When Gandhi was asked what he thought of Western culture he said he thought it was a good idea

The Cultural Renaissance of the Highlands

Bryan Beattie & David B Pirnie

Cultural Renaissance of the Highlands and Islands

1.

RENAISSANCE?

Context Are we living through a cultural renaissance in the Highlands and Islands?

It’s a significant claim to which the short answer, we would propose, is ‘yes’, but one that is still in its infancy and needs careful nurturing.

The circumstances are right for a renaissance - the area’s sustained upswing in economic and population growth; the continued focus on national and regional identity created by devolution; and, we would suggest, an expectation that things need to improve.

The European Renaissance of the 15th century arrived “after a long period of cultural decline and stagnation… characterised by a surge of interest in discovery, invention and learning”1.

Do similar circumstances apply in the 21st century Highlands? There was a long period of cultural decline following the Jacobite rebellion. The legal proscription of fundamental elements of Highland culture was compounded in the following centuries by the often calculated erosion of language and the social system.

In his excellent millennial history of the area2 which provides valuable historical context to a discussion such as this, Jim Hunter charts the beginning of the renaissance of the Highlands and Islands to the 1880s and a growing political awareness and activism in the area.

His work indicates that the fact we are still able to debate the matter at all almost three centuries on is a sign of an enduring, deep-rooted culture.

1

Encyclopaedia Britannica

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The Cultural Renaissance of the Highlands

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We would propose that this resilience coupled with new political impetus regionally and nationally, could result in an extraordinary flowering of Highland culture in the 21st century.

What is it?

The National Cultural Strategy provides a comprehensive definition of culture3 which we endorse, but Donald Smith is pithier; “Culture is shaped and influenced by landscape, climate, economic,

social and religious organisation and in turn can shape and influence these areas – except perhaps the weather.”4 Contemporary Highlands and Islands communities have been shaped by immigrant cultures - Nordic, Gaelic, Irish, Lowland Scot, English and increasingly the assimilation of other European and Asian cultures, among them Polish, Italian, and Indian.

Highland culture is therefore a celebration of diversity, not a homogeneous type - a Shetlander would no more call himself a Gael than a Moray loon claim he was a Muilleach – and attempts to pigeonhole the culture simplistically should be resisted.

We would argue for an inclusive definition of Highland culture – one which recognises the breadth of geography, of cultural disciplines, and of origins – a culture that respects the Pakistani as well as Pictish influence and acknowledges the contribution of the skateboarder and line-dancer as well as the weaver and piper.

It is impossible to separate issues of the land from the culture of the Highlands and Islands. The landscape is a powerful omnipresent influence, and land ownership and use pervades the nature of all its communities.

2

‘Last of the Free’, James Hunter (Mainstream, 1999) “In its widest sense culture may now be said to be the whole complex of distinctive spiritual, material, intellectual and emotional features that characterise a society or group…” National Cultural Strategy, Scottish Executive, 2000 4 Donald Smith, Director of Edinburgh’s Netherbow Centre, private correspondence, 1997 3

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Interestingly, the European Renaissance witnessed the decline of feudalism. Perhaps recent landmark legislation on land reform from the Scottish parliament is therefore another indicator of a growing Highland renaissance?

Where is the evidence of renaissance?

This is not a time for negativity – there are too many positives to consider – but it is a time for an honest assessment of the cultural environment and a pragmatic approach to its development.

If in this paper we appear to focus too much on the downside it is merely to emphasise the tremendous potential, rather than ignore existing good practice.

So, how substantial is this current cultural renaissance of the Highlands and Islands?

Where is the evidence? And would the sceptical eyes of the resident population recognise it?

In a recent list of the 50 Scots who are allegedly shaping world culture5 only two hail from the Highlands and Islands: the Shetland fiddler Aly Bain, and the Argyll novelist, Alan Warner. Not a scientific study, but revealing of external perceptions.

Perhaps more acutely, despite imagination, collective effort and a substantial financial contribution from the leading regional and national public agencies, the recent Inverness Highland 2008 bid for the title European Capital of Culture failed to make the competition shortlist.

There are few theatres, cinemas, quality sports venues, or adequately invested-in museums, in the area. If you take a conventional view that culture by and large takes place in purpose-built buildings and arenas then the Highlands and Islands is indeed in some degree of poverty.

Are these signs of an area in cultural renaissance?

