Glorious Obsession:Scottish Indigenous Crafts Today

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Foreword

This revised booklet is part of theScottish Arts Council’s commitmentto supporting traditional arts andartists. First issued in 1997, it wasthe outcome of an independentsurvey carried out by MargaretStuart, of those crafts which havetheir origins in the indigenouscultures of Scotland, and the related conference ‘The New Makars:traditional crafts today’. Theconference, held in Inverness in May 1996, brought together craftspractitioners and professionals fromsupporting sectors to discuss futuredirections for development.

The survey and conference revealedcountrywide activity and a richdiversity of crafts which have acontinuing tradition and a styledistinctive to Scotland. Conversely,they also demonstrated that therewas little public awareness ofindigenous crafts.

Glorious Obsession aims todemonstrate some of the wealth of this aspect of Scottish culture, and to illustrate, through a selectionof projects which have taken place around Scotland, how publicunderstanding and opportunities for participation may be increased.The text, which has been updated,has three parts: an introductionwhich outlines the main findings of the survey, three case studieslinking indigenous crafts to

education, tourism and economicdevelopment, and a contact sectionwhich lists sources of advice,information and support.

In conjunction with the NationalMuseums of Scotland’s touringexhibition Celebration of ScottishCrafts and the related CD-ROM, we hope that the booklet will inspirefurther initiatives to enhanceenjoyment and appreciation of theindigenous crafts of Scotland.

The text was researched and writtenby Louise Butler with photographs byShannon Tofts. We renew our thanksto the many individuals who offeredtheir time, knowledge and views, both to this and the survey.

Tessa JacksonDirector, the Scottish Arts CouncilMay 2000

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Introduction

EDUCATION:

Membership of crafts associationsand guilds provides informal supportfor the exchange of skills anddissemination of information throughnewsletters, exhibitions, workshops,demonstrations, lectures, schoolvisits and training courses.

In principle, education authorities are sympathetic to the cultural andeducational importance of indigenouscrafts. In practice there are nospecific guidelines and while Scotslanguage, song and dance aretaught in secondary schoolsthroughout the country, there islittle evidence of Scottish crafts inthe timetable. The exceptions are the Shetland Islands, where knittingis taught in all primary schools, andthe Orkney Islands where Orkney-chairmaking, hand-spinning andknitting, wood-turning and basketworkare taught. Schools in the formerCentral Region include natural dyeingand tartan weaving within the 5-14Environmental Studies curriculum.The Expressive Arts document aimsto foster an understanding andinterest in the pupil’s own cultureand specifically suggestsinvestigation of Scotlands heritagethrough the traditional crafts, designsand patterns.

Indigenous crafts represent skills and trades originally acquired andpractised out of necessity - they are aproduct of functional life. Historicallythey reflect locally available materialsand resources and are part ofScottish regional and national culturalidentity. Contemporary practice ofthese crafts is based on receivedtraditions, making them distinct fromthe innovative and expressive craftsdeveloped through the art colleges.

Today, these crafts offer a livelihoodto a significant number of people andadditionally represent an opportunityfor promoting a positive image ofScotland’s cultural inheritance.Recent initiatives in marketing andtourism clearly demonstrate theeconomic benefits to be gained from supporting traditional crafts.

THE PRACTITIONERS:

The majority of indigenous craftpractitioners are over 40 years ofage, learned their skill in childhoodand have continued to practise as an integral part of their everyday life.Others have turned from anothercareer to crafts as a means oflivelihood. A high number of makersare sole traders and many live inrural, often isolated locations,frequently for practical reasonsconnected with their craft. Spinners,weavers and knitters, for instance,may rear small flocks of sheep toprovide their wool.

For the most part regional crafts are no longer exclusively made intheir original geographic locations.Skills have transferred within themobile society. The Royal HighlandShow Handcrafts Competitionannually attracts over five hundredentrants and it is here that many of the Scottish traditional crafts may be seen.

Very often these skills are taughtinformally by teachers because oftheir own interest. SCOTVEC modulesinclude weaving and knitting, thoughnot necessarily to produce‘traditional’ articles.

There are a number of potentialsources of assistance for thedevelopment of arts in educationprojects. Through its National Lotteryfunds, the Scottish Arts Counciloperates schemes to encouragegreater interest and participation inthe arts and projects which involvechildren and young people. A thirdencourages apprenticeship andmentoring schemes for talentedindividuals. For small groups engagedin local activities, Awards for All, a joint programme set up by theScottish Arts Council and otherNational Lottery funding distributorsin Scotland, could offer support forworkshops, courses and skillstraining for everyone, regardless ofartistic ability. The New OpportunitiesFund includes support for out-of-school-hours learning.

The Fèisean movement of tuition-based festivals, places emphasis on training in Gaelic language, musicand song to children of primaryschool ages, although there is anincreasing demand from olderchildren and adults for similar training.

