Category Archives: Blog

SSSA in 70 Objects: Cassette of Annie Arnott Recordings

 

Recently this object was received back to SSSA.

The tape contains several recordings of Gaelic songs performed by Mrs Annie Arnott, of Skye. Born and raised in Linicro, in the Kilmuir district in Skye, Annie learned a large number of songs from her mother, who was descended from the Macdonald bards. Annie was regarded as a great tradition-bearer and she was recorded many times by fieldworkers from the School of Scottish Studies.

You can listen to over 150 recordings of Annie Arnott singing, from SSSA collection on Tobar an Dualchais .

The tape was made for Annie’s Grand-daughter, also named Annie; She sent us a letter to say she had listened to the tapes (this is one of a few she has) many times over the years and she hoped that we might be able to fix it for her.

After a lovely telephone call with Annie, we learned that she remembered well the fieldworkers from the School bringing their huge recording machines to Skye to record with her grandmother. We asked her if she wanted the recordings put on a CD, which she did, but she also was keen to see the tape fixed – if it was possible – as the cassettes are an important item to her.

Fix it we could! It took short work from Stuart, our AV technician, and here it is almost as good as new. This is winging its way back to Skye today.

The same tape as before, but this has now been fixed!

Stuart is going to do a little video for us on tape repairs like this, but in the meantime, here is one he made earlier on fixing a microcassette.

 

It is always special to hear from people who were recorded by the School, or who have memories connected to their family or local area and the recordings in the archive.  Do you have any connections to The School of Scottish Studies or our archives? We would be delighted to hear from you. Drop us an email at scottish.studies.archives@ed.ac.uk or telephone (or leave a message) at 0131 650 3060.

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SSSA in 70 Objects

“Too Principled, Too Honest”

Thomas Ferguson Rodger, Professor of Psychological Medicine

Response by: Dr Sarah Phelan

Recording: Interviews relating to Thomas Ferguson Rodger (1907-1978), interviewed by Sarah Phelan, Various dates (School of Scottish Studies Archives, University of Edinburgh)

Contributor: Dr Sarah Phelan

 

Professor Rodger giving his lecture ‘Some Observations on Mental Health Services in Scotland under the National Health Services Act’ to the Medical Institute of Kiev, 1955.
Image Credit: University of Glasgow Archives & Special Collections: MS Morgan H/1/2.

I have chosen to respond to my own contribution to the School of Scottish Studies Archive: a series of oral history interviews relating to the Glasgow-based psychiatrist, Thomas Ferguson Rodger (1907-1978). Thomas Ferguson Rodger was first Professor of Psychological Medicine at the University of Glasgow (1948-72) and a consultant psychiatrist at several Glasgow hospitals. I conducted these interviews with Rodger’s family and former colleagues as part of a PhD on Rodger’s contribution to twentieth-century psychiatry which was undertaken at the Medical Humanities Research Centre at the University of Glasgow and completed in 2018. Upon being awarded my PhD, I submitted the audio recordings and transcripts of these interviews to the School of Scottish Studies Sound Archive, grateful that my interviewees’ recollections would be carefully preserved and rendered accessible for researchers.

Rodger, known as Fergus to family and friends, was born in Glasgow on 4 November 1907[1] to Thomas and Ellen (nee Allan) Rodger.[2] Rodger had three brothers: William, James and Alan, and the family lived in Glasgow’s West End area.[3]

Upon being awarded a BSc in 1927 and an MB ChB in 1929 from the University of Glasgow,[4] Rodger worked as ‘assistant to Sir David Henderson, at Glasgow Royal Mental Hospital’.[5] Concurrently, he was awarded a Diploma of Psychological Medicine (D.P.M.) from the University of London in April 1931.[6] He then worked under the ‘most influential teacher of psychiatry, Professor Adolph Meyer at the Johns Hopkins University Baltimore’. Between 1933 and 1940, Rodger was again employed at Gartnavel, now as Deputy Superintendent, and also as an Assistant Lecturer in Psychiatry at the University of Glasgow.[7] Working as a military psychiatrist in the Second World War, Rodger was promoted to the ‘rank of Brigadier’ and made important contributions to personnel selection methods.


Sarah Phelan, Trees of Gartnavel, 2020.
Image Copyright: Sarah Phelan

After the war, Rodger took up a position as Senior Commissioner on the General Board of Control for Scotland until 1948, when he was offered the professorship in psychological medicine. He established his department at the Southern General Hospital. During this time, he also fulfilled many prominent positions in official bodies, both domestic and further afield. He received a CBE in 1967.[8]

In 1934, Rodger married Jean Chalmers.[9] They had three children: a daughter, Christine, who became a doctor, practising in cardiology and acute general medicine;[10] a younger son, Ian, who became a quantity surveyor; and an elder son who was Alan Ferguson Rodger, a prominent lawyer, Lord Rodger of Earlsferry and Justice of the Supreme Court of the United Kingdom.[11] Though Rodger possessed many connections to Scottish psychoanalytic circles, he enjoyed a particularly long friendship with John Derg (Jock) Sutherland (1905-1991),[12] who became Medical Director of the Tavistock Clinic in 1947 and, after his retirement, helped to establish the Scottish Institute of Human Relations in 1970.[13] Outside of work, Rodger was enthralled by computers and cybernetics, enjoyed ‘sketching’[14] and was a keen ‘bird-watcher’.[15] Rodger retired in 1972 due to illness in the final year of his professorship and suffered ill-health until his death on 1 June 1978.[16]