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We would maintain, however, the culture of an area is primarily shaped by its physical environment, its people and the things they do, and on that basis the Highlands is rich indeed.

Our assets are unconventional – we have no Old Trafford, Tate Modern or Covent Garden. But then other areas have no Cuillin, River Spey or Maes Howe. It is difficult, redundant perhaps, to measure our assets against ‘conventional’ cultural provision.

The voluntary sector is the bedrock of Highlands and Islands cultural life. They ensure the presence of over 30 independent museums, 1,3006 sports clubs, 2,000 arts organisations and over 5,000 events, performances and festivals each year that attract 1.5 million people7.

Arts and sports organisations alone involve 31,500 local people, generate £65m per annum and create 1,600 full time jobs, 3,000 part-time, and 2,100 fte’s8.

People are interested in culture. In Orkney over 10% of the population participate in the arts alone9. Almost 60% of Highland adults participate in sport10. Highlanders attend music events three times more than the rest of Scotland, and contemporary art exhibitions twice as often11.

Highland culture should, we propose, be considered as a natural resource which is as yet under-exploited. It merits at least the same care and investment from the public sector as any other natural resource – and has the added benefit of being continually renewable.

Statistics, though impressive, are only part of the picture. There are specific green shoots of a renaissance that can be pointed to: Achievements such as the creation of the An Leabhar Mòr (The Great Book of Gaelic); the success of Olympic and Commonwealth athletes from this area; the 5

The Scotsman Magazine, 8th February 2003 13% of the Scottish total, from 4% of the Scottish population; (one study estimates the total as nearer 1,700) 7 ‘Economic and Social Impact of the Arts in the Highlands and Islands’, HIE, 2001 8 ‘Assessment of the Social Economy of the Highlands and Islands’, HIE, 2002 9 ‘Orkney Arts Audit’, Orkney Arts Forum, 2001 10 ‘Sports participation in Scotland 200’, SportScotland, 2001 6

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increasing recognition of the feisean movement and the upward rise of interest and participation in traditional music by young people; and the expanding export market of the Orcadian craft industry.

In just one area – literature – in the latter half of the 20th century the Highlands and Islands produced the Caithnessian, Neil Gunn, the Orcadian, George Mackay Brown, the Leosach, Iain Crichton Smith, Robin Jenkins from Argyll, and Sorley MacLean from Raasay. Writers of international significance.

Today’s crop of young writers are just as geographically disparate, Inveress’s Ali Smith, Alan Warner from Oban, Michel Faber in Tain – and the tremendous outcrop of writers in Ross-shire – Bess Ross, Anne MacLeod, Cynthia Rogerson, and Moira Forsyth, brought to the surface through local authority-inspired writer’s residencies.

New Media There are more green shoots evident in new media. The proposed film studio in Inverness could open extraordinary doors of opportunity, perhaps also leading to a film school. The planned Centre for Creative Industries at Sabhal Mor Ostaig will act as a catalyst both for ideas and trained professionals. The possibility of a well-funded Gaelic TV channel could arguably make the single most profound and long-lasting impact, both culturally and economically, in this sector.

However, green shoots need nurturing.

Small indigenous media companies and individuals in the area have not yet had the same level of encouragement or support as that of other industries or inward investors. Yet their potential is great. The active search and location by HIE of the Animation Studio to Unst is an excellent example of positive discrimination towards a creative industry also helping the economy and social infrastructure of a fragile area.

There is far more that can be done to aid this inward investment. Despite great television activity in the area in the last 10 years12 there is no equivalent to a

11 12

System 3 Report for Scottish Arts Council, 1998 For example, the network series’ Hamish MacBeth, Rockface, 2000 Acres of Sky, and Monarch of the Glen.

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company like Ècosse – the makers of Monarch of the Glen – in the area. There should and could be, with the active support of national and regional agencies and the industry itself.

The presence of such companies creates a momentum of its own – others follow, a cluster forms, a career path is established for young people in the area, and so on.

Heritage There is a similar story of excellence and potential in heritage. The quality of interpretation at Skara Brae and Calanais is now worthy of the sites themselves. The community-driven development at Kilmartin in Argyll shows that quality is not the sole province of the professional.

But what do we have at the Glenelg Brochs, Jarlshof, and Clava Cairns? Where is the celebration and interpretation of Pictish history on the East coast13, the prehistory of Caithness, and almost everywhere you turn in Argyll?

