Tag Archives: Pibroch

Epiphany on Hope Street

It’s over a week now since the parties to the Conference that was COP26 jetted or slogged back to their many points of origin.

Credit : GlasgowLive

In the interval, I’ve been processing the constructive disillusionment of the event, the necessary street theatre of protest, the sickening deafness of politicians and lobbyists, the vile taste of greenwash.

If there is reason to hope, it might lie in the fact that, at least this time, ‘they’ didn’t even promise to ‘save the world’ by keeping average temperatures below 1.5 degrees above pre-industrial levels in 2100. 

Credit : Climate Action Tracker

Projections, based on the agreements, suggest 2.7 degrees above pre-industrial levels is the best-case scenario.  As usual, those projections ignore many tipping points we might barge through in the meantime.  Assume that is an optimistic estimate.

So, they are content we are 1.2 degrees less safe than they promised in Paris in 2015. As they left, they promised they might promise next year…next time…maybe.

Which is not, believe me, cause for despair.  Many, many earnest folk committed to a better future prepared for COP26, showed up at COP26, tried to make their voices heard. 

I was in Glasgow for the last day.  An AcousticCommons radio initiative – As if Radio – had kindly invited me into the Civic House studio for a chat about ‘Poetry as Activism’, Pibroch and my views as a former ‘fossil-fuel industry insider’.  Too weary to ‘slog’ home to Aberdeenshire (on the bus) that night, I stayed over at an excellent ‘affordable’ hotel in the Finnieston.  On the Saturday morning we discovered that the bureaucrats were still fudging and evading whilst suggesting that pulling an all-nighter was somehow ‘above and beyond’ their job-descriptions.  “It’s only a mass extinction event, after all!”

In the breakfast room, my fellow low-budget ‘parties’ discussed and debated in Spanish, Danish, Quechua, Japanese, Xhosa and, of course, the cargo language… English, whilst two awesome women negotiated and renegotiated, in Scots, the niceties of a full Scottish breakfast – ‘haggis, black pudding AND a tattie scone?’ – with the intrigued, the principled and the down-right hungry.

“Worst fortnight o ma life, so it wiz!” she said to me. “Still, whit can ye dae?”

To avoid climate catastrophe?  Negotiate, renegotiate, compromise…don’t compromise.  Listen.

“Jist the eggs an the tattie scone then?  Whit aboot beans?”

Maybe it was the worst fortnight of many of our lives…so far.  Yet a few miles from the conference centre at Finnieston, the world seemed ‘normal’.  A bit quieter than usual, they said.  Like Glasgow was holding its breath…or under martial law…high viz policing in twos and threes on all the major thoroughfares.

Between the radio interview and the hotel, I stepped in for a dram and a scribble at the Pot Still.  Afterwards, at the Number 3 bus-stop on Hope Street, I bumped (in a socially distanced way) into a young Canadian woman and her mother.  The younger woman was incensed that the previous Number 3 had driven past her.

“He saw me.  He shook his head and just kept driving.”

I shrugged it off with native indulgence : “Glasgow. What can you say?”

They weren’t in Glasgow for the COP.  The younger woman was studying in Glasgow and her mother had come over to visit.  They had been to Edinburgh that day.  We had the standard exchange about the pronunciation of ‘burgh’ in Scots.

Four minutes before the next Number 3 was due, they lost patience and called an Uber.

“Places to be and things to do,” she said as the Uber pulled into the bus-stop and blocked the way for the Number 3 which pulled up simultaneously.

Over the previous week I had been reading David Graeber and David Wengrow’s book, The Dawn of Everything.  In it the authors propose three fundamental freedoms:

The freedom to move

The freedom to disobey

The freedom to redefine social relations

Fundamental freedoms that few in the modern world possess.  As I sat on the number 3 to Drumchapel, the brilliance of the moment exploded in my imagination.  The young Canadian’s body language, the way she hailed the bus, the way the driver of the previous Number 3 exercised, in that moment, his freedom to move, to disobey and to redefine social relations by driving straight past her. 

Ay, gaun yersel, Glesga!