My PhD research focused primarily on Rodger’s personal papers held at the University of Glasgow Archives Services.[17] This collection retains a plethora of material from Rodger’s work life including copious typescript and manuscript draft lectures, talks to public and professional audiences, correspondence and intricate patient case records. Rodger’s career, as reconstructed from these papers, supplemented by other archival and published documents, can be viewed as an absorbing opening onto developments in twentieth-century psychiatry. Thus far, the published articles which have stemmed from my PhD have centred upon the interwar and post-war period. In an article for History of the Human Sciences, I explore how Rodger’s heretical psychoanalytic-psychotherapy unfolded within the so-called ‘dream books’, labyrinthian patient case histories recording the dream analysis of five male patients in the 1930s. In these books, Rodger’s contrasting therapeutic allegiances to Freudianism and a pragmatic ‘commonsense’ psychotherapy coalesce, allowing the patient’s shifting trust in and resistance to psychoanalysis to emerge.[18] In a co-authored paper for Cultural Geographies, Prof Chris Philo and I bring Rodger’s interwar psychoanalytic-psychotherapy into dialogue with the ‘new walking studies’, exploring a patient-authored account of a walk in Glasgow’s Botanic Gardens as a ‘psychiatric-psychoanalytic fragment’.[19] Finally, the first paper I published during my PhD contextualises Rodger’s post-war eclecticism, a combination of physical, psychological and social approaches, in relation to his psychiatric education as well as the deinstitutionalisation of psychiatry and the insufficiency of knowledge around certain treatments in the 1950s and 1960s.[20]

Although the archive offered up a rich and cogent portrait of Rodger’s career, oral history-type testimony summoned those more elusive and emotive elements of his life. Rodger’s daughter Christine and son Ian elaborated on Rodger’s youth, disposition and interests, while former colleagues elucidated how his psychiatric leadership manifested and how his personality affected the direction of his psychiatry. These interviews are qualitatively distinct from the archival material I examined, disclosing how Rodger was thought of or remembered by others. They offer a more impressionistic portrait of his standing in relation to his psychiatric contemporaries. In particular, they convey how Rodger was unique or atypical at least in fostering the collegial exchange of psychiatry and psychology. Kenneth Clarke, a psychologist who worked in Rodger’s department, stated that ‘one of the hallmarks’ of Rodger was his integration of psychoanalytically inclined staff with ‘quite hard […] biologically minded psychiatrists’.[21] The psychologist Professor Gordon Claridge evoked the genial, egalitarian atmosphere of Rodger’s department which facilitated this eclectic collaboration. Claridge explained how the department,

was just an unusually relaxed place, both personally and from a professional point of view […] there was nowhere else in the country, I don’t think, where psychologists and psychiatrists could get on so well, were almost treated as an equal really in the face of, you know, a certain amount of tension between psychiatry and psychology and, you know, it was a very rewarding period of my life I have to say (LAUGHS) and, you know, very enjoyable as a place to work […] It was just Glasgow and somehow the department fitted into that, you know, a sort of rather warm inviting place really.[22]

It is difficult to see how something as subjective and evanescent as the sense of easy community recalled by Professor Claridge, and indeed also by his colleagues could be conjured as vividly, if at all, from the written texts in Rodger’s archive.

Rodger was memorably characterised by a psychiatric colleague, Dr Reginald Herrington as ‘too principled, too honest’ and a person who ‘could see a problem from every angle’ (Herrington Interview 10).[23] Researching developments in twentieth-century psychiatry through the biography of a self-effacing and self-critical figure such as Rodger has likely benefited my research, making visible some of the difficulties and instabilities of psychiatric practice during that period, potentially hidden by a more self-satisfied practitioner.

 

Acknowledgements

Thank you to Louise Scollay for assistance and advice during the preparation of this blogpost. I would also like to thank the individuals I interviewed for my PhD. I am grateful to the University of Glasgow Archives and Special Collections for permission to reproduce an image of Thomas Ferguson Rodger in this blogpost and to NHS Greater Glasgow and Clyde Archives for permission to reference archival material. Thanks also to Dr Gavin Miller and Prof Chris Philo for discussing this research with me during my PhD.

This blogpost draws on PhD research which was funded by a Lord Kelvin Adam Smith PhD Scholarship from the University of Glasgow.

 

[1] ‘Biography of Thomas Ferguson Rodger’, (26 February 2013). University of Glasgow Story. http://www.universitystory.gla.ac.uk/.

[2] Christine Rodger: Personal Communication.

[3] Christine Rodger, Interviewed by Sarah Phelan, 2 December 2014, School of Scottish Studies Archives, University of Edinburgh, 13.

[4] ‘Biography of Thomas Ferguson Rodger’, (26 February 2013). University of Glasgow Story. http://www.universitystory.gla.ac.uk/.

[5] A.M.S. (1978) ‘Obituary: T. Ferguson Rodger’, British Medical Journal 1(6128): 1704.

[6] Christine Rodger: Personal Communication; Letter of application, 26 April 1937, Dr Thomas Ferguson Rodger (c.1933-1963), Staff Records of the Physician Superintendent, Records of Glasgow Royal Mental Hospital, NHS Greater Glasgow and Clyde Archives, Mitchell Library, Glasgow, HB13/20/179, 2.

[7] A.M.S. (1978) ‘Obituary: Professor T. Ferguson Rodger’, The College Courant 30(61): 39; Letter of application, 26 April 1937, pp. 2–3.

[8] A.M.S. (1978) ‘Obituary: Professor T. Ferguson Rodger’, The College Courant 30(61): 39; A.M.S. (1978) ‘Obituary: T. Ferguson Rodger’, British Medical Journal 1(6128): 1704; ‘Biography of Thomas Ferguson Rodger’, (26 February 2013). University of Glasgow Story. http://www.universitystory.gla.ac.uk/; Timbury, G. ‘Obituary: Thomas Ferguson Rodger.’ Psychiatric Bulletin, 2(10): 169.

[9] Christine Rodger: Personal Communication.

[10]  Christine Rodger, Interviewed by Sarah Phelan, 2 December 2014, School of Scottish Studies Archives, University of Edinburgh, 1.

[11] Administrative/Biographical History for Papers of Thomas Ferguson Rodger, 1907– 1978, Professor of Psychological Medicine, University of Glasgow, Scotland (Archives and Special Collections, University of Glasgow, May 2012); accessed (16 August 2021) at: https://archiveshub.jisc.ac.uk/search/archives/89c87074-8f6c-33e7-8811-b9960fa6c1b0.

[12] Christine Rodger, Interviewed by Sarah Phelan, 2 December 2014, School of Scottish Studies Archives, University of Edinburgh, 6.

[13] Haldane, D., and Trist, E. ‘Obituary: Jock Sutherland.’ British Journal of Medical Psychology, 65, (1): 3.

[14] Christine Rodger, Interviewed by Sarah Phelan, 2 December 2014, School of Scottish Studies Archives, University of Edinburgh, 11, 12.