The Highland Folk Park is without doubt a very good museum in Badenoch and Strathspey – and with Phase Three investment at the level it requires it could become a genuine European landmark.

The private-sector proposed Clearances Centre and monument in Helmsdale to celebrate the achievement of the Highland Diaspora, although at an early stage, is an ambitious and landmark project, in every sense of the word.

But for each example of quality a dozen sites of potential can be mentioned. Why are we not exploiting, sensitively, the natural resource of our heritage to a greater extent?

Events such as Up Helly Aa, the Royal National Mod, and Kirkwall’s Ba’ Game, reveal the distinctive origins of cultural heritage. Others such as the St Magnus Festival have created a new tradition (and in the latter case an event of international reputation).

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But, some excellent local festivals notwithstanding, where are the events of significant scale that present a platform for, and celebration of, Highland culture on a regional scale? Where are the international touring showcases of cultural excellence?

Arts In the arts, the Lottery has allowed a ‘string of pearls’ to be created – galleries which make a substantial impact on their local community – Bunhoga in Shetland, Taigh Chearsabagh in North Uist, An Tobar in Mull, An Tuireann in Skye, and art.tm in Inverness.

On top of this, exciting new developments are underway to transform An Lanntair in Stornoway – a landmark £4.5m development in the town - and the Pier Arts Centre in Stromness. And Mull Theatre hopes to build a new home on the island by 2007.

The proposed Eden Court Theatre extension and re-development will hopefully also be in place by then. But there is a need for significant new-build cultural infrastructure in Inverness, as highlighted by both the recent Scottish Executive Cities Review and the 2008 Bid. The success of the Screen Machine has led to advanced plans for a second vehicle.

This extremely successful initiative is a model for delivering rural services that could usefully be applied throughout Scotland.

Individual excellence in music, the visual arts and literature is evident, for example; Phil Cunningham, Alasdair Nicolson, Stuart MacRae, Ishbel Macaskill, Will MacLean, Craig Mackay, John Byrne.

Most artists however would admit they will, or have had to, relocate elsewhere at some point in their professional life, usually to be closer to markets, or to enjoy resources not available to them in this area – such as adequate venues or grant assistance.

13

We are aware of the tremendous potential of the site at Tarbat Ness.

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Clear career paths and opportunities have not yet been established for those who wish to choose the creative or cultural industries. This is a priority in order to retain and nurture indigenous cultural talent.

Gaelic Not all the cultural runes are easy to read. The recent census revelation of an 11% decline in Gaelic speakers might seem to indicate a terminal illness. Yet the growing number of Gaelic primary schools, the large audience for Gaelic TV programmes, and the increasing profile of the language nationally tell a different story.

The recent creation of the Bòrd na Gaidhlig is a very powerful way of addressing the issue through structures. Something we will return to. Praise is due to the Scottish Executive for this initiative.

It is perhaps useful to note the language’s survival and development is being considered across the spectrum of education, commerce, media, heritage and the arts (and indeed through legislation).

This cross-boundary approach applies to other aspects of culture although as yet, for the most part, structures are still not joined-up enough to encourage such strategic thinking.

Sport In sport the Highlands and Islands have a unique niche. The skiing developments at Aonach Mor and Aviemore, including the new funicular, are excellent and welcome.

Glenmore Lodge remains a lone beacon for outdoor training.

But is there another area in Europe which is so blessed with the natural mountain, coastal and water resource we have that makes so little use of it? Others make much more of much less.

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There is no mystery to what needs to be done or what can be achieved. Sensitive exploitation of a natural resource is clearly evident in Scandinavia and the mountain regions of central Europe.

We should be bold in our ambition for what the potential of our culture is.

We propose establishing a target to see the number of outdoor sports enthusiasts, including walkers and cyclists, grow by a factor of several hundred percent. This may seem ambitious but we believe the capacity is, or could be, there to achieve it.

Such a scale of development would need infrastructural improvement and some new provision, allied with effective marketing. But no more investment than would be expected from an industry with comparable potential or importance.

2.

CAN WE DO IT?

Ours is arguably the first generation in three hundred years which has both the opportunity as well as the ability to invest appropriately in the culture of the area. There is a growing confidence in who we are and what we can be.

The Bid by Inverness Highland 2008 to become European Capital of Culture is the most significant recent recognition of the importance of culture in the area, and created an extraordinary coalition of support and consensus (most of the time) from the community, private and public sectors for its aspiration. It is worth considering in a little more detail why it was not short-listed in the competition and, more importantly, its legacy.

