Author Archives: lscollay

May 21 2021
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Archives in 70 Objects, sssa

SSSA in 70 Objects: Psalm 118 to ‘Coleshill’

Contributor: Murdina and Effie MacDonald, Psalm 118 to ‘Coleshill’

Fieldworker: Thorkild Knudsen

Reference: SA1965.031

Link to recording on Tobar an Dualchais

Response: Clare Button

Visiting the Isle of Lewis with my parents at age fifteen seemed the ideal chance to use my newly acquired pieces of Gaelic. Back home in England I was a fervent convert, listening to all the Gaelic music I could find and devouring a book titled (more than a little misleadingly, as it turned out) Scottish Gaelic in Three Months. Thrilled as I was to hear the language around me on the streets of Stornoway, I lost the bottle to try it myself, save for a shyly squeaked ‘madainn mhath’ to a lady behind the counter in a charity shop. Bolstered by her kind reaction, I thought to repay her by purchasing something, and my eye was caught by a record titled Gaelic Psalms from Lewis, the cover emblazoned with J.H. Lorimer’s dramatic painting The Ordination of Elders in the Scottish Kirk.

Closer inspection revealed that it was Volume 6 in Greentrax’s Scottish Tradition Series, which showcased recordings from the School of Scottish Studies, a new name to me at that time. I hardly knew what to expect, but it was only twenty pence, and would just about fit in our suitcase. I suspect the lady behind the counter was somewhat bewildered to see this earnest English teenager expressing an interest in the devotional singing of her island.

It was around a month or two before I played the LP on my dad’s record player, but when I did, my musical landscape was changed forever. I had heard sacred music before, of course, but nothing like this, with the psalm being ‘lined out’ by the precentor, and the congregation following after in a heavily ornamented style, each person at their own pace. The effect was an ocean of sound, both alien and familiar, human voices locked in private devotion yet joined in communal worship.

I loved the richly dramatic congregational recordings, but I was especially struck by the singing of two sisters, Murdina and Effie MacDonald, of Balantrushal, north west Lewis. Recorded at their home in 1965 by Thorkild Knudsen, a Danish musicologist then on the staff of the School of Scottish Studies, they intone verses 15-23 of Psalm 118 to the tune ‘Coleshill’, their brittle voices trilling, soaring and swooping together in two barely separable strands. ‘Guth gàirdeachais is slàinte ta / am pàilliunaibh nan saoi…’ Their singing is particularly touching because it is domestic, sisterly, intimate. The notes to the recording mention that, although it was quite unheard of for women to precent, they may often ‘be heard singing Gaelic Psalms while at household chores.’ Now, years later, with many recordings of the MacDonald sisters available online via Tobar an Dualchais, the extent and depth of their skill at psalm singing can be truly appreciated.

A year or two later, I heard the same recording sampled by Martyn Bennett on another album which changed my life, Grit (2003). In the sleeve notes, Bennett tells the story of travelling to Balantrushal to see Murdina, then in her late eighties, to get her blessing to use the recording. She confided to Martyn her own initial misgivings back in the 1960s on recording these religious songs, a confession which he found reassuring. Of the resulting composition, ‘Liberation’, Martyn wrote:

‘I could not find any other way to express the profound feeling of losing faith, and the determination to find it again.’

It is both touching and strange to think of the sisters giving their blessing to this epic mashup of their voices with clashing rave beats, euphoric sonic whirls and Michael Marra’s best (and, I suspect, his only) attempt at being a minister. The track is radically different from Murdina and Effie’s world, but it does, I think, retain the kernel of purity found in Knudsen’s original recording.

Now, many years later, I have been entranced by sacred music of all kinds, from the astonishing Canu Pwnc tradition of Wales, to the heart-bursting ecstasy of Sacred Harp, to the simple grace of medieval plainchant, but the billowing swells of the Scottish Gaelic style hold a unique magic. My Gaelic may still not be much improved, but this recording grows with me all the time.

Clare Button is Archivist at Barts and The London School of Medicine and Dentistry, Queen Mary University of London.

