HOW sad it was to learn that Richard Walker’s memories of programmes he watched while growing up such as The White Heather Club were embarrassing and negative (Celebrating our culture can beat Scottish cringe, January 21). Since my memories are the opposite I find it surprising, and I don’t recall any negative comment at the time.
I have heard some comments since from the “Scottish Cringe Brigade” but they’re still a minority in my experience and I have travelled life and the world with no regrets on the matter.
Like viewing many events from a distant past, values and perceptions change and on reflection aspects of programmes such as The White Heather Club were a bit over the top. The dances were often sequences not seen in everyday events but they did, largely, contain the steps, formations, rhythms and music of everyday Scottish dances. If liberties were taken with the dances then it might be called “artistic licence” and I don’t remember any serious objections. The musicians and singers involved were the very best in their genre and took second place to nobody.
READ MORE: Richard Walker: How Celtic Connections helped to shape my politics
Richard Walker lauds the Celtic Connections scene with some justification but he should be aware that swathes of Scottish traditional music are now virtually invisible.
As well as a strong Scottish country dance band influence, I was exposed to the songs of Robert Burns, Lady Nairn (The Rowan Tree, The Auld Hoose etc), Lord Byron’s Darklochnagar etc etc. Such songs were common currency in the society and events I attended. Artists such as Kenneth McKellar, Jean Redpath, The Corries etc were on hand to show us how.
There are successors to these artists but they are rarely heard. Collectively, I believe, the Scots genre of traditional music and artists covering those fields is larger that any other. Sadly Burns is reduced to a few minutes each year on our main media outlets.
RG Clark
via email
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