Latest news with #HighlandClearances
The National
4 days ago
- Entertainment
- The National
DJ and jazz artist Rebecca Vasmant on 10 things that changed her life
1. The Stan Tracey Quartet GOING from collecting house and techno into jazz from the day that I heard a track called The Stan Tracey Quartet - Starless and Bible Black. From the day that I first heard that song until the rest of my life, it's completely changed the trajectory of it, and I've gone into embracing this passion for jazz, and it's changed my career, it's changed my life, it's changed my mental health. Because listening to down-tempo jazz really helps my mindset, it's changed everything. 2. Horses I DECIDED that I was going to try and do some things that I did in my childhood that I stopped doing in my childhood, and kind of rediscover my childhood self. One of those things was getting back into being around horses. It has made me really calm and centered, and happy. READ MORE: Scottish director's film set during Highland Clearances takes Cannes by storm It's allowed me to feel really free and like riding around the countryside on the back of horses, and kind of work in unison with this massive being that could, at any point, just kill you, but they don't, because you form this amazing relationship with them. I think it really symbolises how I like to be as a person in the world. Showing people mutual respect and just being grateful for other people and nature. 3. Ibiza WHEN I was in my early twenties, I went and did my first ever DJ season in Ibiza. It changed my life massively because, number one, it taught me how to DJ to crowds, and it also made me see that I really knew what I wanted to do with my life, even at an early age. Doing those seasons in Ibiza, DJing, doing residencies and gaining independence, living in another culture. I made sure that I had Spanish friends and didn't just surround myself with British people. 4. Ministry of Sound GETTING my World Tours residency at Ministry of Sound just after Ibiza, I must have still been 22. I got a residency where, pretty much overnight, I was flying all over the world and doing this residency for the brand. I just went from being quite a nervous young person who was quite scared to go places on their own, into getting on planes to do multi-city tours of India, and I went all over the world. I think that changed my perception of myself in the sense that I was a strong, independent person, and I could just do things on my own. 5. Own Place PROBABLY getting my own place and not flat sharing because, in my late 30s, up until that point, I'd always been met with limitations of sharing your space and not being able to make noise. I think for the first time ever, I was able to be creatively free and living on my own. 6. Paris I WENT to DJ in Paris one night, and I met my core group of lifelong friends that I have in Paris to this day. I just feel like you sometimes get these nights where you don't realise at the time that you're going to look back on as it changed everything, but that night really did change everything. My dad lives in Paris because I'm half French, so I'm in Paris quite a lot and that [night] gave me a group of friends, a music network, multiple DJ residences, and a family in Paris that I never had before. 7. MacBook Pro I WENT from not having the means or the access to be able to make music at home, because the laptop that I was on before wouldn't run Ableton. Upgrading my laptop to a laptop, that was a second-hand one, which was good enough to run Ableton, changed my life because I then went on to teach myself how to make music. While it is a material thing, it allowed me to open so many doors for myself, and I had saved up all my twenties, and I didn't get my first MacBook Pro until I was like 31 or something. 8. Cheese Fondue THE first time I went to DJ in Switzerland at a ski festival, I tried my first cheese fondue, and oh my God, I'm now absolutely obsessed with any form of melted cheese. Sometimes food is not really that life-changing, or it's not really that deep, but cheese fondue is absolutely that deep to me. The way I cook, the way I think about food now, is just so different because of using wine in the sauce and just all these things to do with the actual food itself feels a bit spiritual when you cook in the kitchen. It made cooking exciting for me. 9. Mr Scruff THE moment that Andy, AKA Mr Scruff, asked us to play my music live. We formed the band that we now play in, and then we basically went on to do four plus years of touring and playing all over with a nine-piece jazz band, which is absolutely mental. That one phone call where he asked us to play live has definitely changed my life. 10. The Internet THE first time that we had a computer at home and we had the internet on the computer. I started to realise that there was a bigger world out there other than just the small village that I live in [Saline]. Even the concept of the internet existing and being able to speak to people in other countries and being able to send an email, because I'm old enough to remember that, that's definitely changed my life. Rebecca Vasmant will be playing at the Kelburn Garden Party on July 5.