The craft of instrument making andrepair is considered culturally andeconomically important and is alsoencouraged. Fèisean nan Gaidhael,produces a directory of tutors, issuedfree to all Fèisean members andupdated every two years. Themovement has had a positive effect,which continues to grow, and wouldmake an excellent model for passingon the knowledge and practice ofother indigenous crafts.

PROMOTION AND MARKETING:

A major area of concern for craftproducers is making the linkbetween product and customer.Where is the best marketplace?What price should be charged?

As expertise in craft skills does notnecessarily go hand in hand withcommercial acumen, support in theform of training provision and businessdevelopment is needed. This is a rolethat the local enterprise companies arein the best position to fulfil. LomondEnterprise Partners on behalf ofDunbartonshire Enterprise, for example,is responsible for the Loch LomondCrafts Association. The Association was formed in 1996 to foster creativityin craft work, offering training andbusiness support to members and toassist in the promotion and marketingof craft work locally. The Associationstrives to establish a framework wherelocal craft businesses can successfullyflourish and grow, bringing a significantcontribution to the region’s economicdevelopment.

Trade fairs, taking place over 3-4 daysbring buyers into direct contact with the makers. Stand costs can be veryexpensive for individuals, although insome areas local enterprise companiesco-ordinate and subsidise groupparticipation. Dumfries and GallowayEnterprise have supported sharedstands for makers at gift trade fairs on a number of occasions. Participantsfound their joint presence created abeneficial regional identity and had fargreater impact than if they hadattended as individuals. At large fairsthe crafts represented tend to becontemporary gift-ware crafts. There is scope to set aside an area for thepromotion of more individual craftpieces at higher prices.Spinning demonstration at The Shetland

Textile Working Museum

Demonstration of hand carding at TheShetland Textile Working Museum.

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Boards’ strategies will be reviewed byJanuary 2001 to ensure they reflectthe new priorities. This should bringgreater recognition of the role ofculture and tourism at a local level.

It is important to present a positiveimage of Scotland’s culture, over andabove tartan shortbread tins and theidyll of a spinner in traditional dresssitting outside the door of a thatchedcrofthouse. In the Highlands theScottish Arts Council has worked with Highlands and Islands Enterprise(HIE) to develop an arts strategywhich takes account of culturaltourism as a major contributor to theeconomic development of the region.SAC/HIE joint-funded the post of anArts Development Officer, based at the HIE office in Inverness, toimplement the strategy with particularreference to the Local EnterpriseCouncil network.

‘The arts have a significant role toplay in building the image of thearea for tourism purposes andtourists thus attracted will gain aclear and positive image of the areaand its culture beyond the negativestereotyping typical of tourismpromotion elsewhere.’ (Arts, Cultureand Development - a Strategy for theArts in the Highlands and Islands ofScotland, published HIE 1993)

Very often the first interface with the visitor is through the TouristInformation Centre. Tourists want to know where they can see livingScottish traditions. This suggestsopportunities for workshop visits anddirect sales and also for selling craftgoods in Tourist Information Centres.Makers would welcome group touristboard memberships and co-ordinatedpromotion of craft workers, forexample, through the publication ofregional craft maps, such as thoseproduced by Uist Craft Producers in

Dumfries and Galloway was the firstarea in Scotland to employ a full-timeCraft Development Officer and theactive crafts programme in thatregion is discussed in theaccompanying case study.

TOURISM:

Visitors cite Scottish people andculture as two of the most importantreasons for coming to Scotland onholiday. The Scottish Executive haspublished a New Strategy for ScottishTourism which recognises thesubstantial part culture plays inScotland’s tourism economy andeffectiveness. Culture is one of threeniche markets identified as suitablefor action at a national level, inpartnership with the Scottish ArtsCouncil and other cultural andheritage agencies. Promoting culturewill involve making it more accessibleto visitors, promoting activities in newand existing markets, and establishinglocal cultural ‘trails’. An importantdevelopment is that all Area Tourist

the Western Isles, and in the OrkneyIslands where businesses featuring in a craft trail guide are also broughtto the attention of tourists by thepositioning of roadside directional signs.

The Scottish Tourist Board’s StrategicPlan highlights the question ofseasonality which it intends to tackleby promoting Scotland, mainly withinthe UK, as an off-season destinationfor activity and special-interest short-break holidays. Craft businesses

can take the initiative by runningworkshops and linking with localaccommodation providers.

Museums and galleries can alsoraise awareness of the significanceof indigenous crafts to the culturalheritage of Scotland, throughexhibitions, displays anddemonstrations. In July 2000, an exhibition‘Celebrating Scotland’s Crafts’ opens at the Royal Museum andMuseum of Scotland in Edinburgh,reviewing current practice of theindigenous crafts of Scotland. Afestival of demonstrations and talkswill take place daily in the museum,alongside the building of a traditionalwooden boat, a Shetland ‘Ness Yoal’by Ian Best of Fair Isle. A book andCD-ROM will complement theexhibition, which is funded by theNational Museums of Scotland inpartnership with the Scottish ArtsCouncil and with sponsorship fromJean Muir Limited. The exhibition willtour to venues throughout Scotlandover the following 18 months.