While the judging panel have offered no official reason for their decision not to select the Bid, in discussion during the process of assessment two clear issues emerged: First, serious concerns about the quality and capacity of the transport infrastructure of the north. This paper will not rehearse arguments and positions that are well

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known in this regard, but it is a salutary reminder of the inter-connectedness of issues. Cultural development cannot progress in isolation.

The second reason was the perceived lack of evidence of cultural development - by which we think they meant, high quality venues developed and equipped to support cultural activity. This suggested the Bid was founded more on aspirations than a track record of commitment, planned expenditure and achievement.

An unfair judgment, or an objective, unpalatable truth ‘as ithers see us’?

Even the achievement of persuading over 20 national and regional bodies representing every conceivable area of cultural activity to back the Bid, through a Concordat agreement, impressed but ultimately failed to persuade the panel.

The innovative concept of the Highland Council’s Cultural Pledge14 which excited everyone on the panel also failed, finally, to tip the balance in the Bid’s favour.

There were however several positives to emerge from the 18 month process formulating and developing the Bid. Here are some of them: •

The confidence to use cultural identity positively (the first opportunity Inverness used to demonstrate its city status) and as a possible lever for development

•

Genuinely raising the profile of Highland culture to decision-makers regionally and nationally

•

Taking a broad definition of culture, and then…

•

…bringing Scottish cultural institutions together in a Concordat to reflect that breadth

•

Putting culture at the centre of local authority strategic planning

•

Involving over 2,500 local people in the process of defining their culture and its development

•

Catalysing some valuable and exciting ideas

14

A commitment to every school-age pupil to give free access to a specified range of cultural activity – sport, arts, heritage, science, language and environment - during their period in formal education

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However, can we deny the essential truth that there has been only a limited commitment to cultural planning and development in the Highlands and Islands: in the development of new operating structures, investment in significant new cultural assets and strategic programmes?

Can we claim that all of those who are ostensibly working in the interests of cultural development are joined-up in their thinking, their actions and their expenditure? That the large human resource available to support culture, from public agencies and nongovernmental organisations to the national bodies, share a common strategic vision, have equivalent levels of knowledge and experience and operate – more or less – with a common purpose in mind?

Let’s put this in perspective. For generations of Highlanders their cultural bequest to the next generation has been an eradication of belief in indigenous language, the demise in practice of traditional arts, and lack of confidence in an autonomous cultural identity.

The process to seriously address this may have started in the 1880s but only picked up pace in the 1970s and has been growing slowly but exponentially since then, most significantly in the last 15 years.

However, after such a sustained period of neglect and under-investment, genuine cultural renaissance remains an aspiration rather than a reality for many people. This is unlikely to change until cultural provision – at strategic, resource and service levels - is afforded a higher priority than at present, particularly by local authorities.

As the public sector has the major responsibility for leadership in this task it is to them that we look to put the building blocks in place to enable the renaissance to develop and grow.

Signed-up and Joined-up?

There is a lot of clear water between being signed-up and being joined-up. Therein lies one of the most challenging areas of reconciliation that has to be achieved by

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the key partners in this process: principally local government, the main public agencies, national bodies, and the Scottish Executive.

It was a defining moment of the Bid when leading representatives – at chair and chief executive levels - of over 20 major bodies in Scotland first gathered together at Dance Base in Edinburgh to ‘sign-up’ to the Concordat to support the Inverness Highland 2008 bid.

A defining moment because this had never before happened in Scotland, and the momentum of that initiative should not be lost.

The Scottish Executive’s ongoing consideration of the possible development of Creative Scotland is a helpful discussion, one we believe the success of the Concordat initiative can contribute to.

The process to improve, however well intentioned, presumes that those responsible for managing and delivering the front-line services that will lead to these improvements actually have the capacity to achieve the outcomes of their plan.

In that respect much is expected of local government on whose shoulders much of the implementation relies. Have they the tools? They are hindered at the outset by existing local government legislation which allows a very broad – too broad we would suggest – definition of what constitutes ‘adequate provision’ of cultural services.

So, realistically, what can local authorities actually achieve? Look at their service plans then check out their budgets. Most funding is committed and scope for supporting the development of new activities and innovation is limited.

