From Neruda to Starrett. Stargazing across Scotland

The Morning Star is a newspaper everyone thinks they know. In the old joke it is 'read by those people who want another country to run the country', Tony Blair once claimed he 'didn't know that paper was still coming out', and it's line is supposedly dictated to it by the 'politburo'.

Whether or not any of these myths had foundation, the foundations have long been excavated and the paper has made strong strides towards becoming a 'must-read' for any on the left - well, actually by anyone with an interest in the politics, or the cultural life of the UK. And in these days when hacking murder victim's phones, and libelling dead fathers pass for 'news', maybe the opportunity is there for a wider readership?

In Scotland, the twin developments of a Northern print run, meaning the paper gets here on the day of publication, and the appointment of a Scottish reporter, has meant the relevance of its content has increased exponentially. But strangely some of the most positive things about it, aren't things you'll find much about in the paper at all.

One of its strongest props is its network of supporters groups. Readers and Supporters groups have

sprung up across Scotland, and a Scottish Campaign Group who have been instrumental in both successfully lobbying for other organisations (like trade unions and the Co-op) to back the paper in practical ways, running conferences to discuss policies of the left, and chivvying the London organisation of the Star to address its weaknesses in circulation and content.

But possibly it's most successful activity is one that, on the face of it, doesn't seem to directly contribute to selling papers. Over the last three years a series of cultural talks, discussion and even performances in halls and centres across Scotland have been organised. These have caught the eye for the comprehensiveness of their coverage, and the unusualness of their approach. The latest series of 'Our Class, Our Culture' events has just started. The events and venues for the rest of the autumn are listed  here.

Allende y Neruda

Tonight's event  - on the poetry of Chilean poet and politician, Pablo Neruda - has been chosen to mark the 40th anniversary of the armed coup that overthrew Chile's elected government, and is a great example of the genre. It's at the STUC at 7.30pm.

Other gems include a fascinating-looking event in Paisley on Helen Macfarlane, the woman who first translated the Communist Manifesto (Dec 3). Later in the series (in 2014) highlights are William McGonagall and the radical tradition on Scots poetry (in Dundee appropriately enough, on Feb 4 with well-known contemporary poet, Alistair Findlay), Stuart Moir, on Shelley's Masque of Anarchy, its background and contemporary resonance (6 May in Bathgate), and slotting in neatly to next years

Bob's new book

MayDay celebrations, an appreciation of UCS cartoonist and author, Bob Starrett, featuring the man himself! (8 May in the STUC).

If you haven't seen the Star for a while, try your local newsagent, or Co-op food store. You'll be pleasantly surprised.

Radical Shifts on the Fringe - Fringe Blog no 2

The Morning Star website is currently being revamped and unavailable, so here is my article published in this weekend's edition. It is a summary of my thoughts on this year's Edinburgh Fringe shows.

If politics is show business for ugly people, then show business should be aware of political attempts to move into their territory more comprehensively!

Before this year's Edinburgh Fringe. some commentators (including this one) identified an increase in the number of political shows. Even with a surprisingly low level of shows dealing with Scotland's referendum, especially from Scottish writers.

After three weeks viewing, I can a) confirm that there was a large amount of both overtly political shows and shows with a political angle, and b) while the referendum was covered, especially in spoken word events, it did not form a major theme. Even in a wide-ranging seminar on political theatre it only got one mention in a uplifting discussion that identified political theatre as still very prominent.

Partly because, as respected commentator, Joyce MacMillan, points out, the constitutional debate has been part of the cultural background in Scotland for years, and many writers have moved on. They deal with wider overarching political and human issues - like David Greig in The Events, which deals with our reaction to atrocity. Inspired by (but not directly dealing with) the Anders Breivik murders, this will become a very important play.

Other productions dealt with political history - like Unite-sponsored, We will be Free, Townsend’s Tolpuddle Martyrs' play, or particular issues, like Northern Stage's How to Occupy an Oil Rig - an entertaining training session on direct action in climate change campaigning.

Many productions deal with non-political topics, but allow political issues to feature. An effective
example, is FairPley's production of God Bless Liz Lochhead! in which a struggling group of thesps attempt to re-create a 12 character play with 3 actors! While the convolutions this entails deliver a very funny play, it also makes a comment on the politics of cultural funding in Scotland.

Of course, there is more to the Fringe than drama. Comedy has always been a strongpoint, and this year the return of many 'Alternative Comedy' legends brought that political edge. Mark Thomas crammed a hugely busy schedule with shows on Extreme Rambling along the Israeli apartheid wall; debates on the efficacy of some of his previous Manifesto pledges; and his new 100 Acts of Minor Dissent project. He reached 26 by organising a stand-up demo outside the Russian Consulate against their anti-gay laws! Alexei Sayle, too, came from stand-up exile to prove he was as ascerbic as ever. After 17 years away, he can be forgiven some slight rustiness!