The accompanying case studiesillustrate some of the positive workbeing undertaken in Scotland tosustain and promote contemporaryindigenous crafts. In each case theoutputs are measurable, from thebenefits to individual makers andregional economies, to the invaluablemarketing edge attained through thepromotion of commodities which are inherently Scottish.

Ardival Harps; Strathpeffer,Inverness-shire

Joe Jackson, Crookmaker in his workshop.

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Case study 1

grandfather built the last full-sizeSgoth Niseach in 1918, whilst hisfather built a smaller version in1935. The last sgoth sailed in 1947.Cheaper fibreglass craft and theincreased use of diesel enginesfinally put paid to their use.

THE VISION:

Aged 72 in 1994, John MurdoMacLeod was in retirement but, as sole custodian of the skills andlanguage peculiar to the SgothNiseach trade, he held a dream of building a full-size boat that hethought would never be realised.

Sam Maynard, himself from a Clydeshipbuilding family, shared thisvision, realising that if John Murdo’sskills were not recorded and passedon then an important and uniquepart of Hebridean tradition would belost. The project started in January1994 as an ‘act of faith’ betweenthe two men.

Sam became the driving force inraising the considerable fundsneeded to embark on the boat. The BBC had agreed in principle tocommission a half-hour documentary,later extended to one-hour, to filmthe building project over a one yearperiod. This still left funds to beraised for the actual build. WesternIsles Enterprise and the EuropeanLEADER I programme becameinterested because of the trainingelement of the project, as John Murdowould need to recruit an assistant.

This post was advertised locally sincethe ideal candidate would need to bea Gaelic speaker who understood theHebridean culture and terminology.Out of 40 applicants, many of whomwere older people, Angus Smith was selected.

AN SGOTH NISEACH - THE NESS BOAT

An Sgoth is a one hour documentaryfilm produced for BBC2 Scotland aspart of their Gaelic service and wasfirst broadcast in January 1995. Theprogramme records the traditionalboat building skills in the Hebrides,following the construction of a‘sgoth’, from the felling of the timberto the launch of the finished boat.

The project grew from the sharedvision of John Murdo MacLeod, masterboatbuilder, and Sam Maynard,Director of Eòlas, an independent film production company based inStornoway on the Isle of Lewis.

THE HISTORY:

The ‘Sgoth Niseach’ was the type ofboat used in the Ness district on thenorth coast of Lewis, where therewas a thriving cod and ling fisheryduring the latter decades of the 19thcentury. These clinker - built boats,the hull being constructed ofoverlapping planks, had an overalllength of 33 feet; 21 feet on the keelwith a curved rake on the bow andstraight on the stern. The beam was11’ 3”, the generous width necessaryfor buoyancy in the sea conditions inwhich they worked. The sgoths fishedin the turbulent waters of theminches, between the isles and themainland, and offshore to the northand west. They also took part in theannual gannet harvest, almost 30miles out from their home ports ofNess and Skigersta. These were four-oared open craft, with four-sided sails(lug-sails) bent and suspended from a wooden yard, and whilst similarboats were built in Orkney, no areaother than Ness had completely openboats of this size.

During this prosperous period therewere 40-50 sgoths fishing out ofNess, with building berths at fourlocations, but when the fishingdeclined rapidly after 1900 the boat trade also fell. John Murdo’s

John Murdo MacLeod with ‘An Sulaire’, Stornoway

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In time, the Trust aims:

• to set up a traditional maritimecentre, the major concern ofwhich is to interpret thepracticalities of this style ofboatbuilding and the Hebrideantradition of working vessels;

• to build a series of smaller 18foot racing vessels - ‘sgoths’;

• to ally to a proposed localtimber skills centre andincorporate practical boat-building as a sales opportunity,means of training, educationalresource for schools and tourist attraction;

• to keep ‘An Sulaire’ sailingregularly and maintaincommunity involvement.

John Murdo is back in retirement.Angus Smith subsequently trainedas a yachtmaster, assisted byWestern Isles Enterprise fundingand he has now become ‘keeper’of the skills should futureopportunities arise.

‘An Sulaire’ now sails regularlybetween the months of April andOctober each year and has madevoyages to Iona, Mull andthroughout the Uists, taking partin festivals and local events whenpossible. The Trust has sinceacquired another, lighter built boat(named 'Cuash', meaning ‘cuckoo’in Old Gaelic) made by SandyMacDonald of Ardnamurchan. This 19 foot vessel is moreportable and easier for youngerpeople to handle. The aim is totrain more people in the skills of skippering a boat and, withpractice, enable them to morereadily handle the heavier 'AnSulaire', keeping her maintainedand afloat.

The whole project has been anexcellent co-operative venturebetween television, the community,private and public sectors.

