Traditions are a tricky thing. Some people want to preserve them – perhaps because they offer them orientation, a sense of belonging and stability. Others see them as unwelcome, possibly even discredited burdens that should be thrown overboard sooner rather than later. The middle ground is where things get difficult. Finding a way of dealing with customs and traditions between unquestioning affirmation and radical rejection is challenging. Because if you want to preserve the fundamentals of what has been handed down without accepting every detail unquestioningly, then in addition to nuanced expertise and differentiated judgement, the ability to express plausible criticism is also required. The experimental dance theatre piece ‘not for glory’ takes up this challenge with a view to the competitive traditions of Scottish bagpipe music and Irish dances.
The seven-person project team designed the exploration of the topic as an open, creative process in which interested guests could also participate last January in Glasgow. This first work-in-progress event was organised by members of the artists’ organisation The Work Room. Performers Charlotte McLean, Malin Lewis and Jack Anderson then brought the concept to the stage at two preview performances in Ullapool and Edinburgh in April. Parts of what has emerged so far can be seen online, particularly on Charlotte McLean’s website and Insta account.
Exploring the relationship to tradition
The visual material available to date is at times irritatingly aesthetic and provocatively symbolism. In one film excerpt, Malin Lewis handles the Highland Pipe in such a way that viewers inevitably think of a cardiac massage. The instrument sounds like a dying waterfowl. Whether the resuscitation is successful remains unclear at this point. A photo showing the pipe lying on the ground next to two black Passion crosses provides a clue to a possible outcome. One gets the impression that something is being laid to rest here. But what?
The accompanying texts sound more conciliatory. Charlotte McLean, for example, says that ‘not for glory’ revives the heritage ‘with respect and resilience’. And from the Work Room we learn about the work of the three performers: ‘Blending nostalgia with innovation, they balance reverence for tradition with a drive for inclusion and activism.’ That doesn’t sound like an assault on the status quo. But we can expect an exciting exploration of a musical genre that thrives on tradition. Anyone who is interested in this experiment but has not been able to experience the previous events will probably still have the opportunity. Further performances are planned for 2026.