This underlines the immense challenge facing our local authorities. How to address in a progressive way, the singular and yet inter-related conditions of the nine fields that are contained within that deceptively simple term: cultural provision. The arts; community recreation; economic activity; health and social care; heritage; learning; libraries; information & archives; and sport.

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Despite the exhortations of the Scottish Executive in its draft guidance for local authorities on implementation of the National Cultural Strategy, how much more effort and resource, not simply intentions, is being applied – and with what result?

How importantly does the cultural planning and development agenda actually feature in the thinking of elected members and officers? At the most basic level, how many are actually consumers of the cultural product?

Despite the Community Planning agenda and the widespread adoption of early stage Community Planning Partnerships in such fields as health and care, community safety, young people, and social inclusion, where do we find an explicit reference to culture…. and how many community planning partnerships in the Highlands and Islands have culture as a core, or even principal, theme?

Mike Watson, the Minister for Tourism, Culture and Sport wrote in an introduction to the 2002 Annual Report on the National Cultural Strategy, “It would be a mistake to

view culture only as a tool to achieve other objects – however desirable those may be.”

Do we conflate culture and heritage too readily with tourism? Is the justification for its support seen solely or primarily in these or other economic terms? Is the impact it can have, and has, across the spectrum of social justice, education, health, and development at best unrecognised at worst ignored?

These questions are probably easy, if awkward, to answer. And they are reasonable to ask if it results in an acknowledgment of the centrality and reach of culture in Highland society.

The harder part is to remedy the situation, and the public sector’s role in this is vital.

But they are only one, albeit important, part of the equation. The culture of an area is shaped by its people, and we have shown earlier this is a particular strength of the Highlands and Islands.

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While the power of people and communities will ultimately ensure the success of any cultural initiative it should be encouraged and facilitated by an enlightened and thoughtful hand.

We should finally, therefore, consider how we might move forward.

3.

SO WHAT DO WE DO NOW?

Our argument is essentially this; We are living at the most exciting of periods, the beginnings of a cultural renaissance. We therefore have both a duty to nurture and promote it, and the opportunity to help shape it.

How do we go about this, and what conditions need to be in place to create the environment where cultural activity, let alone a renaissance, can take place?

We would propose the following conditions are essential: •

Sustained political will and motivation

•

Desire of the community to be involved

•

Basic, Enhanced and Soft Infrastructure

•

Structures to deliver

•

Resources to deliver

•

Inspirational people

The American writer Alvin Tofler observed that ‘In dealing with the future…..it is

more important to be imaginative and insightful than to be one hundred percent right. Theories do not have to be ‘right’ to be enormously useful. Even error has its uses.’

With that disclaimer in mind here are some thoughts on each of the prerequisite conditions:

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Political will The commissioning of this paper and the discussion that will follow is a clear indication of the growing political importance of culture and creativity at national and regional level. Locally the debate is at different stages of engagement and will hopefully benefit from the catalyst of this discussion.

We would propose there is an opportunity for the Convention and the Scottish Executive to consider the Highlands and Islands area as a pilot case for an approach to cultural planning which can influence the rest of Scotland.

Were the encouragement and support given at national level for such an approach over, say, a designated five year period we believe the results could be profound, both materially for the area and in influencing national policy and approach to cultural development.

The Highlands and Islands are an ideal area for such a pilot project: they are distinctive geographically and culturally, and most of its public sector institutions – cultural, political and economic - reflect this.

More importantly, as we have endeavoured to show, this is a critical time for nurturing the embryonic cultural renaissance in this area and ensuring its success.

In a risk-averse culture such as ours engagement in cultural development is not always reassuring as it often involves uncertainty, creativity and the unexpected.

Not qualities usually clasped to the bosom of the public sector, although conditions within which politicians operate on a daily basis.

We may be able to plan to manage the institutions, the money and the procedures but we are unable to control the outcomes. For an active culture that is how it should be. For a local authority that is a position which is difficult to justify to electors.

We believe that bold and imaginative political leadership over a sustained period is a fundamental prerequisite for the renaissance.

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Community involvement We have shown already the extraordinarily high levels of interest and participation in cultural activity by geographic communities and communities of interest in the area.

It is a strong foundation for any development to build on.

For the building to take place effectively the public sector must first clarify then acknowledge what the benefits of investment in cultural development actually are.

This will primarily be the creation of confident, healthy, creative children and adults.