 

Listen to Murdina and Effie MacDonald here: http://www.tobarandualchais.co.uk/fullrecord/67880/1

More about Martyn Bennett here: https://realworldrecords.com/artists/martyn-bennett/

Find out about the Gaelic Psalms from Lewis here: http://www.greentrax.com/music/product/Various-Artists-Gaelic-Psalms-From-Lewis-Scottish-Tradition-Series-vol-6-CD

 

 

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May 14 2021
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Archives in 70 Objects, sssa

SSSA In 70 Objects: The Pictish Arts Society

Written by Stuart McHardy

In 1988 the School of Scottish Studies began to host gatherings of the Pictish Arts Society, both its committee meetings and its public lectures. The Society, formed to further interest in, and study of, all aspects of the Picts was originally conceived by myself and the American-born artist Marianna Lines.

Our presence was facilitated by linguist David Clement who was seconded to the School from the Celtic department. I had kept up a tenuous connection with the school since my undergraduate days. The three of us were joined as the inaugural committee by ethnologist Bob Brydon, historian Graeme Cruikshank, lawyer George Fraser and knitwear designer Heather Richard.

In 1992, due to a considerable level of public interest, our initial Newsletter developed into the PAS Journal, which presented a wide range of academically sound articles from a range of contributors, including archaeologists, historians and linguists, as well as professional artists, as the original mission statement of the Society had specifically laid emphasis on the corpus of Pictish Art and its potential to stimulate new work in the modern world.

The open meetings in the Conference Room were always lively and stimulating and within a couple of years the Society began to stage annual conferences, which were initially also held in the School, and which originally included exhibitions of contemporary Pictish inspired artwork.  Over time the conferences began to be held in other locations, most of which would generally be considered to be somewhat more appropriate than Edinburgh, even if tradition tells us that Arthur’s sleeping companions inside his Seat in Holyrood Park, are Picts.  This highlighted the situation that many members had to travel extensively to come to Edinburgh and in 2000 the PAS officially moved from 27 George Square to the appropriate location of Pictavia near Brechin, with the support of Angus Council through the commitment of my successor as President of the Society, Norman Atkinson.

illustration drawn by J D Moir and used with kind permission

Since then, the society has continued to hold regular meetings and conferences, currently on Zoom, and to publish a quarterly newsletter, the Journal having ceased publication after 17 issues. At the time when the PAS formed there were no books on the Picts in print and it is testament to the work of the membership that nowadays there are so many works available, both reprints and new works, and it is likely that the efforts of the early group in George Square has helped ensure that today’s Scottish archaeologists ad historians are much more involved with matters Pictish than was the case when first we met. Sadly, since our early days in the School of the Scottish Studies many of the original enthusiasts have passed on, including in 2018 our co-founder Marianna Lines, whose vibrant and colourful interpretations of Pictish Symbol Stones were so effective  in bringing so much of Scotland’s ancient culture to wider public notice.

Stuart McHardy is a Teaching Fellow, Centre for Open Learning, University of Edinburgh

Musselburgh

2021

Information:

The Pictish Arts Society logo is designed by Nick Simpson and the illustration of the stone is by JD Moir. We have used these with permission, please do not reproduce.

http://www.thepictishartssociety.org.uk/

The Pictish Arts Society Newsletter has an open access archive here: http://www.thepictishartssociety.org.uk/newsletters/4593763668

 

May 07 2021
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Archives in 70 Objects, SSSA @ 70

SSSA in 70 Objects: Hò Ro Gur Toigh Leinn Anna 

Contributor: Peigi Anndra MacRae, Mairi Anndra MacRae 

Fieldworker: Donald Archie MacDonald 

Reference: SA1964.062 

Link: http://www.tobarandualchais.co.uk/en/fullrecord/104487

Response: Dr Alison Mayne 

It’s extremely hard for me to pick one object from the School of Scottish Studies Archives.  I first discovered its treasures when Louise Scollay found a lever arch file full of clippings and letters about Cleekwork and she asked me to make a cleek glove based on a pattern found there.  This work developed into a Handmaking in the Archives event for the University of Edinburgh Festival of Creative Learning.  