Vladimir McTavish and Keir McAllister's The State of Britain was one show that took the independence debate head-on, but did seem to be unsure of its audiences, possibly for a similar reason to Steve Richards. The political columnist said in the Guardian that he had had to tailor his act to Scottish or other UK audiences on a show-by-show basis.

A further reason for more politics this year is the massive increase in spoken word events. Once the province of the Book Festival, the Fringe started listing these separately a few years ago. This year has seen an explosion in such shows.

Driven by demand (The Book Festival resolutely refuses to move anywhere bigger), the need for promoters to fill venues during the day, and the relative ease of staging this type of show, debates, discussions, Q&As, demonstrations etc. sprang up all over. Most of all, there is an audience for these shows, which is good news for political debate. Almost all major venue complexes featured some spoken word, but the major venue, was the Assembly Rooms/Famous Spiegeltent. FairPley Productions contributed massively, by importing their Verb Garden from the Belladrum festival. The concept - backed by the Co-operative Membership, covered many topics and presented major politicians such as Tony Benn, and George Galloway MP, journalists like BBCs Brian Taylor and Iain Macwhirter, and academics and comedians. Even including the finalist of 2012 Great British Bakeoff, James Morton!

Stephen Wright of FairPley, thinks that spoken word can only increase. "While you need to
programme different topics carefully," he said. "the demand is there for politics. We will be building on that, both in Edinburgh and elsewhere."

God Bless Liz Lochhead!

God Bless Liz Lochhead - and the politics of art

Can a play that deals with the drama of restaging Scottish Makar Liz Lochhead's Tartuffe under the
gaze of a reality TV camera, showcasing the talents of four of Scotland's leading thesps (Juliet Cadzow, Kate Donnelly, Andy Gray,  and writer Martin McCardie), ever be described as political? Well, this being Scotland, the answer is of course Yes!

In the process of this funny and sharp drama in which the blood and terror of the previous tour of the work resurfaces, the current realities of arts and culture in Scotland are highlighted. Having to produce the play with only three actors, because there is no cash for more leads to compromises in quality. Gray's dialogue between Tartuffe and Orgon with himself as a split personality is laugh out loud funny! As is the need for actors to accept the unacceptable to maintain themselves in work. "Thank God for sectarianism." Says Portia (Cadzow). "Otherwise there would be even less work!"

Well worth a tenner of anyone's cash, this show is by turns bitter, humorous and sad, and it serves to remind us that ultimately, everything is political. Are we back to the days when we have to rely on wealthy patrons to produce quality art?

• God Bless Liz Lochhead is a FairPley production at the Assembly Rooms. Till the 25.

Is the Personal, the Political? Fringe Blog no 1

Early in the Edinburgh Fringe, and already themes are becoming apparent. The gap between the personal and the wider population seems to be a significant theme, both directly and indirectly! It is an obvious factor when considering the political situation, and the increase in political topics at this years fringe has maybe contributed to the significance of this (see my piece on this in the Morning Star here ) but it hasn't only impacted on obvious political material.

Hindsight - a first play from Scottish comedian Keir McAllister has no obvious political message, although the broad topic of individual decisions and their impact on others - especially when a male ego is involved - has considerable resonance in many gender politics debates!

How much do we make decisions affecting other people in our own interests, and how often do we take theirs into account? And if we only look at it from our perspective, can we ever supersede our own ego?

McAllister gets that across in what is essentially a one person play - albeit with three actors. And he does it with humour and humanity. Obviously having a director of the calibre of Phillip Differ, and actors like Raymond Mearns, James Kirk and Paul Sneddon, all regulars on the standup circuit, gives the play a fighting chance. You should give it more than that. It is worth it and a good first start. It's at the Assembly Rooms until Aug 24,  1.15pm

One of the plays successes is that it recognises that we may not be aware when we take decisions for our own personal advancement, and not for the greater good. Matt Forde isn't so self aware. His show The Political Party, addresses his enthusiasm. An admitted Blairite, Forde's view is that politics needs more 'characters', and he proceeds to identify (and impersonate some).

This should be more fun than it is. An unrepentant political enthusiast (he was out canvassing at 13!) Forde tries to convince us that the whole thing is such fun, that people whose views are frankly objectionable are great personalities and have charisma. I'm not sure, however, that Nigel Farage as a drinking buddy convinced many people (I'm glad to say).