The National
28-05-2025
- Entertainment
- The National
Top roles on BBC Scottish dramas 'more often based in London'
BBC Scotland has been told there is a 'lot of distrust' among the Scottish production community due to the corporation choosing London-based creatives over them, The National understands. Peter Strachan, who sits on the board of trade body Directors UK, said the broadcaster still has 'a long way to go' in providing careers for film and TV talent based in Scotland. The veteran TV director's research, for which he looked at where the people who hold above-the-line roles on established and new Scottish BBC dramas are based, suggested that more people based in London hold key production positions than those in Scotland. READ MORE: Scottish director's film set during Highland Clearances takes Cannes by storm Strachan looked at eight dramas commissioned by BBC Scotland: Granite Harbour, Nightsleeper, Shetland, Vigil, Mint, Counsels, Grams, and The Young Team. The latter three are set to be funded from the soon-to-be axed River City's budget. The research showed that nearly 43% of above-the-line roles, which include positions like directors, producers, and writers, were held by London-based creatives, while less than 42% of the same positions were held by those based in Scotland. Strachan (below) has called on BBC Scotland to boost the level of Scottish writers, producers, and directors working on its shows. (Image: Supplied) He said: 'The stats aren't all bad news but reveal there's still a long way to go in terms of creating career-sustaining opportunities for senior film and TV talent based in Scotland. 'There's a lot of distrust in the Scottish production community, as one senior drama director put it, 'I've already been to a lot of rodeos'. 'It's important the BBC does even more to boost the level of Scottish writers, producers and directing talent working on its network Scottish productions. Editors, too.' A report published by Screen Scotland late last year found that only five of the BBC's top 15 'Scottish' producers (by hours commissioned) were headquartered in Scotland. Previous research by Strachan also found that the hit TV show The Traitors had 81% of its production team based in England. At the same time, he also published an open letter calling for 'urgent' changes, without which he warned Scotland's screen industry will 'continue to dwindle and die'. Strachan told The National that London-based creatives being favoured by the BBC isn't just a Scotland issue but one that affects the whole of the UK. He added: 'The best way to do this is to award commissions to genuinely Scottish production companies, which guarantees the IP stays in Scotland, helping to sustain jobs and develop new productions. 'My colleagues and I at Directors UK look forward to working collaboratively with the BBC to bring about positive change. 'This isn't just a Scottish issue, it's one that impacts all of Directors UK's 'Out of London' members and has done for many years.' BBC Scotland has been approached for comment.
The National
28-05-2025
- Entertainment
- The National
Dutch filmmakers make movie set on two of Scotland's greatest trails
The film – called The North – has been created by the team at Tuesday Studio and follows a pair of old friends as they tackle the West Highland Way and Cape Wrath Trail, which in total cover well over 300 miles. The two routes link up, with the West Highland Way going from Milngavie to Fort William, and the unmarked Cape Wrath Trail going from Fort William up to Cape Wrath – the most north westerly point of Scotland. The Tuesday Studio team filmed back in August last year after director Bart Schrijver hiked most of the route before getting injured in the previous April. READ MORE: Film set during Highland Clearances wows at Cannes Film Festival The fictional story follows the two friends who have not seen each other for a decade as they attempt to reconnect through nature, but challenges crop up along the way which test their friendship and force them to confront hard truths from their past. Speaking exclusively to The National, Schrijver said visiting Scotland had always been an ambition after producing Tuesday Studio's first film in Norway. He said he loved how close to nature the crew and actors were able to get and how the constantly changing conditions and scenery had a huge impact on the film and story. 'Going to Scotland was always a dream,' he said. 'I didn't know anything about the Highlands but I've always thought it would be a nice place to go. One of the magical things for me is you can put your tent almost anywhere. 'The freedom to roam makes it so you can enjoy nature in such a beautiful way where you can just set up your tent in the middle of nowhere and really experience what it's like to be by yourself. 