Unsurprisingly perhaps, my interest in the SSSA focuses on the world of textiles and wool processing in particular.  The archive is packed with images, stories and songs of sheep, shearing, spinning and the transformation into cloth through knit or weave.  Louise herself selected a Barra waulking song as her favourite object, celebrating the community preparation of tweed.  Coming in a close second for my own favourite is the Tom Anderson 1960 recording of Rosabel Blance singing her own composition of ‘Roo the Bonny Oo’ which magically replicates the sound of a burring spinning wheel. 

However, I knew my special SSSA object had to come from Peigi Anndra MacRae.  With her sister, Mairi, Peigi opened her home to a young Margaret Fay Shaw in the late 1920s and introduced her to the crofting way of life, traditions, stories and music of South Uist.  After her marriage to ethnologist John Lorne Campbell, Shaw remained fast friends with Peigi Anndra as she developed the work which would become Folksongs and Folklore of South Uist. 

Mary and Peggy MacRae
Image used with kind permission from Alex MacRae.

The relationship between folklorist / ethnologist and contributor is fascinating:  There are ethical concerns we are more aware of now which can make the uneven power relations between collector and singer feel uncomfortable; the mantle of expertise may have been borne by the fieldworker, but the incredible depth of knowledge lays with the singer or contributor.  In many ways, the interest lies for me in the process of collecting, not necessarily the item itself. 

Peigi Anndra’s singing of Hò Ro Gur Toigh Leinn Anna was recorded by Donald Archie MacDonald (who worked at the SSSA between 1962 to 1994) in 1964.  It tells of a woman sad that she is unable to take part in waulking the tweed and was composed by Mrs Catriona Campbell of South Lochboisdale. 

What I love is the uncertainty of memory, repetition and occasional pauses of Peigi Anndra’s singing, the quiet interjections of MacDonald where she forgets the words, Mairi calling corrections from across the room, the whirr and click of the reel to reel tape.  Recordings like this are not only significant in recording traditional song and ways of knowing, but in reminding listeners and researchers down the years of the process of recording.  It is a precious reminder that we should not forget the relationships and labour of collecting which have constructed the archive. 

 

Dr Alison Mayne is a researcher in everyday textiles and wellbeing, with additional interests in digital communities and design for older people. She holds awards from Women’s History Scotland, The Pasold Fund and is a University of Glasgow 2020-21 Visiting Library Fellow, supported by the William Lind Foundation.

@knittyphd

 

Image used with kind permission of the MacRae family. Please do not reproduce.

Further resources

There are further recordings from The School of Scottish Studies Collections featuring Peigi and Mairi MacRae. Many of these are available to stream via Tobar an Dualchais.

http://www.tobarandualchais.co.uk/en/searchByTrackId?id=SA1964.062

http://www.tobarandualchais.co.uk/en/searchByTrackId?id=SA1965.118

http://www.tobarandualchais.co.uk/en/searchByTrackId?id=SA1966.081

For more information about Margaret Fay Shaw and her relationship with the MacRaes visit The National Trust:  https://www.nts.org.uk/stories/stories-songs-and-starlings

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Apr 23 2021
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Archives in 70 Objects, SSSA @ 70

SSSA in 70 Objects : A bird living in one of the houses on St Kilda, 1938

Chosen by Stephen Willis, Library Assistant, Centre for Research Collections.

On 29th August 1930, the island of St Kilda was evacuated due to its remote location and a dwindling population. The School of Scottish Studies Archives contains a photo album of St Kilda containing some bittersweet images of an ornithological visit made in 1938 showing the changes that had occurred.

The trip was made by naturalist and writer, Robert Atkinson, along with some people who had lived on the island, Neil Gillies, Annie Gillies and Finlay MacQueen and would return for the summer months. An image that caught my eye was of a wren, which had made its home in one of the abandoned houses.