The boat touched the hearts of thecommunity and a sense of ownershipgrew. Sam Maynard insists the key to the success of the project was thelevel of trust from the community andalso remarks that during the projecthe realised, ‘that the making of thefilm had a contemporary perspective -we did not slip into the historical.’The making of ‘An Sgoth’ wasforward looking, not simplyrecording a window on the past.

Looking to the future of the boat apublic meeting was called in February1994 with the aim of forming a Trustto take over ownership andmanagement of the boat as aneducational, tourist and promotionalresource. The boat was successfullylaunched, named ‘An Sulaire’ (thegannet) by John Murdo MacLeod, on 3 December 1994, after twelvemonths of planning and a furthertwelve in the making. The film wasbroadcast on 5 January 1995. Thoseclosely involved were mentally andphysically stretched by that time andafter this high point of achievementstepped back whilst the Trust fulfilledthe continuing role.

An immediate outcome of the projectwas an interpretive exhibition, whichopened at An Lanntair Gallery inStornoway. ‘An Sulaire’ was taken tothe Scottish Boat Show at the SECC,Glasgow, where it caused considerableinterest, and later, with the exhibitionas part of Fotofèis, to the BonhogaGallery at Weisdale Mill in Shetlandwith financial assistance from theScottish Arts Council and localsponsors. The additional value ofbringing the boat to Shetland wasthe opportunity for people ofdifferent island cultures to shareexperience.

THE FUTURE:

‘An Sgoth’ is a working legacy andthe film a permanent record of thetradition - but what is the vision for‘An Sulaire’ in the future?

THE REALISATION:

The first task was to select thetimber for the larch over oak plankingwhich was to form the construction of the boat. Timber for sgoths hadhistorically been imported from themainland and on this occasion camefrom the Cawdor Estate by Nairn,Inverness-shire. The Sitka sprucemast, however, was felled from thegrounds of Lews Castle in Stornowayand ceremoniously carried by a teamof thirty rugby players through thetown to the boat shed, againproviding a good photo-opportunity for the press.

Sgoths were usually built in the openair but this time a redundant HarrisTweed mill had been made availableby a local businessman. As wordspread and interest grew, a viewinggallery was installed and over 3,500people, including school parties,came to view progress proving what apotent tourist attraction boat buildingcould be. From this number of visitorsa group of regular volunteersemerged to lend a hand with sanding,painting and other practical tasks.

Contacts:Eòlas Productions LtdUnit 9, Rigs Road Industrial EstateStornoway, Isle of LewisTel: 01851 705638Fax: 01851 706577

The An Sulaire Trustc/o 17 Aignish, Point, Isle of Lewis

Western Isles Enterprise 3 Harbour ViewCromwell Street QuayStornowayIsle of Lewis HS1 2DFTel: 01851 703703Fax: 01851 704130

A time-served boatbuilder in histhirties, Angus had worked in the off-shore oil industry when after hisapprenticeship he could not find workin the boat yards. He welcomed thisnew opportunity.

Western Isles Enterprise gave a grantof £12,000 to build ‘An Sgoth’ whichwas matched by funds from theLEADER I programme. The EuropeanCommission had launched theLEADER programme in late 1991,with the aim of making it possible for people living in rural areas, thosecategorised within Objective 1 orObjective 5b, to change and improvetheir circumstances by initiating theirown development projects. LEADERserves to emphasise distinctivecultural identity and to encouragepride in language, history andtradition. As an innovativecommunity-driven venture, ‘AnSgoth’ encompassed all these aims.

The boat was kept in the newsthrough regular press bulletins issuedfrom the Eòlas office. The rest of thefunding necessary was gained overthe year through tenacious fundraising,which attracted £ 15,295 in businessand private donations - with anadditional £ 8,000 of ‘in kind’support, such as yacht varnish andhalf-price sails.

A

tree

two men

dying craft

last chance

glorious obsession

a love story in wood

An Sgoth

The building of ‘An Sulaire’

Sam Maynard sums this up:

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THE SHETLAND TEXTILE

WORKING MUSEUM

The Shetland Textile Working Museumis an independent enterprise run by The Shetland Guild of Spinners,Weavers and Dyers. Opened in June1996, its seasonally changingexhibitions illustrate the rich islandculture of spinning and knittingthrough the display of garments,artefacts, photographs and bydemonstration. Housed within thehistoric Weisdale Mill, wherecontemporary applied and visual arts are also shown, and strategicallyplaced on a main route through theisland, the museum is establishingitself as an interpretive centre andpopular tourist destination.

THE WEISDALE MILL:

In 1985, a listed derelict grain mill,dating to 1855, was identified ashaving potential for use as an artscentre and knitwear museum. The Shetland Arts Trust, newlyestablished by Shetland IslandsCouncil, saw an opportunity andpurchased the building for £10,500.Successful funding applications were made to the European RuralDevelopment Fund and ShetlandAmenity Trust, the latter explicitly for setting up a knitwear museum.