[15] Ian Rodger, Interviewed by Sarah Phelan, 26 January 2015, School of Scottish Studies Archives, University of Edinburgh, 12.

[16] Timbury, G. ‘Obituary: Thomas Ferguson Rodger.’ Psychiatric Bulletin, 2(10): 169-170.

[17] Thomas Ferguson Rodger Papers, 1907-1978, University of Glasgow Archives and Special Collections, GB 248 DC 081, Catalogue can be viewed at: https://archiveshub.jisc.ac.uk/search/archives/89c87074-8f6c-33e7-8811-b9960fa6c1b0.

[18] Phelan, S. (2021) ‘A “Commonsense” Psychoanalysis: Listening to the Psychosocial Dreamer in Interwar Glasgow Psychiatry’, History of the Human Sciences (34)3-4: 142-168.

[19] Phelan, S. and Philo, C. (2021) ‘“A Walk 21/1/35”: a psychiatric-psychoanalytic fragment meets the new walking studies’, Cultural Geographies (28)1: 157-175.

[20] Phelan, S. (2017) ‘Reconstructing the Eclectic Psychiatry of Thomas Ferguson Rodger’, History of Psychiatry 28(1): 87-100.

[21] Kenneth Clarke, Interviewed by Sarah Phelan, 31st January 2015, School of Scottish Studies Archives, University of Edinburgh, 3.

[22] Gordon Claridge, Interviewed by Sarah Phelan, 30th January 2015, School of Scottish Studies Archives, University of Edinburgh, 10.

[23] Reginald Herrington, Interviewed by Sarah Phelan, 8th December 2014, School of Scottish Studies Archives, University of Edinburgh, 10.

Dr Sarah Phelan is an Affiliate in School of Geographical and Earth Sciences, University of Glasgow. She was awarded a PhD in Medical Humanities from the University of Glasgow in 2018. Prior to this, she undertook an MSc in the History and Theory of Psychology from the University of Edinburgh. She has published peer-reviewed articles in the journals History of Psychiatry, Cultural Geographies and History of the Human Sciences. Her research interests include the history of psychiatry, the history of psychoanalysis, and the history of dreaming. 

 

 

 

Images are copyright to those attributed in the captions and used with kind permission

Queering the Archive: Chat with Lady Rampant

We once again have another podcast to showcase as part of the ongoing Queering the Archive initiative! For the third in a series of podcasts, Archive and Library Assistant, Elliot, recorded a session with Lady Rampant, Scotland’s political drag queen.

Lady Rampant got her start in the drag scene in Amsterdam, and has worked across both Amsterdam and Scotland. With a background and interest in Law and politics, Lady Rampant has blended politics and drag in her performances and activism. Her work as well as her podcast, Rampant Rundown, has featured causes such as Black Lives Matter, LGBTQ rights, HIV awareness in Scotland, and encouraging voting within Scotland and much more. She has also worked with politicians and political parties as well as Scottish third sector LGBTQ plus charities like TIE Scotland, HIV Scotland, and LGBT Youth Scotland.

Lady Rampant has also recently performed at events at the Edinburgh Fringe, including the pre-show for ‘Everybody’s Talking About Jamie’ the musical, as well as ‘Aye Cons’, a celebration of Scottish drag that platforms kings, queens, and other performers and icons in Scotland.

In this recording we discuss all things performance, drag and politics, the current political climate, and issues facing the LGBTQ plus and specifically the Trans, Nonbinary, Gender Nonconforming community and wider LGBTQ plus community and more.

 

Listen to the podcast with Lady Rampant here: https://edin.ac/2W2BSE7

 

 

You can find Lady Rampant on the following Social Media accounts:

Twitter: https://twitter.com/LADYRAMPANT/

Instagram: http://instagram.com/ladyrampant

Facebook: https://www.facebook.com/ladyrampant/

And the Rampant Rundown Podcast here: https://anchor.fm/lady-rampant

 

Lady Rampant:

The International Scottish Lioness

Best Political Queen GDA 2020

Bookings: DM or email ladyrampantqueen@gmail.com

 

For more updates on Queering the Archive, keep following our blog and Twitter @EU_SSSA.

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Queering the Archive: Podcast with drag king Dorian T. Fisk

 

For the second podcast for Queering the Archive, Elliot sat down with Dorian T. Fisk to discuss representation in the drag scene and elsewhere.  

Dorian is just one of many of Scotland’s Drag Kings and performers. Dorian represented Scotland in EuroStars Drag Contest, drag’s answer to EuroVision, in which Dorian placed in the Top 5. Dorian also runs the collective Shut Up And King, a Glasgow-based platform for Scottish Drag Kings everywhere.

Dorian first got their start in Shanghai, beginning with stage management for shows for Pride and Qi Pow! Burlesque & Cabaret and was inspired by the King Ennis FW, which began the experience and the creation of Dorian T. Fisk. Dorian started as a ‘roadie’ and events manager, and is drawn from “experiences of being a teen in the 80s loving rock music and that sort of glam rock type vibe, and this guy Dorian T Fisk was a bit of a smush of some lead singers from bands I grew up liking long haired dudes and a bit of Johnny Depp thrown in there”. After growing as a performer in Shanghai and representing Shanghai Drag Kings, Dorian came to be in Scotland around 2018 and is now based in Glasgow and has performed across Scotland. 

Dorian has recently performed in London as part of ‘All The King’s Men’, an all Drag King ensemble for Tuck Shop West End at the Garrick Theatre, which also included performers Len Blanco, Tito Bone, Chiyo, Romeo De La Cruz, Louis Cyfer, Richard Energy, Manly Mannington, Sigi Moonlight, Oedipussi Rex, Max Ryder, and Rex Uranus. 

Dorian can also be seen performing in an upcoming gig with Drag Race star Gottmik at AXM Glasgow on the 10th September.  

In this podcast we discuss the drag scene in Edinburgh and Glasgow and wider Scotland, as well as Dorian’s time uplifting kings in the collective and workshops for Shut Up and King. We also discuss EuroStars and what influences Dorian’s drag and the creativity that goes into costuming and performing and much more.