B332 Robert Atkinson Collection – © The School of Scottish Studies Archives

It is amazing to think of such a tiny bird now ruling the roost in a house made for people. It is a beautiful composition, with the sun shining through the window and the bird looking up. It is perched on what looks like debris from the house which has deteriorated without being heated and maintained for 8 years. From another image in the album it looks like one of the birds, possibly the same one was caught and is being examined, before hopefully being allowed to go on its way.

B333 – The Robert Atkinson Collection © The School of Sottish Studies Archives

(Description: St. Kilda: Wren Caught by Neil Gillies in One of the Houses, July 29th 1938)

The bird seems to be sitting fearlessly in one of the visitor’s hands so perhaps this was because it had no experience of people until that day. As Atkinson said in his book Island Going (first published in 1949),

‘St Kilda wrens left the nest for a world without natural enemies. Their only mortality was accidental’.

Like many people, I have been watching birds more during lockdown and I have noticed how quickly they look to reclaim places that they have been chased away from by human activity. I saw a bird that was walking on the road last May and a car drove over where it was standing. Fortunately, it appeared uninjured and flew away, but it had no road sense because there had been so few cars on the road to learn to be afraid.

Perhaps it is most fitting to end with some words from Robert Atkinson’s on the wrens, which complement the images well:

‘They were so near it was like examining a bird in the hand; their St Kildan characteristics of larger size and stronger, greyer markings, robuster bills and legs, were plain. Pleasant to watch the stealthy bright-eyed approach to the nest, the gabbled transfer of caterpillars, the gentle receipt of the white sac; and to hear the invisible whirr of wings amplified within the dark hollow of the cleit.’

Reference: Robert Atkinson, Island Going (Edinburgh, Birlinn, 2008), Chapter 20

 

You can browse images from the Atkinson Collection on The University of Edinburgh Image Collection website. 

Apr 16 2021
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Archives in 70 Objects, sssa

SSSA in 70 Objects: Bàrdachd Ghàidhlig recordings by Rev. William Matheson

The Words and the Tunes

by Dr Anja Gunderloch

Back in the mists of time, in the second year of my undergraduate degree, the highlight of my week was the Gaelic poetry class with Ronnie Black.  We were working our way through songs from the sixteenth and seventeenth century, unpicking tricky bits of grammar, hunting in Dwelly’s dictionary for the best words to use in our translations, testing each word for its role in the rhymes and alliterations, discovering aspects of Gaelic history entirely unknown to us until then.  The material stretched us but it was also hugely rewarding when things finally clicked into place, sometimes through our own efforts, and sometimes with Ronnie resolving the conundrum for us with a flourish.  William J. Watson’s famous anthology Bàrdachd Ghàidhlig was our textbook, and I still recall my keen delight when I managed to acquire my own copy from ‘Wee Thins’ on Buccleuch Street for what was even then the quite acceptable sum of £4.20.

As we reached the end of each song, Ronnie would position a tape recorder so we could hear clearly and play a recording.  Every time, it felt like a reward for our efforts in making sense of a song.  Sometimes, the tune would go round and round in my head all day.  Suddenly, there was another dimension that we had not quite appreciated even as we took turns to read each stanza aloud before translating.  Not only did the tune show us the metre in greater clarity, each beat falling on a word that was then revealed to have a relationship with another one, it also spoke of the mood of the song, or of listeners of long ago joining in a chorus, or of a poet crafting words and tune into a whole that still resonated after so many years, as singer after singer learned and passed on the songs.  The recordings we listened to came from the Archives, of course.