But it isn't in this that the problems arise for this performance. Even an hour in the company of political personalities leaves one wanting more on the issues. He does the voices well, but Forde is an impressionist, whereas Ian Grieve (who plays Gordon Brown in The Confession of Gordon Brown) inhabits his part. It is also an example of how limited the politics of personality are. Not terrible, but it begins to pall. Matt Forde is in the Pleasance Dome until the 25 August, 4.00pm.

I wont be back in Edinburgh until later in August. Hopefully more culture and politics will be winging it by then!

Do you like it here now? Are you settling in?

The decision by new National Theatre of Scotland (NToS) supremo Laurie Sansom to commission two of Scotland’s finest drama writers/producers - David Greig and Dave MacLennan - to collaborate in producing drama inspired by the referendum ‘debate’ has prompted this response (at last), and possibly even given the lie to Alasdair Gray’s deliberate polemic against the Anglo-centric control (as he sees it) of Scotland’s art establishment.

David Greig

Dave MacLennan

His attack on English people in the arts certainly stirred up the respective nationalist tribes - as he presumably wanted, Early attackers often did themselves no favours by labelling Gray as a racist without reading the essay, although defenders were often disingenuous in the extreme to suggest that offence was being manufactured by the recipients, rather than given by the perpetrator.

It is clear (I think) that Gray is not a racist, but someone of his huge writing talents must be aware of

Alasdair Gray

the impact that his choice of words has. Labelling people ‘colonists’ is obviously designed to tar them with an imperial brush, but ‘settlers’ too - albeit a lesser accusation - is too often bracketed with the adjective ‘white’ to be a neutral term. Indeed it is not that long ago that the advent of the avowedly anti-English ‘Settler Watch’ in NE Scotland caused the SNP to exclude them as racist.

Vicky Featherstone

It is a matter then of considerable regret, that a man of obvious talent, like Gray chooses to have a pop at the people he says control funding/commissioning of Scottish artistic talent on the basis of their place of birth and nationality. Had he done so on the basis of being fully paid-up members of the establishment there may have been more accuracy in his attacks, but to include people like Vicky Featherstone - Sansom’s predecessor as Director of NToS - indicates how far off the radar Gray has gone.

While one can have reservations about some of the directions taken by NToS at the beginning, (and surely any artistic venture must be given space to experiment?) surely the Director who funded and developed Black Watch has some understanding of Scottish culture? Interestingly enough, Black Watch director, John Tiffany also hails from South of the border (Yorkshire - in fact), and has had some pointed things to say about Gray’s comments - not the least of which is to identify the oft-ignored fact that many parts of England also feel badly ruled by London and the South.

In addition to both (so-far) Heads of NToS, and Janet Archer, the new Head of Creative Scotland (surely a much more poisoned chalice) a cursory look round prominent artists who have contributed to the Scottish arts scene produces a fair sprinkling of ‘non-Scots’. Composer Peter Maxwell Davies, for example, has lived in Orkney for 42 years (as long as I have lived in Scotland - not that there are any other links!). Director and playwright John McGrath was born and brought up in Birkenhead and North Wales - anyone suggest that The Cheviot... or Ane Satire of the Four Estaites shows a lack of understanding of contemporary (or historical) Scottish culture?

Interestingly enough in a recent Herald article, Keith Bruce pointed out that choreographer, Matthew Bourne has asked some really serious points about Scottish national identity in his ballet Highland Fling. Indeed he (unusually) has let Scottish Ballet stage it (he normally reserves his work to his own company). It will not come as a surprise to readers that Matthew Bourne too, comes from anent these shores (Walthamstow, since you ask).

The kind of offensive polemic that Gray unleashed is not the tack that the two David’s will take. Although both are enthusiastic and impassioned political beings, I had to read the article to find out which was heading up which side of the debate! Hopefully we can look forward to articulated drama about the real issues - rather than where we were all born.

Red Music?

Following the hugely successful Great MayDay Cabaret last Monday - which saw a galaxy of stars including Mark Thomas, socialist magician Ian Saville, and Siobhan Miller & Jeana Leslie have a great night entertaining a sell-out crowd at Glasgow’s Oran Mor - Glasgow’s Friends of MayDay celebrations get underway for the final week.

Tonight at the STUC centre in Woodlands Road, Glasgow University Professor of Music, and well-known Scottish composer, Bill Sweeney gets to grips with the knotty issue of Music and the Working Class movement. While it is clear that some music is written from (or adopted for) a class or socialist perspective, how can that be identified? Especially if - being an extremely abstract art form - it has no words or history? Is it even a valid argument to claim a ‘class’ or ideological adherence for music? 