 


Listen to the full podcast on Media Hopper here: https://edin.ac/3s68450

 

 

 

You can find out more on Dorian on their website: https://www.doriantfisk.com/  

And on their socials here:
Instagram: https://www.instagram.com/doriant.fisk/ 
Links: https://linkin.bio/doriant-fisk  

 

Shut Up and King details can be found here:  

Facebook: https://www.facebook.com/shutupandking 
Instagram: https://www.instagram.com/shutupandking/ 
Links: https://linktr.ee/ShutUpAndKing  

https://www.instagram.com/d_knstrkt/  

 

Dorian is currently in the UK and available for bookings: doriantfisk@gmail.com  

You can still get tickets for the Gottmik show at AXM here:
https://gottmik-glasgow-18.intix.com/  

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Queering The Man and Woman’s Love Song

 

An image of our Tale archive with a Progress Pride flag filter. The image includes cabinets, index card boxes on top, and shelving with books above.

 

 

 

Throughout Scottish tradition and history we have heard many iterations of the Love Song, be it through themes of unrequited love, courtship, lamentations at the loss of a lover, or even bawdy tunes and romance. No matter the theme, there is always one thing in common – that they are a man and a woman’s love song. There is not much in the way of recorded queer love in traditional Scottish songs, and it would have been near impossible for these to enter into the mainstream of known love songs. However, in my research on what we hold on the traditional Man’s Love Song and Woman’s Love Song, I have found some content that can be ‘queered’. Through a mix-up of pronouns in song or change of the gender of the singer and the protagonist we can find queer undertones and subtext within these traditional love songs. 

Within the Man’s Love Song, we of course have many examples of songs with a male protagonist describing his love or telling a tale of love about a woman. I will take you through a few examples of songs that can be ‘queered’ through being sung by a female singer and no change of the gender of the person the protagonist loves. Below are just a few example of songs that we hold that can be viewed through this lens. 

For example, there is “Mo Ghaol an Tè Nach Dìobair Mi”. This version, sung by Mary MacRae and recorded by Donald Archie MacDonald is a Man’s Love Song on how ‘he will always stand by beautiful Mary as being a woman of virtue.’ What I like about this version is that the lover is named, and through queering can be seen as a romantic tune about the virtues of women as recognised and sung by another woman. Listen to this track on Tobar an Dualchais linked below:

MacRae, Mary, “Mo Ghaol an Tè Nach Dìobair Mi”, recorded by Donald Archie MacDonald, The School of Scottish Studies Archives, SA1964.062, Tobar an Dualchais / Kist o Riches, http://tobarandualchais.co.uk/en/fullrecord/104516

There are also examples of unrequited love. “Och Mar a Tha Mi ‘s Mi nam Aonar”, sung by Peggy Morrison and recorded by Morag MacLeod is of a man’s love song for a beautiful girl from Lochcarron. The protagonist hopes she gets a man who is worthy of her. As this particular recording is sung by a woman, we can view this recording as being about a woman’s unrequited love for the beautiful girl from Lochcarron, but they cannot be together so she hopes she finds a good man who is worthy of her love. Listen below:

Morrison, Peggy, Och Mar a Tha Mi ‘s Mi nam Aonar”, School of Scottish Studies Archive, SA1975.210.A4a, Tobar an Dualchais/Kist o Riches, https://www.tobarandualchais.co.uk/track/108130?l=en  

There is also another about promises of marriage, sung by Nan MacKinnon, in “Gur Tu Mo Chruinneag Bhòidheach.” In this love song, ‘a man praises his beautiful darling. He would do many things if she promised to marry him’. Different from Och Mar a Tha Mi ‘s Mi nam Aonar”, this song allows for a reading of a woman promising many things to her lover if she married her, and is not about unrequited love or not being able to marry the lover described. Listen below:

MacKinnon, Nan, “Gur Tu Mo Chruinneag Bhòidheach”, School of Scottish Studies Archive, SA1958.132.5, Tobar an Dualchais/Kist o Riches, https://www.tobarandualchais.co.uk/track/97353?l=en  

 

 

There are also a few examples of The Woman’s Love song as sung by men about a man the protagonist longs for or is telling of love for him. Although we have less examples of men singing the Woman’s Love song, there are still more recordings of this type within the collections. 

 

The song “Ò Hù Tha Mo Ghaol air Òigear a’ Chùil Dualaich” is a, ‘woman’s love song to the young man with the beautiful hair.’ This version is sung by John MacLeod and recorded by Polly Hitchcock. Again, through the singer being male, we can hear the description of his love and admiration of the man with beautiful hair.  Listen below:

MacLeod, John, “Ò Hù Tha Mo Ghaol air Òigear a’ Chùil Dualaich”, School of Scottish Studies Archives, SA1951.43.A7, Tobar an Dualchais / Kist o Riches, http://tobarandualchais.co.uk/en/fullrecord/90295

 

In “Cha Bhi Mi Buan ‘s Tu Bhith Bhuam”, the singer, ‘will not survive if she is parted from her beloved, whom she has loved since she was young. She sits on the hillock, looking over the narrows seeing his boat passing.’ This version sung and recorded by Calum Iain MacLean can be viewed about the sadness of the childhood lover leaving for sea and being so in love it is difficult to part with him. Listen below:

MacLean, Calum Iain, “Cha Bhi Mi Buan ‘s Tu Bhith Bhuam”, School of Scottish Studies Archives, SA1953.79.1, Tobar an Dualchais / Kist o Riches, Tobar an Dualchais

 

  

 

 

With Queering the Archives, we are creating a finding-aid to help other’s locate queer and related records. If you are interested in responding to these recordings with your own work or researching our queer collections, please do just get in touch with us. Visitor Information | The University of Edinburgh 

Why not take a look at the material we hold remotely on Tobar an Dualchais and think of ways in which our sound recordings can be ‘queered’? If you are interested in recreating our material in any form, please get in touch with us or submit an access to digitised collections form directly. Access to Digitised Collections | The University of Edinburgh 

As always, we would love to hear thoughts on the material we hold and would love for you to work with us and our records. 