Black and white image of a man sitting to the left of the frame. He wears a suit and tie. In front of him is a microphone and on the table in front of him there is a reel to reel recording machine

Reverend William Matheson. Image: SSSA Photographic Collection

The singer was the Rev. William Matheson, singing unaccompanied and unhurried, each word clear, important, relevant, just a few stanzas from each song, to illustrate how tunes and words interacted and complemented each other.  I still have my own copy of that cassette tape, latterly transferred to a CD when technology moved on.  It seems that all the songs in Bàrdachd Ghàidhlig that Matheson, a noted scholar of Gaelic song in all its manifestations, knew or tracked down a tune for are represented there.  Nowadays, my first port of call for these songs is Tobar an Dualchais where there are many more recordings of Matheson’s singing.  There is the pleasure of revisiting the songs as I first heard them, and then there is the thrill that comes with listening to another version that Matheson recorded, sometimes a longer one, and sometimes with subtle differences in words, tune, or emphasis, just as would happen in a ‘real’ performance.  I have learned so much about these songs over the years, and I still keep learning and understanding more about the words and the tunes.

 

Dr Anja Gunderloch graduated with First Class Honours from this university in 1990 as the first student who took the then new degree in Scottish Ethnology and Celtic. Anja is lecturer in Celtic at the department of Celtic and Scottish Studies. 

There are 750 tracks by Rev William Matheson – including material from Bàrdachd Ghàidhlig – on Tobar an Dualchais. You can listen online by following this link.

Apr 09 2021
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Archives in 70 Objects, sssa

SSSA in 70 Objects: Òganaich Dhuinn a Rinn M’ Fhàgail

Contributor: Barra Waulking Women

Fieldworker: Thorkild Knudsen

Reference: SA1965.109.004

Response: Louise Scollay

I have a lifelong love – some might say obsession –  of textiles and craft and often this spills over into our collections.  I am always seeking out the hand-made in our archives.

Whilst working from home, I have been listening to material from the sound collections related to wool and spinning. The song Òganaich Dhuinn a Rinn M’ Fhàgail, was performed in Barra as a waulking song – beat-driven songs, performed by women during the process of fulling the newly spun cloth . It is noted that this particular song was also used to accompany spinning and, upon reading that, I didn’t need much convincing to get my spinning wheel out and give it a go myself.

Accompanied by the Wauliking Women of Barra, I spun prepared Zwartbles fibre (a breed of sheep from the Netherlands, which is well established in the UK) and then plyed that yarn with Hebridean wool. These were the two kinds of wool I had to hand – I wouldn’t ordinarily spin two similarly coloured breeds together. It was a pleasing spinning experience doing it to music – although it was hard to keep time  – some breeds of wool and different preparations prefer a slower tempo to others! That beat and the vocables though, stayed with me a long time after the spinning wheel was put away.

While the spinning was a pleasant experience, it was less easy to film oneself in the process at the same time. Nonetheless, here is my spun response to Òganaich Dhuinn a Rinn M’ Fhàgail. 

 

Louise Scollay is Archive & Library Assistant at The School of Scottish Studies Archives.

 

Is there an ‘object’ or connection to the School of Scottish Studies or our archive that you would like to write about or respond to? It could be a recording, an image, a manuscript or something else! Find more information here: https://libraryblogs.is.ed.ac.uk/sssa/sssa-in-70-objects/

 

 

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Apr 02 2021
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Archives in 70 Objects, SSSA @ 70

SSSA in 70 Objects: Borders Ba’ Games

‘They do it yet!’: The surprise of Borders ba’.
Dr Emily Lyle

When I was talking with an old man in Denholm about customs, I had been reading about the ball game there and I asked him if he remembered them playing. I was totally surprised when he told me ‘They do it yet!’, and that was the beginning of the recording for the archive of this living tradition of the Borders for, next time the game was played at Denholm, I was there with the archive photographer, Lesley Davenport. Before the game, she took photos of the balls that were displayed in the windows, and the surprise here was that the game was played with multiple balls which were decorated with ribbons. The balls were provided by couples who were married or had celebrated an anniversary in the previous year.

 

1 A silver wedding ball with white ribbons at Denholm.

The game is handball and when each ball is thrown up to start play, the person throwing announces the sum that will be paid when the ball is returned, like ‘There’s £5 on it!’. We watched the first ball being thrown up in Denholm that day and then observed the players lying in a heap (the ‘strow’) for half an hour or so until we had to leave for an evening engagement in Edinburgh.

