However the domination of pro-Yes sympathies in Scotland’s artistic community didn’t lead to as much important work as anticipated. Successful shows used the debate as a stepping-off point to examine the nature of Scotland, like Rona Munro’s James plays for the National Theatre of Scotland (NToS) at the Edinburgh Festival. 

Front looked at the 1WW from both sides

 

However it is a production in that festival that addressed a different political issue that gets my vote as outstanding. Front, a Flemish production from a German company about the first world war in Flemish, German, French and English was outstanding. Using both Erich Maria Remarque’s All Quiet on the Western Front and Henri Barbusse’s Under Fire as source material, this was a shocking, emotional and political view from both sides of the line. 

For those who said that the referendum was too close to allow that perspective, NToS also produced the Yes, No, Don’t Know Show, a series of short pieces curated by David Greig and the late and much-missed Dave MacLennan, which was vibrant and humorous. 

Celtic Connections was referendum-lite. Rebel Musics saw Dick Gaughan and Dave Swarbrick  explore the connections between reggae and Scottish music, the Roaming Roots Review’s look at West Coast US music sparkled and the powerful Imelda May rocked out.

Fraser Speirs on the moothy. Rab Noakes on Guitar

Glasgow’s MayDay Cabaret delivered a sell-out concert for the second year in the city’s Oran Mor, with stand-out performances from Bruce Morton and Rab Noakes.

Pro-Yes productions dominated the Edinburgh Festival fringe. Much was poor but David Hayman (pictured) in a A Pitiless Storm rose above the herd. Bravely, Phil Differ’s MacBraveheart had a pop at all sides and crackled with language gags, while Mark Thomas’s history of betrayal, Cuckooed, delivered a thoughtful story. 

 

We lost both 7:84/Wildcat/Play, Pie & Pint founder Dave MacLennan and politician Tony Benn this

The late, and much-missed Dave Maclennan

year. With typical Glasgow resolve, both became the subjects of excellent celebratory concerts, with a galaxy of stars marking the passing of two major talents.

Film of the year for me must go to Pride, the story of the LGBT community and their support for the striking miners in 1984-5. Although flawed by the failure to recognise the politics of a main character — Mark Ashton became general secretary of the Young Communist League — it still highlighted the strong links built between different communities under attack. 

Also heartening was the increasing use of cultural events by campaigns. A series of workers’ films is planned by a local GMB branch and  a range of talks and films was staged by Hope Not Hate in Glasgow around the anti-racist St Andrews Day rally. And of course the Morning Star’s own Our Class, Our Culture series continued its success.

Looking Forward (and Remembering) - A tribute to Tony

Tony Benn (photo courtesy Sunday Mail)

300 plus people squashed into Glasgow's Mitchell Theatre on Sunday to celebrate a legend. As compère Susan Morrison pointed out, the word was in danger of overuse, as artists like Fraser Speirs, James Grant and Arthur Johnstone followed one another onto the stage. But in reality one legend dominated. Tony Benn himself, was the life being celebrated - to him went the accolade

Despite the last minute absence of Roy Bailey, taken ill on his way to the concert, the bill in the two concerts was crammed with talent. The first (spoken word) concert featured the acid sharpness of Tom Leonard, the pointed humour of Elvis McGonagall and the up-front politics of Attila the Stockbroker. Held together by the stories of Bruce Morton, it was a revelation to those who possibly hadn't experienced performance poetry before.

The main bill, however, was reserved for the evening concert. Curated by singer-songwriter,

Rab Noakes (photo by Alan MacMillan)

Rab Noakes and introduced by Scottish Labour leadership candidate, Neil Findlay MSP (who had the initial idea) a positive galaxy of musicians from Scotland, augmented by guests from South of the border served up a great evening. Ably compèred by Susan Morrison, the first half was introduced by Rab and Fraser's version of Sixteen Tons. Arthur Johnstone and Stephen Wright replaced Rab to give us some Woody Guthrie (Playboys and Playgirls) and Adrian Mitchell's Victor Jara. Appropriately, that introduced some more poetry from Elvis McGonagall, whose sharp analysis and humour made the politics more pointed - and converted not a few to performance poetry!  

Emily Benn

While all the show took place under the watchful eye of Tony Benn from the big screen, his granddaughter, Emily, who read from Letters to my Grandchildren, made further family input. She thanked the organisers, and called on everyone to continue the fight for democracy, equality and peace that Tony Benn had given his life to. Rab Noakes' main set - Incorporating the ever-coruscating Spin closed the first half.

The second half rang the changes with the Qyeen of NRNXPO - probably the first time many of the audience have been exposed to rap! Attila the Stockbroker put some political meat on the bones before the double act of Alastair McDonald and Sheena Wellington brought us back to some traditional material - No, Trident No (Alastair), Mrs Barbour's Army (Sheena) and of course the song closely associated with her - A Man's a Man for a' that.

James Grant

James Grant's set moved us into the current day with dark songs of loss - My Father's Coat in particular. And the finale gave us a different take on The Red Flag. By reverting to its initial tune (The White Cockade) Rab and the ensemble breathed a new, much more jaunty, life into the song.

With the now traditional Jarama Valley/Bandiera Rosa winding up the night, the whole day was one of tradition, mixed with development. Encouraging new experiences, while celebrating old successes. Surely entirely appropriate for an evening for Tony Benn?