Queering the Archives will have our very first workshop held on the 25th August from 13.00 – 15.30. This is a public workshop and is open to all under the LGBT+ and Queer umbrella and allies. Get your tickets here: https://www.eventbrite.com/e/165396797273 

This will take you through understanding of queering, what we are doing for Queering the Archives, and working with our queer records and will involve discussion and practical work on improving our search-terms and catalogues. Access to event via QR code below:

 

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Upcoming Events Celebrating SSSA at 70

As part of our ongoing celebrations for our 70th Anniversary, we are delighted to announce some events which are coming up in August.

Fieldwork & Creative Engagement: Oral History of Port Glasgow Women

Thursday, 12 August 2021, 14:00-16:30.

Online, via Zoom.

Free, but ticketed via Eventbrite:
https://www.eventbrite.co.uk/e/157935676861

Our two presentations are rooted in the lived experience of women in the shipbuilding communities of Port Glasgow, recordings of which are held in our collection. Through our presenters’ fieldwork – undertaken almost 30 years apart – we see the importance of fieldwork, the collection and preservation of oral history recordings. It is from this perspective we will explore the value in creative reuse of archive recordings.

Speakers:

Dr Hugh Hagan, Head of Public Records Act Implementation at the National Records of Scotland, is passionate about the shipbuilding communities of Port Glasgow and Greenock on the lower reaches of the River Clyde, particularly in the inter-war period. These towns, being removed by some distance from the large and diverse economy of Glasgow, depended entirely on shipbuilding and they developed a very particular sense of community. This was the subject of his PhD research at the School of Scottish Studies in the 1990s and he will draw on that research, specifically the role of women in these communities, in his talk.

Martine Robertson and Hannah Wood, of GaelGal Productiions, were undertaking studies at the Department of Celtic and Scottish Studies, University of Edinburgh, when they attended a lecture by Hugh Hagan, about his Port Glasgow work. They were galvanised to revisit this fieldwork, recording new material with the family of Cassie Graham, one of Hugh’s contributors. They have also been inspired to take these stories to centre stage, lifting the voices and experience of women of the Port Glasgow community and using these recordings in their creative practice. The presentation at this event is but one postcard-sized venture into their ongoing creative piece, What A Voice.

Q&A

After the presentations we shall have a short break, followed by a chaired question-and-answer session with our presenters. Participants are encouraged to submit questions in the chat facility during the papers and the break.

This session is open to anyone who wishes to attend and those with a particular interest in collecting, researching, or creating with oral history recordings. Please register for the event via the link to Eventbrite. Joining instructions will be sent with your ticket.

colour photograph of a reel to reel machine in action. The focus over the reels is blurred to show the fast movement

SSSA at The Edinburgh International Festival

There will also be two special events centring on the work of The School of Scottish Studies (Celtic and Scottish Studies Department) and on music, songs and singers within the collections here at SSSA. These events are hosted by EIF, and you can buy tickets from the website links provided.

A Folk Song Sharinghttps://www.eif.co.uk/events/university-of-edinburgh-a-folk-song-sharing

Sunday, 8 August, Old College Quad. 15:00

An intimate intergenerational exchange of songs and their stories: three artists share their favourite songs, how they came to sing them, the story behind each song and how their interpretation evolved. Features performances from Nancy Nicolson (Scots song and story), Josie Duncan (Scots, Gaelic and original song) and Arthur Cormack (Gaelic song).

 

The Living Archive – https://www.eif.co.uk/events/university-of-edinburgh-the-living-archive

Sunday, 8 August, Old College Quad. 20:00

A range of song, music and dance inspired by material from the School of Scottish Studies Archive. Performances inspired by material from the School of Scottish Studies Archives from Kirsty Law (Scots song), Mary MacMaster (clarsach, electro harp) and Mike Vass (fiddle, tenor guitar) with Sophie Stephenson (dance).

 

To be kept up to date with the events happening for our 70th anniversary, please follow our blog here or find us on twitter https://twitter.com/EU_SSSA

#SSSAat70

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Queering the Archive: Chat with Rufus Elliot and Rylan Gleave from OVER/AT and their new EP, “Folk’s Songs”

 

 

An image of some of the SSSA collections and shelving with the progress pride filter added. Bottom text says Queering The Archive in white.

 

As part Queering the Archives, we will feature conversations and podcasts with various people undertaking work and projects that feature LGBT+ voices and representation. My first conversation is with musicians and vocalists Rufus Elliot and Rylan Gleave about their work with OVER/AT and their new EP, “Folk’s Songs”.

 

“FOLKS’ SONGS is a new E.P. from the trans music-making world of OVER/AT. It comprises three exclusive, newly commissioned audio pieces by three Scotland-based trans, non-binary, or other gender-minority artists: new songs for/by/with the Folk. It is unlike any trans music-making which has come before it in Scotland.”

 

Rufus is a composer and musicians and founder and producer of OVER/AT, “a trans nonbinary and gender diverse music making world” that works directly with Scottish and Scotland based trans, nonbinary, and gender diverse musicians. OVER/AT is designed to empower and create imaginative responses from trans voices. It commissioned three artists to make pieces, responding to the idea of the trans voice. This included Malin Lewis, Harry Josephine Giles, and Matthew Arthur Williams. They each made completely different responses to that idea that made up the EP of “Folk’s Songs”.

Rylan Gleave is a composer and vocalist based in Glasgow, who also teaches singing and has produced and worked on the OVER/AT project. Rylan held introductory vocal workshops and individual lessons with some of the artists from the EP. He also recorded Viv singing Out of Existence, on Rufus’ direction, due to C19 restrictions. Alongside Rufus, Rylan created some accessible singing resources, including making audio voice-overs and BSL interpretation to go on the website

The EP is an incredibly visceral record that takes you through the trans, nonbinary, and gender diverse music experience through the voice and its eclectic sounds. The EP explores the idea of speaking out, the voice, and trans voices and spaces and being empowered to explore our voices. The voice is something that can be so personal to each trans experience and the EP is an example of how strong the trans voice and creativity is, as well as showing how trans, nonbinary and gender diverse Folk can use the voice and create spaces in the music scene and beyond. It was a joy to chat everything OVER/AT and the EP with Rufus and Rylan and delving into the influences of the EP and their own work, as well as trans and queer representation in music and elsewhere.