 

2. . The opening of play at Denholm.

 

3. The strow at Denholm.  This shows a heap of men on the ground with others standing round them.

The game does not require daylight but can continue after dark.

4. Playing in the twilight at Hobkirk.

 

The players are not distinguished by team colours. They are divided by geographical halves into ‘Uppies’ and ‘Doonies’ and they know each other. The goals, called ‘hails’, are natural or built features that can be more than a mile apart. The players do not drive the ball into the opposite hail but bring it into their own hail

 

 

5. A Doonie player at Ancrum returning after hailing the ba’ over the dyke that forms the Doonie hail.

After a ball is hailed, another is thrown up, but not all balls reach the hails during play for they can be hidden (‘smuggled’) in such places as a milk churn, a rabbit burrow, or the player’s clothing, deliberately worn loose for this purpose.

6. A player at Hobkirk being searched for a smuggled ba’.

 

When a player successfully smuggles a ba’, he is expected to take it to a hail before claiming the payment put on it and he does this when the action of the game is elsewhere.

7. A player at Jedburgh hailing a smuggled ba’ at the Uppie hail.

 

In Jedburgh, the game is played in the streets of the town and the windows are barricaded to prevent damage.

8. Players in a street in Jedburgh.

9. A boarded-up window in Jedburgh.

 

10: A Strow in Jedburgh

Sometimes there is a separate boys’ game before the men’s game.

.

11. Boys playing at Ancrum

 

In Lilliesleaf  the game is played in the fields by school children.

12. Children playing at Lilliesleaf in the snow.

Visitors can take part in these games and are Uppies or Doonies depending on the direction from which they come.

 

The cluster of games in these locations takes place on various dates following the first new moon after Candlemas (2 February) and it is always very cold. The game that was played at Duns ceased in the nineteenth century when there was a snowstorm one year and, when it was resumed in the 1940s, it was as part of the town’s summer festival with barrels in the town square as hails.

13. One of the hails in Duns.

14. Players running through the square in Duns.

The game is generally played at a specific time of year but its early connection with weddings is preserved at Melrose where the game is played after the marriage ceremony. The ball has been updated to a Rugby ball.

15.  An announcement of a wedding ba’ in a shop window in Melrose.

 

If you didn’t already know about the Borders ba’ game, you may have found all this as surprising as I did!

 

Dr Emily Lyle is an Honorary Fellow in Celtic and Scottish Studies and has been with the department since 1970. Her main areas of research have been Scottish songs and customs and Indo-European mythology.

 

Photograph credits  
Please do not reproduce without permission

All images held at (C) The School of Scottish Studies Archives.

Images 1-3 Lesley Davenport

Images 4, 6-8, 11-14 Ian MacKenzie

Image 5 Gisela Stuart

Image 9 Neill Martin

Image 10 Tom McKean

Image 15 Emily Lyle

 

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Mar 26 2021
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Archives in 70 Objects

SSSA in 70 Objects: The Barnyards o’ Delgaty

Contributor: Enoch Kent

Fieldworker: Hamish Henderson

Reference: SA1954.33.a6

Link to the song on Tobar an Dualchais: http://tobarandualchais.co.uk/en/fullrecord/30120

Response by: Robert Fell

This Bothy ballad – rendered beautifully here by Enoch Kent in 1954 – holds a special place in my heart because it was one of the first examples of the genre I heard from The School of Scottish Studies Archives. At the time, I was working towards my undergraduate degree on the Scottish Studies 1B course ‘Creating Scotland’, where this track was used as an example of the unique repository of knowledge that the archives represent. From that moment on, I knew that my academic interests lay in the exploration of our archive and duly shifted the focus of my degree from English Literature to Scottish Ethnology. My current doctoral project has revealed to me that the diverse range of intangible cultural heritage embodied by the archives is truly breath-taking. This researcher, for one, has merely scratched the surface.