The Weisdale Mill needed extensiverenovation and, whilst a Visual Arts Co-ordinator was appointed by theTrust in October 1993 and the firstgallery exhibition opened the followingApril, the building only became fullyoperational during 1996.

The mill building has three floors. The top floor, the Bonhoga Gallery, isdesignated for exhibitions and showsthe best of contemporary applied and visual arts, not necessarily fromShetland, in a variety of media, for thebenefit of local people and visitors.The middle floor is a sales area, witha monthly changing selling exhibition.

The basement floor is leased to TheShetland Guild of Spinners, Weaversand Dyers to run the working textilemuseum. The cafeteria is separatedfrom the museum room by a folding

Case study 2

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wall, allowing for extended use as atextile workshop.

The Guild took occupation in June1996 and the museum opened to thepublic within two weeks, on 19th June.

THE SHETLAND GUILD OF SPINNERS,WEAVERS AND DYERS:

The Shetland Guild of Spinners,Weavers and Dyers was establishedin 1988 with twelve members, anumber which now stands at seventyincluding several overseas members,and is affiliated to the nationalAssociation of Guilds of Weavers,Spinners and Dyers. The constitutionalaim of the Guild is to preserve andextend the knowledge of the traditionaltextile skills of Shetland.

Knitting in Shetland, using the softwool of local sheep, can be tracedback to the 16th century and wasfirmly established by the 17th centurywhen knitted goods represented avaluable trading commodity. Spinningand weaving have a longer historystill. Skills were passed down throughgenerations by demonstration andword of mouth. Children acquiredknitting skills from the age of threeupwards and were expected toproduce saleable items as part oftheir daily chores, in order tocontribute to the family income. Most Shetland homes had a numberof spinning wheels and the skillswere taught in much the same wayas knitting. The spinner had to learnhow to select raw wool for quality,master the art of spinning varioustypes of yarn, then carry this forwardthrough the knitting process to afinished garment. A weaver wasgenerally found in each district, butby the turn of the 20th century homeweaving declined as a result ofmechanisation. Before chemical dyesbecame available in Shetland,knitters and weavers used thenatural colour of the fleece or handdyed their yarns to colours producedfrom natural ingredients such as,lichens, madder, onion skins andindigo. It is to preserve and interpretthis rich heritage that the ShetlandTextile Working Museum exists.

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THE MUSEUM:

The Guild, in order to establish themuseum, set up their own charitabletrust agreeing to certain conditions.In brief:

• to appoint an adviser in curatorialmatters (presently the Museums’Section leader with the localcouncil) since no Guild memberwas qualified or experienced in this field;

• to produce a written collectingpolicy, to be reviewed every 5 years;

• to maintain a collections register;

• to produce exhibitions, lectures etcfor the advancement of education;

• to promote, encourage andundertake research into historicpatterns, dyes and techniques and disseminate the results;

• to produce written documentationin support of the museum’s workand collections.

This declaration and indeed thepractical setting up of the museumgallery recognised Scottish MuseumsCouncil guidelines and the Guild isnow working towards full museumregistration in order to becomeeligible to borrow works from othercollections. Initial funding forequipment, such as display andstorage cabinets, was raised by theGuild, with additional sums from bothprivate and public sources including:

Shetland Islands Council: Leisure and Recreation Department

Foundation for Sport and the Arts

Shetland Arts Trust

The Scottish Arts Council

Shetland Enterprise

Shetland Amenity Trust

Continuing funds are raised throughmembers subscriptions, charges forworkshops and other Guild services,entry charge to the museum foradults, private donations and public funding.

The Guild has identified textilesavailable for loan from local privatecollections, mostly in membershands, and calls on these asrequired, in addition to items thathave already been gifted to its owncollection, now stored at themuseum. Replicas fill gaps in thechronological display along withexamples of recent competition work.Representative items in the firstexhibition included fine handspunlace shawls, richly patterned Fair Islejumpers, traditional woollen clothing(fishermen’s working clothing,stockings), Taatit rugs (bed coversmade of long, hand-dyed tufts of woolhooked into a woven coarse woolground). These are displayed to allowclose study of the inherent textures,patterns and variety of stitch. Therewill be one major change of exhibitioneach year between May and Octoberand smaller exhibitions betweenNovember and April.

The museum is open to visitors onfour and half days per week. Whilststaffing on the Sunday, half-day, iscovered voluntarily by a Guildmember, the other days are workedby a paid member of staff. Half thecost of this salary, for the firstseason, was paid by the ScottishArts Council.

The person employed is a Shetlander,a qualified teacher and Guildmember, who learned to knit beforeshe went to school. The jobencompasses general housekeeping,cataloguing and communications, butmost importantly giving demonstrationsto the public so that visitors can seeand discuss work in progress duringtheir visit. This has proved to be avery popular and valuable aspect ofthe museum. The museum attractsaround 2,500 visitors during its openseason between April and Octobereach year.