 

Listen to the podcast here:

https://tinyurl.com/yah5j8vr

 

 

 

“Folk’s Songs” was released March 26, 2021.

artwork – Jamie Crewe
additional design – Leo Valenti
producer – Rufus Isabel Elliot
mixing and mastering engineer – Kay Logan

track 1 recorded by Malin Lewis
track 2 recorded by Matthew Arthur Williams & Joel Cu
tracks 3-7 recorded by Rylan Gleave
track 8 recorded by Matthew Arthur Williams and Rufus Isabel Elliot

The work was made possible by Sound and Music’s Composer-Curator programme, and supported by Creative Scotland. Composer-Curator is supported by Arts Council England and PRS Foundation.

Find further information on OVER/AT and purchase “Folk’s Songs” on Bandcamp here: https://over-at.bandcamp.com/  Access the learning resources here: https://www.ambf.co.uk/learning-resources

Find more about Rufus here: https://www.ambf.co.uk/

Find more about Rylan here: https://www.rylangleave.com/

And check out the album, “Not Passing” here: https://comfortglasgow.bandcamp.com/album/not-passing

 

 

 

Written by Elliot Holmes.

Elliot is one of the Archives and Library Assistants at the School of Scottish Studies Archives and uses He/They pronouns. You can also find him on twitter @elliotlholmes

Follow @EU_SSSA on twitter for updates and sharing our collections.

Please do feel free to get in touch with Elliot to take part in a podcast or other Queering the Archive blogs and information on the workshop and future events!

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Queering the Archive: Drag in the School of Scottish Studies Archives

For our second blog and part two to the last blog Queering the Archive, join us as we celebrate the cultural records of ‘drag’ in the archives.  

Drag is described as a gender performance artform for entertainment. The term itself developed in British theatre circles in the 19th century but drag has been around as a theatrical and performance artform since ancient history. Drag as performance in Britain is often cited back to being historically popularised in theatre and the plays of Shakespeare and his contemporaries. As was the same with performance in ancient Greek plays, male players could take the stage and thus would have to dress as women for their performance. While drag on stage was acceptable, off the stage is another story entirely. Cross-dressing was illegal and clothing was strictly regulated to gender, and arrests were made if individuals were not viewed as wearing enough articles of clothing within their perceived gender. Generally, theatric circles were one of the only places where drag was accepted in the general public sphere. LGBT+ identities were kept underground due to criminalisation and societal attitudes. Drag was kept in the sphere of performance, literature, bawdy tales, ballads and broadsheets with a few popular and break-out drag and impersonation performers. Drag itself has thrived in queer circles throughout history and has been an important aspect of queer art, performance, and transgression and identity. The first person to self identify as the ‘queen of drag’ was William Dorsey SwannIn the UK, the first drag queen is credited as Princess Seraphina and was a staple of “Molly Houses.” In British stage circles, male impersonation was popular in the Music Hall scene and elsewhere with performers such as Vesta Tilley. 

Within the School of Scottish Studies Archives, we have examples of ballads, songs, and cultural tradition that describes drag as performance and entertainment. While the records I have selected are not evidence of queer transgression and identity that comes with drag and gender performance, it is evidence of what exists in the Scottish public sphere of tales and cultural life alongside the previous blog of the ‘Cross-Dressing’ ballads. These oral history accounts describe cultural aspects and accepted fluidity of performance and tradition.  A kind of  ‘drag performance was relatively popular in some Scottish cultural traditions. Through Christmas and New Year’s guising and galoshins customs, both children and adults would often dress in a form of drag for fun and fancy-dress. Guising involved groups of people going from door to door or taking part in singing, playing music, dancing and festivities. Hugh Jamieson, recorded in Gott, Shetland, describes some of the outfits when recorded by Alan J. Bruford.  ‘The guisers dressed in home-made outfits with false faces [masks] bought from the shop. The men dressed as women and the women as men. They would dress in wigs and wide skirts, with whiskers made from sheepskins.’ (SA1974.216) Jamieson fondly recalls this custom when asked of dressing up and guising and the fun that was had. 

Wat Ramage, recorded at Westruther, describes the songs that were sung and traditions of guising, and how as children: ‘the laddies were made to dress up in women’s clothes, and the lassies would dress in the boy’s clothes.’ (SA1977.205)

Drag and dressing up as characters and creatures was also common in galoshin’s plays themselves and drag in Scottish cultural tradition and customs can be viewed as a form of shared fun and taking part in festivities and theatrics. Of course, drag was not the term that would be used, but the theatrics of dressing up is remembered fondly and put quite simply by Jamieson and Ramage. Drag is also something that exists in many other culture’s traditions and plays outside of Scotland and can be an example of how drag has been shaped by cultural tradition and forms of theatrics and has always existed in different forms in the accepted public sphere throughout history.

Of course, this is just a brief example on the history of drag and performance as well as Scottish cultural traditions and is not a complete history. Drag goes beyond the binary and remains a transgressive artform that is a key part of queer history and the history of performance and tradition. This blog is an attempt to illustrate how our records can show fluidity and societal attitudes in Scottish cultural tradition and theatric spaces.

 

The records selected from our collection can be accessed via Tobar an Dualchais. This includes but is not limited to: 

Hugh Jameson, ‘Guising at Old Christmas anNew Year’. Recorded by Alan J. Bruford. (SA1974.216) http://tobarandualchais.co.uk/en/fullrecord/48475 

Donald John MacDonald, ‘Duan na Callaig’. Recorded by John MacInnes. (SA1966.064) http://tobarandualchais.co.uk/en/fullrecord/57790  

Wat Ramage, ‘Galoshins’. Recorded by Dr. Emily Lyle. (SA1977.205) http://tobarandualchais.co.uk/en/fullrecord/42571 

 

 

 

This blog is part of the ‘Queering the Archive’ initiative, which involves intervention workshops as well as blogs of application of queer theory. See past blogs for further details of ‘Queering the Archives’. If you are interested in taking part in the workshops, or if you are interested in researching LGBT+ recordsusing our collections for your work, or working with us, please contact eholmes@ed.ac.uk  

 

Written by Elliot Holmes. 