Enoch’s ballad belongs to genre of narrative songs associated with the reorganisation of rural Scottish society during the ‘Agrarian Revolution’ of the nineteenth century. ‘Just as the growth of capitalist farming ensured that the farming units were split up into large farms and small crofts’, says David Buchan, ‘it ensured that rural society was divided into a small group of wealthy farmers and a large group of farm labourers’ (1972: 255). These labourers were often peripatetic and sold their labour to farm owners on a six-monthly basis, a procedure known as ‘feeing’. From the 1830s until the late nineteenth century, the feeing procedure was notoriously inequitable and exploitative, in favour of the farm owners, of course. The unmarried labourers would live in Bothan [Scottish Gaelic: ‘hut, cottage’] attached to the farms and pass their leisure time sharing songs.

 

A black and white image of a tightly packed street, with hundreds of people.

Turriff’s Feein Fair in 1890. Image from Peter Cooke’s Collection at SSSA

 

Thus, a ‘new-style ballad grew and flourished […] and the literate descendants of the oral-traditional singers created and sang ballads which have traces of the old style, and which, like the old ballads, grew organically out of a certain set of social conditions’ (Buchan 1972: 268). Buchan goes on, noting that ‘instead of escaping from the hard realities of everyday life by singing about another life’, the Bothy ballad singer ‘relieved his feelings by commenting directly and sardonically on the life he led, day in, day out’ (1972: 268). In The Barnyards o’ Delgaty, for instance, we hear about the poor condition of the farm’s horses, them being all ‘skin and bone’; the narrator rails against the perceived social control exerted by the famer, exclaiming ‘I can drink and no be drunk’ and boasting that he can ‘fecht [fight] and no be slain’; and the central importance of the feeing procedure is writ large by its incorporation in the expressive culture of the farm labourers. The promises of the farmer and the bleak actuality of the farm (Buchan 1972: 262) are thereby negotiated in song, giving us an unparalleled insight into the lived experiences of Scotland’s farm labourers during the nineteenth century. Even this terse examination hints at the rich resource the archives represent for casual listener and researcher alike.

 

Robert Fell is a doctoral researcher in Celtic and Scottish Studies working with the storytelling traditions of Scotland’s Traveller communities.

 

Work Cited:

Buchan, David. 1972. The Ballad and the Folk (London: Routledge & Keegan Paul). Online access via DiscoverEd

 

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Mar 17 2021
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Archives in 70 Objects Image

SSSA in 70 Objects : The reflections of the windows in the stairwell of 29 George Square

Response: Louise Scollay, Archive and Library Assistant, SSSA

On a yellow wall there is a shadow from the window of trees in the garden

I have always had a love affair with these windows, or moreso the scene they project on to the wall.

When I studied at the School, when the Celtic and Scottish Studies Department was housed in 27-29 George Square, I would go from the Library into the 29 to pick up a recorder, or get something from the student pigeon holes and I would catch sight of the reflection and shadow play on the wall and be captivated.  A bit like Alice Through The Looking Glass , you almost felt you could step through. (Or had I taken my classes on liminality too literally?)

Circa 2011

When I returned to 29 George Square as Archive & Library Assistant , in 2017, I was captivated once more.

To be honest it takes me ages to climb all the stairs from the ground floor to my office on the third floor, but it takes even longer when the journey looks like this.  My phone is full of these images.

 

I love how depending on the season, or the time of day, we get a different image painted across the wall.

The different panes of glass are beautiful!

Face to Face services at SSSA have been closed since March 2020 and staff have only had limited access to the building. I have missed a lot of things about the service and the building, but I have really missed watching these shadows and lights grow and shrink on the canvas of the wall over the year.

In the past year the overgrown garden has been cut back, but when I was in recently to do a collections check, I was pleased to see that the shadows and reflections still are something to behold. It almost looks like water, like you could dive in!

 


Images © Louise Scollay
Is there an ‘object’ related to the School of Scottish Studies that you would like to write about or respond to? It could be a recording, an image, a manuscript or something else!
We’d love to hear from you. Get in touch with us at scottish.studie.archives (at) ed.ac.uk

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Mar 09 2021
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Blog, sssa, SSSA

Meet the Team

It is a pleasure to bring the SSSA blog into the world and given that this is our 70th Anniversary it would seem that introductions are long overdue.