Spinning instruction in theShetland Islands

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Several groups have visited from theUSA, Canada and Japan, brought bytour operators.The Guild sees thepotential for growth in this groupmarket, both UK and overseas.

The Museum is promoted through the national guild association andtheir journal. Otherwise a colourleaflet about the museum and itswork is distributed through the TouristInformation Centre network. Mainroad signposting improvements are soon to be introduced.

Other educational activities, open to members and visitors alike, areheld by the Guild around the islandsin local halls. These encompassspinning, handknitting, and rug-making and are an importantmeans of communicating andcontinuing the Shetland tradition.These sessions are increasinglyimportant now that the local furthereducation college summer schoolshave been discontinued. Knittingcontinues to be taught as part ofthe curriculum in primary schools by peripatetic instructors employedby Shetland Islands CouncilEducation Department.

THE FUTURE:

The Guild’s vision for the ShetlandTextile Working Museum is toexpand as a craft centre with use ofoutbuildings to house full size loomsand demonstrate weaving skills - to truly become ‘a living resource’.

Contacts:Shetland Guild of Spinners, Weavers and Dyersc/o The Shetland Textile WorkingMuseumWeisdale MillWeisdaleShetland ZE2 9LWTel: 01595 830419 (answering machine out of season)

Shetland Arts TrustPitt LaneLerwickShetland ZE1 0DNTel: 01595 694001Fax: 01595 692941

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THE CRAFT DEVELOPMENTINITIATIVE IN DUMFRIES ANDGALLOWAY

The very successful CraftDevelopment Initiative in Dumfriesand Galloway is unique to Scotland. Initially a two year project, it was set-up to run from June 1994 to June1996 and was funded, more or lessequally, by Dumfries and GallowayCouncil, Dumfries and GallowayEnterprise and the Scottish ArtsCouncil. The initiative also attractedEuropean Regional Development Fund money under Objective 5b,eligible within both the BusinessDevelopment and Tourism categories.Further European funds have sincebeen attracted allowing extensionboth in time and scope to the overallproject. The initiative centres on theappointment of a Crafts DevelopmentOfficer who operates region-wide.

THE OBJECTIVES:

The key objectives of the initiative are to:

• establish and maintain a network of craftworkers within the region,encouraging information exchangeand self-help;

• establish a craft information bankand advisory service whichsupports individual craft workersand the craft community at large,including existing craft groups and societies;

• develop individual and collaborativeprojects to help market, promoteand exhibit crafts from the regionboth locally and nationally;

• assess training needs and deliver aprogramme of seminars/courses inkey skills such as, marketing, sales,design and business development.

THE SUPPORT:

The Crafts Development Officermeets the objectives of the initiativein a number of ways.

Whilst the initiative offers no directfinancial help to makers, the CraftsDevelopment Officer can apply toDumfries and Galloway Council forsupport funding for individual orgroup craft projects - or will routeapplicants to other grant-makingbodies. Regular craft exhibitions areorganised or coordinated throughoutthe region. Further small-scale craftdisplays are arranged in locallibraries and hotels, using lockableshowcases commissioned throughadditional funds attracted to thescheme. These, coupled with groupparticipation at national trade fairs,such as the Made in ScotlandJanuary gift fair at Glasgow’s SECC,have served to raise public and tradeawareness, developing a reputationfor high quality work from the region.

The Gracefield Arts Centre is a focal point for the makers, providingaccess to a reference bank ofliterature and specialist publications,meeting space and opportunities fornetworking with other makers. TheCentre’s craft shop generated justunder £24,000 of sales in its firstyear, a figure which doubles if salesdirectly generated by the regionalcrafts trade guide are taken intoaccount. Turnover continues to riseand credit card payment facilitieshave now been introduced.

Response to the training events has been positive, with a good number of makers attending eachsession. A very practical approach istaken and feedback from evaluation questionnaires shows that peopleare able to extend their skills veryquickly in this way and have appreciated sharing problems andfinding solutions with their peers.

The Crafts Quarter newsletter is distributed region-wide givinginformation on local and nationalevents, competitions, awards andopportunities and generally keepseveryone in touch with current craftaffairs. Of the 2,000 copies printed,half are circulated by direct mail and just over 300 of these go toartists and makers.

Case study 3

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in Balmaclellan. Three basketmakers,members of the Scottish BasketmakersCircle, locally produce traditional andnew random forms in willow, andhedgerow materials.

Also represented in the leaflet is thefine and uniquely patterned Sanquharknitting, in the 1700s a flourishingindustry with articles exported fromthe village to the American Colonies.The People’s Friend magazine (April1955) and The Scottish WomensRural Institute (between 1966 and1980) published some of thepatterns, which are still in use andhave helped this craft to survive.Otherwise, articles are still availablecommercially only through one or two local knitters.

THE BENEFITS:

The economic benefits of this craftinitiative are easily demonstrated.The level of crafts sales has alreadybeen mentioned, but the visitorfigures to Gracefield Arts Centreincreased by 11%, coinciding withthe opening of the crafts shop andsuccessful exhibitions programme.