Elliot is one of the Archives and Library Assistants at the School of Scottish Studies Archives and uses He/They pronouns. You can also find him on twitter @elliotlholmes  

Follow @EU_SSSA on twitter for updates and sharing our collections. 

Queering the Archive: Cross-Dressing Ballads in the School of Scottish Studies Archive

As the first in our series of blogs as part of ‘Queering the Archive’ initiative, I discuss some infamous ‘cross-dressing’ ballads within our collections.  

Here at the School of Scottish Studies, we hold many records of the popular cross-dressing ballads that exists in Scottish oral tradition and traditional songs. Protagonists of these forms of ballads and songs are often women. These ballads involve a humorous tale of women in forms of drag and concealment as a way to engage in male public life or work. Common forms of this are cross-dressing sea-ballads that describe the protagonist entering the workforce. Women were excluded from joining the ranks of the navy and any work at sea was relegated into different roles for men and women. As such, the selected ballads can be viewed as a way of subverting gender roles and societal expectations through drag and cross-dressing. While these are not necessarily queer stories, we can apply queer theory to these records thus allowing us to queer the archive and Scottish sounds. 

 

This blog was originally created in mind to not only provide my own point of interest in just some of the examples of the ‘queer’ in the archive but to introduce application of theory and some of my own thoughts to the records. Though I do not see these as records of particular LGBT+ identity, they are examples of the ‘queering’ of records and application of queer theory. 

Content warnings apply within this blog and for some of the sound material for sexual content, issues in consent, and themes and depictions of gender that some may find uncomfortable. 

 

The first ballad to be discussed is The Banks O’ Skene, which describes how a young female protagonist sought work in the navy and disguised herself in “men’s clothing”. The protagonist is apprenticed to a heckler and sings of how “the girlies all fell in love with me below The Banks O’ Skene.” This can be seen as subversion of expected gender roles and exploration of sexuality and performance that wouldn’t often be afforded to women. However, later in the ballad the protagonist is discovered by her master and the ballad continues with bawdy descriptions of exposure of identity, drinking, and her master, “taking her maidenhead” and the ballad ending in pregnancy and marriage. While intended as a humorous tale, it reflects issues and attitudes of the life of women working on ships and the reasons given why women working aboard naval vessels were frowned upon due to notions of sexual relationships, pregnancy, and conflict. Through application of queer theory, this turns into a tale of a female protoganist gaining freedom in male fields of work and performance, but ultimately having to fall to her expected female role of sex and marriage. 

Another example of a similar style of cross-dressing ballad is The Handsome Cabin Boy, in which the female protagonist disguises herself as a young cabin boy. She is described by the sailors as handsome and pretty in most versions of the ballad, while she is still ‘disguised’ as male. Her identity is only ‘discovered’ once she gives birth to the Captain’s baby. This song is similar in style and content as The Banks O’ Skene, again singing of the benefits of navigating the world disguised as a man, and later the problematic exposure narrative and relegation of roles of birth and marriage. A different queer narrative can be applied to this in the example of the hidden sexual relationships of sailors and the attraction the other sailors felt towards the protagonist when she was viewed as The Handsome Cabin Boy 

There is also another known cross-dressing ballad of Billy Taylor, or Willy Taylor. A jilted lover of Billy Taylor disguises herself as a man and finds work aboard his ship. She discovers Billy with another woman and shoots him. The Captain of the ship is so impressed by the bravery and act that he makes her commander of the ship and gives her a hundred men. This ballad is different from The Banks O’ Skene and The Handsome Cabin Boy, as while it does involve the typical problematic and often times literal exposure narrative of these ballads, it does not feature a sexual relationship that ends in discovery and pregnancy. It instead follows the ballad and protagonist archetype of a romantic heroine that takes revenge on her cheating lover. This ballad begins and ends with subverting gender roles through taking on work as a man of lower status on the ship to ultimately becoming highly ranked to a Captain when the protagonist is no longer ‘cross-dressing’. 

Not all cross-dressing ballads follow a life at sea. There is also the ballad, The Famous Flower of Serving Men, in which the female character of ‘young Ellen fair’ cuts off her hair and becomes ‘young Willie Dare’ after an attack on her life and child by her step-mother. She later goes to find work dressed as a man, and gains a job in the castle, initially as a stable boy. However, because Young Willie Dare is so handsome, which is acknowledged by her Master and the working men, she gains rank as a serving man. The Master later finds out her identity and marries her because she is so beautiful and handsome. Other ballads follow the young protagonist entering the military, such the group of ballads, “The Female Drummer”, “The Solder Maid”, and “Wi my Nice Hat and Feather”. The groups of ballads also involve similar narratives of entering the male sphere of work and roles in the military, with some queer attraction. In the version of “The Female Drummer” sung by Margaret Jeffrey, it is noted that “Although [the protagonist] pretends to be a young man, she is so beautiful that another girl falls in love with her”, however it is also related to aspects of heteronormativity by the end of the ballad, “She is told that if she ever gets married and has a son, she should send him to learn to play the drum.” 

We also hold many more examples of these types of ballads, as well as examples of cross-dressing ballads where men were dressed as women. This is also often used as a form of anecdotes and tales, where men were dressed up to escape a skirmish or the authorities. The most famous of these songs surround Bonny Prince Charlie dressing up as a female maidservant to escape to the Highlands, which includes the songs Moladh Mòraig‘ [Marion’s Wailing’, and many more. Other examples of this cross-dressing narrative, includes the tale of Mac Iain Bhàin Ghobha and the robbers”. The Gaelic tales describes how Mac Iain Bhàin Ghobha’s partner leaves for America to find where work as a servant. She is later captured and taken to a cave of robbers, in which she finds Mac Iain Bhàin Ghobha dressed as a woman. They fight and deal with the robbers and gain money for bringing them to justice. They both marry once they return to Scotland with their new riches. The majority of these ballads or tales are Romantic in nature and feature a brave heroine, a daring protagonist, or forms of escapism and running away and heroics. It is notable that most of these ballads and tales also end in finding love in heterosexual marriage, thus relegating any subversion of binary gender roles or examples of any kind of sexual fluidity and exploration back to the traditional heterosexual spheres of marriage. 