At 2.7 degrees above pre-industrial levels, billions of creatures, human and otherwise, will find themselves in conditions of untholeable heat or rising water-levels, starvation or violent conflict.  And, of course, for many it will not be either-or.

The freedoms to move, to disobey, to redefine social relations have never been so vital.  The survivors on Piper Alpha on the night of 6th July, 1988 exercised exactly those freedoms.  They left the ‘temporary refuge’ in which they had been urged to remain.  They broke with procedure and the chain of command.  They re-asserted their humanity – their fundamental freedoms – and jumped. And on the sea-below, others – bosuns, ordinary seamen – waited, heroically, to rescue them, drag them to safety, give them aid and comfort.

In that sense, there is hope in the dismal fudge of COP26. Might it be the tipping point in which we realise we need to be free to live?

From Eilean a’ Cheò to Innse Gall

So here we are. About to start the production process for Pibroch – the Performance and eagerly awaiting a printer’s proof of Pibroch – the Collection.  It has been a long, fascinating journey, summarised in part in the Developing Pibroch page of this site.  The journey onwards, however, will be recorded here as an artist blog as we struggle with the meaning and articulation of Pibroch post-COP26.

From the outset, back in 2019, my focus had always been on launching both elements just before COP26 in Glasgow, an act of activism and engagement intended to raise awareness and, especially, encourage audiences to reflect on the meaning of Climate Justice and a ‘Just Transition’.

COVID-19, of course, intervened.  COP26 slipped back a year and, as a consequence of cancer treatment during 2018, I was ‘locked down’ for most of 2020 as one of the ‘highly vulnerable’ in Scottish society.  It was a year of frustration but also an opportunity to deepen my thinking and practice around the Pibroch project.

It was also a time of (virtual) engagement with other artists who acted as mentors, guides and supporters in developing the various elements of the project especially the performance, musical and audio-visual aspects.

Timelines slipped to the right, however, in the face of pandemic uncertainties (which still haunt us) and the nitty-gritty detail of any collaborative art.  The latter element was much aggravated by my inexperience in the processes and economics of theatrical production. 

Now, however, we are finally ready to begin the next stage of the journey with a great team onboard including

Mark Thomson, award winning director and former Artistic Director of the Royal Lyceum in Edinburgh,

Graeme Roger, an award-winning audio-visual designer from wildbird based in Moray, 

Arthur Coates, a talented young multi-instrumentalist from Aberdeenshire

and the collective talents of Open Road, a creative, entrepreneurial organisation rooted in North East Scotland (‘the North’), but with a global vision. Opern Road uses arts, culture, heritage and the natural landscape to contribute towards health and wellbeing, tourism and environmental sustainability. .

Rehearsals for the show will be during January 2022 with a view to a premiere at Glenbuchat Hall in Strathdon on 15th January 2022.

I am grateful to Creative Scotland and the National Lottery for funding to support the development of the performance elements of the Pibroch project and to Red Squirrel Press for their support in editing, collating and designing my second collection. 

Wish us all luck!

Pibroch at the Paisley Book Festival

Pibroch is a spoken-word performance that blends words, music and striking visual imagery to examine parallels between the Climate Emergency and the Piper Alpha Disaster of 1988. Exploring the responses of people trapped on a ‘burning platform’, Pibroch is grounded in author John Bolland’s personal experience of working in the offshore oil and gas sector and his conviction that only radical change can moderate the impacts of climate change in ways that are just, sustainable and meet the needs of ordinary folk in their communities. The performance will be accompanied by music from Fraser Fifield and followed by a creative conversation, in which audience members will be encouraged to explore themes associated with the work.

This show has been developed with the support of funding from Creative Scotland based on the text of John Bolland’s second collection, Pibroch, forthcoming from Red Squirrel Press.

It’s ALIVE… poetry festival

Coming up next week! The Wee Gatherin, an ‘in real life’ poetry mini-festival organised by The Poet’s Republic in venues around Stonehaven in the North East of Scotland.