The reward for Highlands and Islands society is a population who engage more ably and actively in their communities and contribute creatively to its economic success in an innovative way.

Consultation with audiences, communities and practitioners across the range of cultural provision will answer the question in specific ways. When they were given the opportunity (in the Bid process) two and a half thousand people showed willingness and ability to engage positively in shaping their culture.

In essence they viewed it holistically, without institutional silos. Suggestions for improving town-centre environments sat alongside tourism-related projects, desires to upgrade basic transport and leisure infrastructure were as frequent as ideas for new arts and sports events.

It is perhaps a cliché to state that the people of the Highlands and Islands are its greatest resource – engagement in cultural activity is a way of maximising the potential of that resource.

Infrastructure The physical environment and the quality of life in the Highlands and Islands are excellent for creative people and companies. It is incumbent on the public sector to ensure the infrastructure is there – the grant support, the technology, the education system, the workforce – to complete the picture.

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At its simplest this can be seen as providing three tiers of infrastructure - Basic, Enhanced and Soft.

The Basic infrastructure for cultural activity to take place needs to be quantified. For example it might be characterised as a community of 1,500 people having access to: •

A performance space (perhaps as part of the school, or village hall)

•

A heritage facility (independent local museum)

•

3 sports facilities (indoor, outdoor, specialist ie golf)

•

Information, archive and library services (online, mobile, or built)

•

Access to sports, arts, heritage and environment professionals, tutors, and residencies

•

A civic space

A similar matrix could be developed and applied to communities of 500, 5,000, 10,000 and 20,000+. Essentially, a basic minimum provision should be established and maintained throughout the area.

Designing the Highland village hall of the 21st century presents an exciting opportunity to develop community and cultural provision in a distinctive and appropriate way. European models of the kulturhus, or maison culturelles, may provide useful models. A national competition may add impetus and focus to this.

Achilitbuie, the Wester Ross crofting community with a population of c.300, provides an excellent example of what holistic cultural provision can be. The new Village Hall provides a performance space, doctor’s surgery, library, meeting rooms, exhibition area and general focal point. The old Village Hall standing opposite has been converted into a Piping Centre serving locals, the piping community generally, and attracting overseas visitors.

Enhanced infrastructure takes the form of specific, strategic initiatives – such as the Cairngorm Funicular or Calanais Interpretation Centre – that seek to develop in depth part of the area’s cultural resource.

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This should seek to create landmark initiatives that not only serve existing Highland communities but also attract and serve the non-resident market. The proposed Cultural Quarter in Inverness would be an excellent example of this, and could be a target for the City Growth fund identified by the Cities Review.

Soft infrastructure is represented by one-off and annually recurring events and festivals. Volunteer fatigue is a recurring theme in much of this sector which, in many cases, could be addressed by a very small increase in grant support from the local authority.

The First Minister has spoken in support of ‘a year of Highland culture’, which could take place in 2007. We believe this presents an excellent opportunity to act as catalyst for several important regional initiatives, perhaps within the framework of the 5-year designated cultural planning initiative proposed above.

Perhaps three main areas for the year should be considered: 1.

The local delivery team working with Event Scotland to identify, say, six events of national and international significance to take place in the Highlands and Islands during the year.

2.

The national cultural bodies and festivals being invited to include Highland themes and practitioners in their programmes for 2007.

3.

A

programme

of

Highland

cultural

outreach

to

tour

nationally

and

internationally.

Structures to deliver Ensuring joined-up thinking in the way support is offered and services are delivered is an essential prerequisite for an effective culture. This may require re-focussing existing structures, or perhaps introducing new ones.

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Community Planning, the Creative Scotland initiative, and the Concordat model, provide ideal opportunities to begin this process.

The Bid also proposed establishing a Cities Group – a gathering of Scotland’s six cities with a view to determining how best to share and exhibit the country’s national collections.

Often communication with existing structures limits potential. Local authorities have a broad remit and cultural delivery falls across more than just Leisure Services.

Development, planning, education, social work (health, crime), roads, housing (architecture, landscaping, design), land, language – there are few areas where it does not impact either directly or indirectly.

There is a need to create structures which can deliver. The Highlands and Islands Convention, for example, is a perfect forum for this issue to be discussed and the results nurtured – not just on a one-off basis but as a core function. Can it do more?

Resources to deliver The answer will not always be to devote more money to cultural development – although it often will be. It is unrealistic to expect there can be any meaningful new development without, at times significant, new or re-deployed financial resource from local, national and private sources.