 

We can apply queer theory to these records in the sense that the ballads often explore subversion of binary gender roles and include some form of queer attraction and aspects of fluidity. However, these ballads are often told and passed down through a cisgender and heterosexual lens. Some ballads reduce queerness and cross-dressing to mockery, and at times, dangerThemes of deception can be common which can make some an uncomfortable listen when considering themes and narratives of these forms of ballads. Almost all of the ballads in our collections end in a heterosexual marriage and raises questions about the context of expected societal roles and views of fluidityQueering the Archive will allow us to analyse these records and more through queer theory within the workshops and beyond. 

 

The records discussed in this blog are available for listening on Tobar an Dualchais: 

 

“The Banks o Skene”. George Hay recorded by Hamish Henderson. Aberdeenshire, Skene. SA1957.17.A3 http://tobarandualchais.co.uk/en/fullrecord/20800  

“The Handsome Cabin Boy”. Jeannie Robertson recorded by Hamish Henderson. 
SA1954.72.B8  http://tobarandualchais.co.uk/en/fullrecord/2363 

“Billy Taylor”. Robb Watt recorded by Arthur Argo. 
SA1960.255.A4 http://tobarandualchais.co.uk/en/fullrecord/82824  

“The Famous Flower of Serving Men”. Jeannie Roberston recorded by Hamish Henderson, SA1954.103.A1; SA1954.103.A2, 525  http://tobarandualchais.co.uk/en/fullrecord/38037  

“The Female Drummer” Margaret Jeffrey recorded by Hamish Henderson.
SA1956.123.A5,  http://tobarandualchais.co.uk/en/fullrecord/20185  

“The Female Drummer”. Donald George Gunn recorded by Donald Grant.
 SA1963.87.A9  http://tobarandualchais.co.uk/en/fullrecord/48437  

“The Soldier Maid”. Rob Watt recorded by Arthur Argo.
SA1960.253  http://tobarandualchais.co.uk/en/fullrecord/59181  

“The Drummer Maid” James Laurenson recorded by Alan J. Bruford.
SA1973.62.A5   http://tobarandualchais.co.uk/en/fullrecord/75663  

“Wi my Nice Hat and Feather”. Jimmy Taylor recorded by Hamish Henderson.
SA1952.32.B18 (B25) http://tobarandualchais.co.uk/en/fullrecord/46812  

“Moladh Mòraig”. Pipe Major Robert Bell Nicol recorded by Pipe Major Neville MacKay.
SA1964.264.B2  http://tobarandualchais.co.uk/en/fullrecord/71946  

“Mac Iain Bhàin Ghobha agus na robairean” Angus MacLellan recorded by Donald Archie MacDonald, SA1963.57.A2  http://tobarandualchais.co.uk/en/fullrecord/78752  

 

(There are also other versions of these ballads on Tobar an Dualchais. To find our records, select School of Scottish Studies only within Advanced Search. All of our records will be listed under SA.) 

 

 

If you are interested in taking part in Queering the Archive workshops, or if you are interested in researching LGBT+ records or using our collections for your work, please contact eholmes@ed.ac.uk  

 

Written by Elliot Holmes. 

Elliot is one of the Archives and Library Assistants at the School of Scottish Studies Archives and uses He/They pronouns. You can also find him on twitter @elliotlholmes  

Follow @EU_SSSA on twitter for updates and sharing our collections. 

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Queering the Archive: An Announcement of a New Initiative

We are excited to announce the work on our new Queering the Archive initiative. This initiative aims to increase representation of LGBT+ records within our collections. 

Queering the Archive will hope to investigate the gaps in our collections and cataloging to improve LGBT+ representation with aims for further development and active archiving in the future. The initiative is a part of our 70th Anniversary plans and will be included in a series of events over the rest of the year. The initiative will allow us to go forward in improving marginalised and underrepresented voices and material. 

 

An image of progress pride. It Includes the rainbow flag design, with arrows to the left of the trans flag and representation of people of colour in pride and the community.

Progress Pride Flag


There are unfortunately little accounts of LGBT+ histories and recordings in the School of Scottish Studies Archives. 
In particular, there is little representation on queer folklore, folk narratives, or songs in a wider historical and archival setting. LGBT+ histories are sometimes ‘hidden’ histories, either through historical context on discussion of LGBT+ identity and topics, lack of archiving or archival interest, or a lack of appropriate and inclusive search-terms and cataloging that reflects queer identities.

 

Queering the Archive will begin with an intervention and discussion workshop.

 

The workshop will provide a starting point to actively work with the community to discuss our collections, representation, as well as crowd-source search-terms for improvement of cataloging developed by and for the LGBT+ community. 

Workshops will allow participants to engage with our records and active intervention through crowd-sourcing and discussion. It is our aim to work with the community, skill-share, and offer meaningful collaboration and discussion as much as possible throughout the initiative. It will introduce you to our collections, queer theory, and investigations into our LGBT+ and related records.

Workshops will be completely free and led remotely via Zoom, and will utilise other platforms.

Dates are to be announced. 

 

 

We will also be producing a series of blogs exploring the initiative and application of queer theory to our collections with further discussion. 

The next blog will explore queering the collections through the popular and infamous ‘cross-dressing’ ballads and exploring the queerness and issues of LGBT+ representation in the context of the selected ballads and traditions.

We will also be exploring the work ‘behind the scenes’ of Queering the Archive through our blogs and we will include other exciting material and updates!

 

 

If you are interested in taking part in the workshops, researching LGBT+ recordsusing our collections for your work, depositing your work and records, or working with us for Queering the Archive, please contact Elliot.Holmes@ed.ac.uk  

 

Written by Elliot Holmes. 

Elliot is one of the Archives and Library Assistants at the School of Scottish Studies Archives and uses He/They pronouns. You can also find him on twitter @elliotlholmes  

Follow @EU_SSSA on twitter for updates on the 70th Anniversary, Queering the Archive, and sharing our collections. 

#SSSA70 #QueeringSSSA

 

 

 

The term Queering has been used by many across the Gallery, Library, Archive, and Museum, (GLAM), sector with many launching queering initiatives to expand and represent LGBT+ histories. We will be using the term Queer as a catch-all term, and the term Queering in regards to application of queer theory and approaches. We will also be using the term LGBT+ throughout the initiative. 

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