Eight new craft businesses have been established in the area with the direct advisory assistance of the Crafts Development Officer, in conjunction with other Councildepartments and partner agencies.Newly qualified makers are returningor moving to the region knowing thatthey will find the mechanisms inplace to assist them in theirbusiness. The number of jobssafeguarded exceeds 20.

The quality of the regions tourismproduct has been greatly enhanced.Six new retail outlets promotingregional crafts have beenestablished and 50% of existingshops now stock local craft goods.

The full-colour trade guide to craftsfrom Dumfries and Galloway now in its third edition features theproducts of 85 individual makers. On publication it was distributednationally by direct mail to 6,000retail shops, gallery venues, foreignembassies, architectural practicesand craft societies. An additional3,000 copies have been handed out at trade events and by themakers themselves. A guide to theretail craft outlets of the area hasalso been printed, with a distributionof 14,000 through the makers,venues and Tourist InformationCentres region-wide.

THE INDIGENOUS CRAFTS:

Whilst as a policy no distinction ismade between the varying crafts ofthe region, tribute has been paid tothe traditional crafts of this south-west area of Scotland through the

production of a separate illustratedleaflet for clogs, baskets and knitting.In the text, the root of these threelocal crafts is explained - providing a stark contrast between a thrivingclog-making industry in 1851, when58% of Scottish clogmakers lived in this area, to the one remaining clog-making company left in Scotland,

Crookmaking in Dumfriesand Galloway

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environmental artist and basket-makers from the region. Theresidency stimulated the creation ofnew work and opportunities for theartist to liaise with schools, adultsand community groups, improving the understanding of working in willow and raising awareness of the local resource.

The vision is the establishment of a centre for crafts excellence withinDumfries and Galloway, focussing on the growth and use of natural raw materials, supporting primarysource to end product, whilstdeveloping economic benefits to the area. Given the ground coveredby the Crafts Development Initiativeso far, with continued funding, this is an achievable goal.

Contacts:Craft Development OfficerGracefield Arts Centre28 Edinburgh RoadDumfries DG1 1JQ

Tel: 01387 262084Fax: 01387 255173

THE FUTURE:

Consolidation of the results achievedso far will continue and furtherdevelopment work will be carried out.For instance, the Trade Guide isalready accessible on the Internetand orders and enquiries areregularly received by this means.Future aims will include largernational touring exhibitions, perhapswith the assistance of private sectorsponsorship. Teachers and communitygroups will be encouraged to use the craft gallery exhibitions as aneducational resource withinvolvement of the region’s makers,and summer schools should bereintroduced. Another initiative,again encouraging support for youngmakers and inward investment, is ‘Room for Crafts’. Schools andcommunity centres able to offerworkshop space free of charge tomakers are able to exchange this for a half or full days teaching perweek by the resident craftsperson.The Craft Development Officer actsas the agent for these partnerships.

A key development area of theinitiative is the use of indigenousraw materials. Stage One of afeasibility study carried out in 1997has led to the planting of willow atthree pilot sites across the region.These species trials will determinesuitability for use in basket-makingand bio-mass. Stage Two will explorethe setting up of a centre for willowwork, education, information andsales. The aim is to investigate newpractical and creative uses of willow,developing collaborative links between landscape and environmentalprofessionals and creative artists. A willow residency in 1997, inpartnership with Dumfries andGalloway Arts Association, successfullybrought together an innovative

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The Scottish Arts Council12 Manor PlaceEdinburgh EH3 7DDTel: 0131 226 6051fax: 0131 225 9833Help Desk: 0131 240 2443 and 2444(open Monday-Friday 10am-12 noon, 2-4pm)e-mail: help.desk@scottisharts.org.ukwebsite: www.sac.org.uk

The Scottish Arts Council Help Deskthrough its direct line numbers,provides a single access point to awide range of information, drawing onthe knowledge of SAC staff, in-housedatabases and an extensive library toanswer a diverse range of enquiries.

Please contact the Help Desk toobtain a copy of the InformationDirectory : A Guide to Information,Advice and Services from theScottish Arts Council. The Directoryprovides a comprehensive listing ofthe resources available from SAC,many of them free of charge,including a section relatingspecifically to Crafts and the Visual Arts.

The Help Desk is also the first point of contact for information onthe Scottish Arts Council’s ownfunding schemes, including fundsavailable through the NationalLottery. The Crafts Department at theScottish Arts Council is able to givemore detailed information onschemes of assistance.

