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Lowland | Building a contemporary narrative of Dumfries town

Lowland
Building a contemporary narrative of Dumfries town
by Martin O’Neill

“I wrote about what was around me. But some people are so daft they don’t understand that writing about Prestwich is just as valid as Dante writing about his Inferno.” Mark E. Smith

A friend sent me this quote around the time of Fall front man and debauched hero Mark E. Smith’s death. It was a photo of the quote crudely written in sharpie. A cardboard epitaph by a postbox, adorned with flowers left to wilt. It reminded me of the sad street-lit shrines we see by the side of a road, marking a life cut-off too quickly by a road traffic accident. As if his death in the city was just as tragic. That his legacy should be marked in cardboard felt a fitting tribute to a man who dwelled between genius and joker.

At the time, I’d been going through a lot in my own practice – how much what surrounded me affected my own unconscious ranting – that first stage before actually forming something which might be deemed as poetry or art, and how much my own sense of place lead me to its final form.

Whether it was in the worlds unveiled in a hospital waiting room, or a past reflected in the walls of St. Andrew’s church. These worlds of words which when stringed together created in me that place always real and half-imagined like a dream, rippled from the walk of a day through the High Street, by the river or upward to the museum, the omnipresence of Burns carved in stone or engraved in a window, fogged by the rising smoke of a cigarette, his work obscured only in the presence of a poorly painted portrait.


These places that resonated on the page, and for which I couldn’t have explored the other parts, hidden from view. And it was the same for most every other writer I met in this town. They wrote what was around them, so as to peer further into themselves and understand better the lives of others.

There came a point, whilst compering Brave New Words which is now fast approaching its third year, growing in excellence, audience and value every month thanks only to those who contribute, and the communities which have grown from this that I was struck how important the living word, and its profound connection to place was.

With that, it seemed important to examine our current sense of belonging, through a platform engaging professional writers and artists, responding in their chosen practice, a contemporary account of Dumfries. It struck me that the hierarchy of writers was marked by death, and that their shadowed legacy was inscribed in the minds of those ‘in the know’, or on a white tomb, or in the pages of a tourist brochure and that little infrastructure existed to engage current writers to engage in the intricacies of writing place. What with the weight of a bard carved into marble.

To connect with our communities through the arts is the Stove’s ethos. To see that our opinions, thoughts, emotions and lives matter and to break down whatever barriers exist between culture and community is pivotal to creating a town everyone can be part of. And the form of the written word is just as valuable as any other form by which to do that.

With that, came Lowland. A 3-year project conceived and delivered by the Stove Network. It seeks to place writers at the core of the Stove’s and local community’s activities to reflect and celebrate a town in a transitional phase of its history. Generating a contemporary narrative of place, by interacting with and responding to activity in the town through the written word. The central idea of Lowland is to generate an evolving narrative through a series of engagement opportunities and outputs, whether a song, a book, a map, or a play – these outputs will create a collage of work and output that will form the backbone of our future activity.

Launching with a writer-in-residence, the project hopes to create a valuable strategy for literary activity in the town and seeks to work with our community, our partners, artists and other writers to reflect the varying perspectives of the place we call home in new and inspiring ways.

With this, and the continued presence of Brave New Words, is where we build a legacy not formed by marble but by people, and the stories, which weave between the bricks of our buildings and the voices in the streets.

For further information on Lowland, please contact [email protected]

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News

June Gigs: In Photos

This month at the Stove, we were very lucky to have not one but two DMC:Presents gigs in our Cafe Space! Photographer Kirstin McEwan was there to capture both evenings.

First up was a double headliner evening of folk style ukulele music from Galloway songstress Zoë Bestel, and Danish virtuoso Tobias Elof. The two ethereal artists performed an intimate gig of beautifully crafted songs, both together and solo to celebrate the launch of Transience, Bestel’s newly released album.

Next up was the amazing Glasgow based band from Castle Douglas ‘VanIves’, who held their first headline show in Dumfries at the Stove on 14th June. The electronic pop duo take influences from artists like Boniver, Matt Corby, Disclosure and SG lewis. They were supported by ‘Flew the Arrow’ – a fast-rising contemporary folk artist from Ayr.

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Musings

Public Money – a personal reflection

by Matt Baker

I’ve had cause to think about public money of late – what do people mean by the term? Why is it such a loaded term? Are attitudes different in different societies? Has the nature of public money changed for us over the years? What should it be for now?

I suppose things started with chiefs and monarchs demanding taxes from the people within their tribes or lands to pay for organising their safety and keeping the peace. Then when we moved to a democratic way of organising our society we kept the taxation idea but attempted to make a system whereby the money gathered was a form of common-wealth that was directed to making the best for everybody. In Britain this resulted in incredible, visionary things like the National Health Service and free education for all. In other societies (e.g. Scandinavian countries) there still seems to be a strong sense that everyone contributes and everyone expects to benefit from the resources, services and opportunities provided by the common-wealth of the community. This is not public money viewed as the bare minimum to provide a safety net for those too poor or sick to look after themselves or base-level provision of things we have a ‘right’ to expect like cleaning the streets…rather it is a conscious and deliberate system for giving the best standard of living and opportunities to the most people within a society…and  how that builds a place long-term, not just patch the streets.