'It's beautiful and what I liked about it was when I was there in April it was such a different trail to when I was there in August. The weather, the surroundings, the colours, are so different in every season and that's very magical.' While Schrijver wrote a script for the film, he said the unpredictability of being out in nature meant they did not always stick to the plan, giving the film a unique authenticity. (Image: Katie Taylor) 'One of the beautiful things about filming this way is we start at the beginning of the trail, that's also the beginning of the film, and we film the whole film chronologically while we go through the landscape. 'That means a lot of stuff changes. If you read the script now and watch the film, a lot of things have changed because during filming the characters grow and we come across locations that are beautiful and we decide to film a scene there, so instead of trying to have a script and execute it exactly as it is, because in nature that's impossible, we incorporate it in the film which I hope it gives it authenticity. 'When the actors are tired, we just walked up a mountain, they're actually tired!' The six-person crew – two actors, one sound recordist, a camera operator, a documentarian and Schrijver – hiked the whole way with backpack weights of up to 33kg, with no fancy hotels or catering services on route, just tents and the elements. The experience brought the team together in ways they hadn't experienced before, Schrijver said. READ MORE: Skerryvore mark 20 years with Floors Castle gig and new music for global fans 'It was so interesting to have this microcosm of people that you have to live with,' he said. 'You are sleeping in tents and you are so dependent on each other. The way you get closer to each other [is amazing]. There was one night that there was so much wind that we almost got blown off the mountain, and one of the tents broke, and one of the actors didn't sleep at all. Those days are the worst but afterwards when we talk about it we can't help but laugh.' Bart Harder (right) and Carles Pulido (left) in The North (Image: Tuesday Studio) Founded in 2021, Tuesday Studio has a central goal of creating independent cinema about nature and the team are pursuing a more unusual way of funding their filming. Instead of going down the classical route of striking a deal with a distributor and getting it into cinemas, the team work with branded partners who can make use of the extensive footage the crew capture to promote their company. As co-founder Arnold Janssen explains: 'We create content for them on the trail, and with that money we can pay for our film. But we get paid nothing. We only focus on getting the film out there. 'If this goes well, we can show independent filmmakers they don't need to be dependent on streamers or film funds if they say no, there is another way. It will be hard, but you can do it.' Tuesday Studio films are now being sold worldwide via the company's website. People will be able to buy The North when it is released on Saturday, May 31, right here.
Daily Record
28-05-2025
- Entertainment
- Daily Record
Fantasy movie set during Highland Clearances stuns audiences at Cannes Film Festival
Scottish director Ian Gordon brought The Gudeman, a fantasy film set during the Highland Clearances, to Cannes. A Scottish director has turned one of the darkest chapters of the nation's history into a fantasy adventure film that stunned audiences at the prestigious Cannes Film Festival. Ian Gordon, from Fife, took to the red carpet in France wearing a kilt to promote his new movie The Gudeman, set during the Highland Clearances. The film blends myth and history, telling the story of a tormented man sent to evict villagers from a rural Scottish settlement, only to become entangled in a fierce battle between ancient mythical beings while being relentlessly stalked by a sinister force. Gordon, who shot the film in the rugged northern landscapes that shaped the tale, said: "People in the industry from around the world were blown away by the dramatic scenery of the Highlands." While fantasy may drive the plot, The Gudeman draws deeply from a painful true event. The Highland Clearances saw thousands of Scots driven from their homes throughout the Highlands and Islands during the 18th and 19th centuries. It was a period marked by economic upheaval, brutal eviction, cultural suppression, and mass migration. By the early 1700s, Scotland's Lowlands were becoming increasingly urban and aligned with English culture, language and politics. The Highlanders, in contrast, were rural and still rooted in the centuries-old clan system. Clans were