Bill Sweeney (left) shows earlier
commitment on the picket line during
1980s BBC Orchestra's strike

With Bill’s talent, experience and political background, expect an intriguing examination of the topic! This is a Morning Star, our class, our culture event starting at 7.00pm.

On Friday in the same venue, the Scottish Cuba Solidarity Campaign joins with the STUC to screen the film - Will the Real Terrorist, Please Stand Up? About the arrest and imprisonment by the USA of the Miami 5, it will be followed by a SCSC social. Again free to get in, but donations will be welcomed, this is at 7.30pm

Vladimir McTavish

And last but by no means least, the next afternoon at 4.00pm, Scottish Left Review stage their comedy and music fundraiser downstairs in the Stand Comedy Club. 101 uses for a Spare Bedroom is hosted by Elaine C Smith, and stars Vladimir McTavish, Susan Morrison, John Gillick and Andre Learmonth. Tickets are £12/£7 from the SLR website.

The musical accompaniment to the SLR gig is by Arthur Johnstone and friends, nicely providing the red musical thread that sews these series of events together.

MayDay Celebrations step up a gear in Glasgow

Things are hotting up as Glasgow delivers the most prominent MayDay celebrations for a number of years. In a major concert, Comedian and activist, Mark Thomas; marxist magician, Ian Saville, and former BBC Young Folk Musicians Siobhan Miller and Jeana Leslie join political song master Arthur Johnstone, and harmonica virtuoso, Fraser Speirs,  in a star studded line-up at the Great MayDay Cabaret that crowns this years’ Friends of MayDay activities tonight.

Mark Thomas said - “It is great that I am able to get back to Glasgow for this MayDay Cabaret. The city’s political activity is well known and it's great that they are revitalising the celebrations for International Worker's Day."The concert is in the city’s Oran Mor from 7.30pm. Tickets are £12.50 from the venue or (including a booking fee) from www.oran-mor.co.uk. The last ones are rapidly going, so get hold of them quick! It is sponsored by the Co-operative Membership.

News is also breaking of an intriguing set planned by singer/writer Dave Anderson. He has been working with the Co-Op Funeralcare Brass band to develop a ‘crossover’ set with different musical strands. Dave said “I’m really looking forward to working with a brass band of the quality of the Co-op. This is a first for me but they have a great reputation as a fine band. I’m sure we’ll deliver a new and exciting set!”

Arthur Johnstone and the Stars band warm 'em up!

This follows a hugely successful MayDay march that wound its way through the city yesterday from George Square (how important it is that the ‘people’s square’ is retained to allow us to gather and rally there) to the O2 Academy in Eglinton Street, where Alvaro Sanchez, the Political Counsellor from the Venezuelan Embassy, Neil Findlay MSP Lilian Macer. UNISON’s Scottish Convenor, Alan Wylie from the No 2 Bedroom Tax campaign, and disability campaigner, Tommy Gorman addressed a busy rally. 

These are the highlights of a range of activity in the two weeks around MayDay that ranges from walks to comedy, to films and theatre.

The successful film, The Happy Lands, returned to Glasgow yesterday afternoon. Shown again at the GFT, this great film deals with the General Strike and the subsequent lock-out in a pit village in Fife. Made by Theatre Workshop with local community volunteers and actors, this was a hit of the recent Glasgow Film Festival.

Another film is being screened by the Scottish Cuba Solidarity Campaign. Will the real Terrorist please stand up? will be shown at their social evening in the STUC on Friday 10 May at 7.30. Free but ticketed. Tickets on the door.

The highly-praised talk by Scottish composer, Bill Sweeney on Music and the Working Class Movement, has been revived by the Morning Star Campaigns Committee as part of their Our Class, Our Culture series. This year at the STUC on the evening of Wednesday May 8. At 7.00pm, Free.

Friends at the Scottish Left Review have their fundraising comedy evening next Saturday (11 May) at the Stand in

101 Uses for a
Spare Bedroom

Woodlands Road, Glasgow. 101 uses for a spare bedroom is hosted by Elaine C Smith and features Vladimir McTavish, Susan Morrison, John Gillick and Andrew Learmonth. Music from Arthur Johnstone and friends. Tickets £12/£7 from http://www.scottishleftreview.org/shop/ 

Along with all these goodies - the programme for which is being supported by the STUC as part of its There is a Better Way Campaign, and Thomsons Solicitors - the regular Tron series Mayfesto returns for another year - www.tron.co.uk/mayfesto/ and a Play, a Pie and a Pint continue their innovative programming each lunchtime at Oran Mor.

Two other exhibitions look good - the Rock against Racism archive exhibition - currently at Platform at the Bridge in Easterhouse, and the Street Level photo gallery exhibition of Willy Romer’s photographs of Weimar Germany. On until May 26.