This is what I have been pondering – Why do we often seem to have such a different attitude in our society? Why are we not proud and passionately engaged in the process of deciding on the best way to invest our common-wealth to give the maximum benefit to everyone? To debate answers to these questions would be to analyse hundreds of years of politics, culture and history. I can’t pretend to be capable of doing that – and, ultimately I am not all that interested in the answers.

What I am passionate about is the situation that we find ourselves in just now, and what we, as a modern society, as a community of people, are going to do in facing up to our situation. We have created a massive and shameful gap between people with nothing and people with everything – and the gap is growing larger by the day. The terrible logic of this is that people seem to feel that they must hold tightly to the relatively little they have, a perverse culture of fear … ‘devil take the hindmost’… ‘I’m alright Jack’’. This fear actually supports the widening gap … whilst we are protecting our crumbs others are gleefully stashing away full cakes. But what if instead of fearing losing more – we were to build strength rather than merely try to stem a decline that we have been convinced is inevitable?

It seems to me that this is the root of current attitudes to ‘public money’ some people are so deeply wedded to this culture of acceptance of doom that they see any use of public money as either a ‘waste’ or ‘too little too late’ or ‘naïve’ or ‘corrupt’… may be such people have lost hope of improving their situation (or that of their neighbours) or they have a vested interest in the current status quo and seek to undermine any attempt to change it.

The truth is that Public Money (our common-wealth) is, along with our passion, spirit and creativity the most powerful tool we have for levelling the playing field of opportunity in our society. If we can create the opportunities for more people to achieve their potential everyone will be raised up together. Feeling pleased at seeing someone struggle is simply a mirror of your own struggle – by celebrating the growth of others we all grow together.

This is why I (and The Stove) am proud and humbled to be trusted with sums of public money. I feel the responsibility to extract every ounce of usefulness and benefit for my community. I see public money as an investment in our collective passion, spirit and creativity and a means of reaching out a supportive and compassionate hand. Public money can be smart and inventive, but above all it needs to be a force for equality, because only understanding ourselves as a community with the power to grow together will we have any chance of bridging the gap that threatens to destroy us all.

#MakingDumfries

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News

Gordon Robertson RIP

Gordon reading from his ‘Life of Robert Burns’ at The Stove in January 2016

Gordon Robertson 1936 – 2018

It was with great sadness that we learnt of the death of Gordon Robertson yesterday. Gordon had been a Stove member since the very early days and was a supporter, contributor and inspiration to The Stove.

Dumfries has lost a great intellect, artist and historical resource, Gordon was a linguist, Burnsian, painter, draughtsman, local historian and above all an enquiring mind and passionate Doonhamer. When he approached you never knew whether he was going to talk about Wagnerian Opera, his travels around Norway, his latest book or his battles with acrylic paint.

Gordon was a regular at Stove events, performing at many and a great patron of the Café – he was held in great affection and regard by all at The Stove. A wee light of civilisation and culture has gone out in the town – Gordon we salute you.

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News

Creative Times: March/April Issue 2

Creative Futures Lincluden and Lochside have started to produce their own regular Creative Times newsletter, to share all the different projects and events going on in North West Dumfries.

Pick up your free copy from the Lincluden Community Centre, or The Stove in the town centre, or you can download a copy following the link here: Creative Times Issue 2

This edition includes LIFT’s Tea in the Glentrool Park, details about the new Art + Action group led by Kirsty Turpie, the NW Photography Competition won by Cally Uygun, new funding for the area through the new Grub Club scheme. Plus lots of free events and activities to get involved with!

The next edition will be the hotly anticipated Summer Programme, appearing in June, so keep your eyes peeled..!

Image credit: Cally Uygun. Creative Futures Photography Competition 1st Prize.
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Musings News

Brave New Words: Blueprint100 Takeover

Brave New Words Celebrates with a Blueprint Takeover, Millions Dead
by Chauncey Milquetoast

The night of the 27th was one of debauchery, excess and – at the hands of the host – violence. There was also some rather lovely poetry and music and…misc.
The night marked a change from what was usually expected, thanks to a bunch of youths running the show this time instead of that guy what usually does it.

Hosted by the absurdly abrasive Brandan Braslin and his Phantom House Band (one dude), the night began innocuously enough before descending into surreal, Lynchian chaos.There was more variety than ever with acts performing a cacophony of poetry, prose, musical numbers and stand up comedy. It’s impossible to pick a highlight, as each act was as wonderful as the one that preceded it, except for one profoundly unpleasant man in a hideous floral shirt.

The only downside was that, for the fourth time, my request for Dead Kennedys fell on deaf ears. Perhaps I should ask a musical act next time instead of literally every poet. Live and learn.This was also a particularly inclusive night where everyone was made to feel welcome – with only one heckler this time, which I believe is a new record, plus it was a member of staff so it doesn’t even really count.

The finale consisted of our host providing a final monologue before disassembling himself into minute, complex geometrical shapes and dissolving into the ether, while the house band grew to a gargantuan size before rampaging through the town centre.Overall it was a good night. I’d say…twelve out of a possible thirteen stars.