Poets are coming in from Scotland, Ireland and England for an opportunity to read, share, laugh…and probably drink.

First event in the bill will be a world premiere reading of poems from the new collection, Pibroch, which will be published by Red Squirrel Press in September…but I can’t wait to share work I’ve been focussed on for the last 2 years.

Pibroch explores parallels between the Piper Alpha disaster in 1988 and the unfolding climate catastrophe driving the extreme weather events occuring with increasing frequence and fatal consequences. The title alludes to the pibroch Lament for the Children (Padraig Mor McCrimmon c1640).

The poems in Pibroch have been created as a mix of found poems and imaginative voicings based on :

  • The extant official enquiry and documentation associated with the disaster (e.g. the Cullen Report, Cabinet Papers, newspaper articles);
  • Interviews in the public domain from survivors and relatives;
  • Emotional, behavioural and scientific parallels between the disaster and the current climate crisis as documented in various intergovernmental reports and scientific papers.

As a former oil worker, a scientist and a climate activist, I feel the tensions between my responsibility for the situation, my empathy for the working men and women involved in the fossil fuels industry over the past century and my fears for the future of my children, grandchildren and the sustainability of most of the life on the planet.  It is widely recognised that swift action is needed to mitigate and adapt-to the evolving ecological crisis.  Pibroch is my attempt to engage with the lived experience of the last three generations in both the global North and South in promoting the need for a genuinely Just Transition.

For me, the parallels between the unfolding climate crisis and the events around the 1988 Piper Alpha disaster are striking. It’s a common place to say radical change demands a ‘burning platform’.  In Piper Alpha there is a well-documented concrete metaphor for the emerging catastrophe which requires critical reflection and vivid, accessible expression. On the night of 6th July,1988, 167 men died and 47 survived.  Two weeks ago, around 500 people died on the West Coast of North America. This week, over 150 lost their lives & livelihoods in extreme flooding in Germany, Belgium and the Netherlands.

Every year, thousands are forced to flee in the face of environmental degradation and the conflicts provoked by hunger, thirst and poverty arising from the climate emergency.

Perhaps the work can best be summarised by the poem Teach Your Child to Swim. One of a number which will be featured in the Wee Gatherin reading.

Rolling…

Busy weeks and getting busier. 

Elsewhere to Be, a collection of creative writing – fiction and non-fiction – I’ve been editing for the WORD Centre at University of Aberdeen has (finally) gone to the printers.  The writing was inspired by the lives and experiences of landless families displaced by the effects of agricultural expansion in the early to mid-nineteenth century.  Together they reflect on experiences of displacement, loss and recovery, of living on the margins and striving for better things, using the personal experience and imagination of present-day writers to explore the lives of those who made Bennachie their home during this period.  Written in English, Polish and Scots and skillfully translated by Beata Tschirch, the project was a great experience.  More information on a launch and where to get your copy as soon as things firm up!

Privileged to have my three-poem sequence, Lament for the Children, published in NorthWords Now Issue 41 in such good company.  The poems were written as part of the Pibroch project and inspired by Padraig Mor MacCrimmon’s pìobaireachd – Cumha na Cloinne.  The pibroch, Lament for the Children, was, indeed, central to the development of the show and collection – both of which are structured around the four ‘movements’ of that piece – urlar, dithis, suibhal and taorluth.

Poetry @ Books and Beans: Thursday 27th May

In the meantime, I’m actively looking for venues for Pibroch starting from July this year – and hoping we’re not driven back into lock-down.  An abridged version will feature as part of The Gathering in Stonehaven 23rd-25th July and I’ll be sharing some of the poems online later this month at Poetry @ Books and Beans: Thursday 27th May at 6.30 pm UTC+01.  Free and online.  Check out the Poetry @ Books and Beans facebook page for more information and links.  Will be joined by Sheila Templeton reading from her new collection – Clyack – and the usual enthusiastic line-up for the Open Mic.

And in the meantime2 , there’s still time to register for the online launch of Pushing Out the Boat 16 on Sunday 16th. Writing from around the world though with a North East flavour and a fine line-up of readers.