Fran Baseby, CRC Services Manager

I am responsible for services that provide access to collections at the School of Scottish Studies Archive & Library, and the Centre for Research Collections. This includes our online enquiries, collections-based teaching, and virtual and physical access to collections. I love that my job enables people to access the collections and experience the immense heritage that they include. Listening to a sound recording or sitting in front of a manuscript creates a unique connection between us as individuals and our collective histories.

 

Colin Gateley, Audio Visual Resources Technician. Digital Library

I started here in 2006 digitising audio for the Tobar an Dualchais project and now I mostly work on the archive’s photo collection. I like the variety of work – digitising photographs, image processing, video editing, and other AV work. And the collection is such a treasure trove – a sometimes surprising record of former lives and culture.

 

Elliot Holmes, Archive & Library Assistant

Elliot sits in the library. There are shelves of books behind him

II am one of the Archives and Library Assistants with the SSSA and have been with the team since early 2020. I have particular interest in Welsh and Scottish folklore and I have written about folklore and the field for my undergraduate as well as my MSc in Information Management and Preservation. For the 70th Anniversary, I will be focusing on LGBT+ collections and developing representation and LGBT+ voices in the archive. One of the things I love about our archive and collections is the sheer amount of oral history and invaluable accounts from a wide range of voices, of which I hope to take even further this year.

 

Cathlin Macaulay, Curator 

I have been working at the School of Scottish Studies for the past twenty years or so, mainly in the Sound Archive, though more recently I have had the opportunity to become more familiar with the Photographic Archive. As Curator I help to care for the archives, to enable people to find material, to make connections and to contextualise the collections.The Archives are full of voices, each with a different story to tell, a different song, a different tune. With its rich variety of knowledge and artistry, the SSSA is a place of continual exploration.

 

Stuart Robinson, Audio-Visual Digitisation Technician 

Stuart sits to the right of a reel to reel machine. He is holding a booklet open and looking at it

II am an Audio-Visual Digitisation Technician for the School. I have been digitising the collections here for over 10 years, I also manage our digital file storage and contribute to our databases and technical systems. I came from a background working in community radio and commercial recording after studying Electrical Engineering.I enjoy working with and maintaining the fragile legacy audio and video carriers and the various devices that allow us to play them and transfer them to new (and hopefully) future-proof formats to ensure they can be accessed safely for many years to come. As a musician I also particularly enjoy hearing performances of traditional music and songs.

 

Louise Scollay, Archive & Library Assistant

Louise is standing in side profile in a card index. She is showing a card to the camera

I’ve been Archive & Library Assistant since SSSA opened the public service in 2017, but my history with the School goes back further as I studied there for my Scottish Ethnology degree and graduated in 2011.

It is an absolute joy working at the front-facing services of SSSA; I love seeing people connect and engage with our collections, particularly our sound archive, it’s like watching someone open a treasure chest! It’s hard to choose favourites amongst the collection, but I have a deep connection to our material from Shetland.

 

Kirsty Stewart, Archivist

I am Kirsty Stewart (Ciorstag ‘sa Ghàidhlig) and I’ve been the archivist for the School of Scottish Studies Archives, one day a week, since we re-opened in 2017. I have a degree in Gaelic Studies from Aberdeen University and did my postgraduate in Archival Studies in University College Dublin, next door to our old friends at the Irish Folklore Archive.

Initially my role was to re-establish the search room service and since then have focussed on managing the needs of our library/special collections and the manuscripts, in particular our administrative records, which tell the story of our 70 year history. One of my favourite things about SSSA is hearing different accents through recordings or their transcripts, these diverse voices that tell the story of our nation.

 

This year is our 70th Anniversary and we look forward to sharing events and content with you. If you would like to be kept up to date with our posts then please subscribe to get new posts straight to your inbox. You can find the subscribe box at the bottom of the page.

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