The Highland Council’s commitment to investigate how to mainstream many of the issues which arose during the Bid process is laudable. It also shows how existing resource can be re-focussed to deliver new cultural objectives.

We would commend this as an approach to other public sector agencies whose financial commitments leave little budget flexibility. We would add the caveat that mainstreaming should be seen as one part of an approach that will at some point also require increased financial support.

People remain the greatest resource to both deliver and decide the cultural renaissance.

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Ask any of our sportsmen, artists or curators if they feel they are part of a cultural renaissance and they may well stare at you in disbelief. Choosing the cultural industries as your livelihood is still not considered an option by many.

We must create the conditions for individuals to develop and exhibit their creativity – through invention, performance, discovery and exhibition. There is an opportunity to accelerate that process primarily through education and curriculum focus.

We believe Highland Council’s process to create and deliver the Cultural Pledge should be maintained and supported. We further believe it could act as a model for service delivery throughout the HIE area, and indeed Scotland.

Some, though by no means all, Highland schools use the natural cultural resource on their doorstep as a learning aid. Whether that is a fiddler, mountain, local museum or river. One clear purpose of the Cultural Pledge should be to acknowledge, understand and exploit this resource.

The recent arrival of Cultural Coordinators, and the existence of Sports Coordinators, are initiatives that show positive intervention from the Executive in helping to maximise culture’s impact for our young people.

The UHI Millennium Institute intends to deliver university status by 2007. It is unthinkable that it will be anything other than a major engine for cultural change in the Highlands and Islands, as well as delivering future generations of its cultural decision makers, participants and audience.

There are already good examples of UHIMI colleges working with, and as, cultural providers; Orkney College’s cultural heritage and archaeology courses; Sabhal Mor Ostaig’s Gaelic media and arts curriculum; Lews Castle college’s out-sourced visual arts course at Taigh Chearsabagh (with 20 students).

As job opportunities begin to develop in the cultural industries it will require a new generation of cultural managers, sensitive to the needs of local communities. We

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believe there is an opportunity for UHIMI to address this through the creation and delivery of a new, perhaps post-graduate, initiative.

The 2007 Highland year of culture could provide a focus and practical opportunity that would allow it to be in part delivered and administered by graduates from such a course.

Inspirational People A renaissance needs people who believe in it and can inspire others. It needs political leaders with commitment, public sector officers with vision, and activists with ideas.

We have the people who can start to deliver this cultural renaissance. When we develop the creative environment more will come.

Conclusion Kenneth White, one of Scotland’s greatest living writers, wrote in support of the Bid, but presented it with a challenge15; “In the distant past (the Highlands and Islands) sent out

intellectuals who founded monasteries, schools and libraries all over the continent. If, like so many other areas, it is not to fall into platitudinous nostalgia, or define itself in terms of some narrowly conceived and ill-applied identity ideology, it has to be encouraged to re-investigate its past, recover its resources, and deploy its energies.�

This is, to varying degrees, already under way throughout the area. But there is a gap in the overview which has not yet placed culture centrally in the strategic planning for the Highlands and Islands of the future.

15

Kenneth White, Inverness Highland 2008 Bid Document, 2002

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The Cultural Renaissance of the Highlands

Bryan Beattie & David B Pirnie

Culture is not one part of the equation – culture is the equation, it is the other elements which are part of it, and it is that sea-change in perception which is necessary before truly effective conditions will be right for a flourishing genuine renaissance of culture in the Highlands and Islands.

Cultural development can be planned for and budgeted, but it is nothing without the engagement of individuals, groups and communities that believe the activity is of value to them, in personal and collective ways, as audiences and as practitioners.

Cultural activity will occur irrespective of the level of governmental and agency support available at the time – because it is driven by individuals for whom the engagement may be deeply fulfilling in a private and personal way, educative, inspiring, enriching or even, let’s not forget, entertaining.

So what of the chances of a true renaissance? The good news is there are clear signs that it is happening and ready to accelerate. We are impatient for it to realise its potential.

Culture is, in a very real sense, the ‘stuff of life.’ Yet, as Alvin Tofler remarked: ‘Perhaps the problem lies in finding ourselves incapable of formulating the future.’

We should not shy from a difficult task. We should grasp the opportunity to become involved in this historic process to shape our legacy to future generations.

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