CRAFTS GUILDS AND ASSOCIATIONS:

Lace GuildThe Hollies53 AudnamStourbridgeWest Midlands DY8 4AETel: 01384 390739Fax: 01384 444415Contact: Margaret Watts, Office Co-ordinator

Lace Guild - Scottish Representative33 Cleveden RoadGlasgow G12 0PHTel: 0141 334 2802Contact: Jean Leader, Chairman of the Lace Guild and Scottish Representative

Scottish Association of Woodturners3 Dundas AvenueNorth Berwick EH39 4PSTel: 01620 892293Contact: George Hunter, Secretary

Scottish Basketmakers Circle8 Threave RoadRhonehouseCastle DouglasKircudbrightshire DG7 1TDTel: 01556 680473Contact : Lizzie Farey, Secretary

Scottish Crookmakers Association9 CauldsideCanonbieDumfriesshire DG14 0RTTel: 013873 71297Contact: Davina Hope, Secretary

Sources of information

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HI ArtsBridge House,20 Bridge StreetInverness IV1 1QRTel: 01463 244300Fax: 01463 244331Contact: Robert Livingston,Development Officer

For information on European, national and regional crafts support schemes and otherinitiatives, please contact theBusiness Shop at your localenterprise company.

Association of Guilds of Weavers,Spinners and Dyers2 Bower Mount RoadMaidstoneKent ME1 68AUContact: Anne Dixon, Honorary Secretary

Shetland Guild of Spinners, Weavers and Dyersc/o The Shetland Textile WorkingMuseumWeisdale MillWeisdaleShetland ZE2 9LWTel: 01595 830419(answering machine out of season)

Taigh ChearsabaghLochmaddyNorth UistWestern Isles PA82 5AATel: 01876 500293Contact: Norman MacLeod, Manager. Promotes and encourages arts in the Uists.

The Camanachd AssociationThe Camanachd AssociationAlgarveBadabrieBanavieFort William PH33 7LXTel: 01397 772 772Fax: 01397 772 255E-mail:executive@camanachd.freeserve.co.ukContact: Alistair MacIntyre, Executive Officer

The Quilters GuildRoom 190, Dean Clough Business CentreHalifax HX3 5AXTel: 01422 347669Fax: 01422 345017Contact: The Administrator

The Quilters Guild-ScottishCoordinator21 Main StreetSt NiniansStirling FK7 9AW Tel: 01786 462794E-mail: lizfergu@yahoo.comContact: Liz Ferguson

OTHER SOURCESAwards for All4 Shore PlaceLeithEdinburghEH6 6UUTel: 0870 606 1473

Made in Scotland LtdStation RoadBeaulyInverness-shire IV4 7EHTel: 01463 782578Fax: 01463 782409E-mail: mis@enterprise.netContact: Kathleen Hardie, Managing Director

The New Opportunities FundHighlander House58 Waterloo StreetGlasgow G2 7DATel: 0845 0000123

The Royal Highland and Agricultural SocietyRoyal Highland CentreInglistonEdinburgh EH28 8NFTel: 0131 333 2444Fax: 0131 333 5236Contact: Hilary Adams, Handcrafts Officer

The Scottish Museums CouncilCounty House20 - 22 Torphichen StreetEdinburgh EH3 8JBTel: 0131 229 7465Fax: 0131 229 2728Contact: Jane Furness, Information Officer

Scottish Tourist Board23 Ravelston TerraceEdinburgh EH4 3EUTel: 0131 332 2433Fax: 0131 343 2023Contact: Heather Akroyd, Arts & Tourism Coordinator

Scottish Enterprise120 Bothwell StreetGlasgow G2 7JPTel: 0141 248 2700Fax: 0141 221 3217

The Scottish Enterprise networkconsists of thirteen independentLECs. Highlands and IslandsEnterprise, which has a broader remit than Scottish Enterpriseincluding responsibility for socialdevelopment, comprises ten LECs.

Highlands and Islands EnterpriseBridge House20 Bridge StreetInverness IV1 1QRTel: 01463 234171Fax: 01463 244469E-mail: hie.general@hient.co.uk

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ACKNOWLEDGEMENTS:With grateful thanks to the manypeople who contributed information,time and advice during thepreparation of this booklet,particularly:

Rob Anderson, Carola Bell, HelenBennett, Christine Galey, Dale Idiens,Bess Jamieson, Susan Johnson,Robert Livingston, Michael Loynd,Sam Maynard, Alisdair MacLeod,John Murdo MacLeod, MattieMcLeod, Rachel Meehan, VanessaMorris, Mary Smith, Margaret Stuart,Arthur Watt, Rosemary Wilkes - andeveryone who responded to theScottish indigenous crafts survey.

Our aim – to play our part

in creating a dynamic arts

environment which values

the artist and enhances

the quality of life for the

people of Scotland

This revised edition of Glorious Obsession © 2000, the Scottish Arts Council

Designed and produced by One O’Clock Gun Design Consultants Ltd.

ISBN: 1 85119 100 3 May 2000

The Scottish Arts Council

12 Manor Place, Edinburgh EH3 7DD

Tel: 0131 226 6051 Fax: 0131 225 9833

Help Desk: 0131 240 2443 and 2444

(open Monday-Friday 10am-12noon, 2-4pm)

e-mail: help.desk@scottisharts.org.uk

website: www.sac.org.uk