collective communities tied by kinship, with chiefs leasing land to tacksmen who in turn sublet it to tenant farmers. The social fabric was not only agricultural but also martial, with warriors owing allegiance to their chiefs, often surviving through raids and warfare. Everything changed after the 1745 Jacobite uprising. Charles Edward Stuart, known as Bonnie Prince Charlie, rallied Highland support in a doomed bid to reclaim the British throne. His army was crushed at the Battle of Culloden in 1746, where thousands of Highlanders were slain. In the aftermath, around 1,000 more were hunted down and killed. Entire clans were wiped out or driven into exile. Even before the battlefield bloodshed, the traditional clan structure had started to fray under James VI and I, who forced Highland chiefs to spend long spells at court in an attempt to prevent rebellion. But following Culloden, destruction came swiftly. The British government imposed harsh restrictions aimed at dismantling Highland culture: bagpipes were banned, clan tartans outlawed, and the land itself was opened up for outsiders to buy. A wave of wealthy landlords swept in, determined to reshape the Highlands into profitable farmland. Over the next century, a series of evictions followed in phases, now remembered collectively as the Highland Clearances. One of the most infamous figures was George Granville Leveson-Gower, later the Duke of Sutherland. Between 1810 and 1820, under the advice that his estate was more suitable for sheep than people, he expelled thousands of tenants. Their homes were burned, their land converted into vast sheep farms. According to Historic UK, around 15,000 people were removed from land owned by the Duchess of Sutherland and her husband the Marquis of Stafford between 1811 and 1821 to make room for 200,000 sheep. Displaced families were moved to tiny coastal crofts where they had to survive on rocky, infertile land. Many were forced into unfamiliar trades like fishing or kelp collecting. Kelp, used to make potash and iodine, was briefly a booming industry at the time. Others turned to cattle farming or intensive crop cultivation, but the economic blows kept coming. The kelp industry collapsed and cattle prices plummeted. Then, in the mid-1840s, came the potato famine. By 1846, famine had taken hold of the Highlands. Crofters, who had no legal claim to the land, faced disease and starvation. Tens of thousands emigrated in desperation. Some moved to the Lowlands to work in factories. Others set sail for Canada, America, or Australia, many as indentured servants clinging to the hope of one day owning land. Join the Daily Record WhatsApp community! Get the latest news sent straight to your messages by joining our WhatsApp community today. You'll receive daily updates on breaking news as well as the top headlines across Scotland. No one will be able to see who is signed up and no one can send messages except the Daily Record team. All you have to do is click here if you're on mobile, select 'Join Community' and you're in! If you're on a desktop, simply scan the QR code above with your phone and click 'Join Community'. We also treat our community members to special offers, promotions, and adverts from us and our partners. If you don't like our community, you can check out any time you like. To leave our community click on the name at the top of your screen and choose 'exit group'. If you're curious, you can read our Privacy Notice. Some emigrants paid their own way. Others had their journeys funded by landlords who preferred to clear their land than provide charity. The injustice sparked a wave of sympathy and activism. In 1883, the government launched the Napier Commission to investigate crofters' conditions. The Highland Land Law Reform Association, known as the Land League, was also formed. Three years later, Parliament passed the Crofters Holdings Act, ensuring crofters would no longer face arbitrary eviction. It granted them the "three Fs": fair rent, free sale, and fixity of tenure. Now, centuries later, Gordon's haunting tale of eviction, revenge, and folklore is bringing that brutal history back into the spotlight, framed by the haunting beauty of the land where it all began.
The National
27-05-2025
- Politics
- The National
Only the historically illiterate would think this Union is ‘equal'
To call this a 'union' is akin to a burglar looting the silver and then claiming joint ownership of the house. READ MORE: Here's what's on the agenda at our next independence convention Opponents of Scottish independence – the grim custodians of imperial nostalgia – cling to their myth of 'British unity' with the tenacity of flat-earthers grasping their ancient maps. They wax lyrical about 'shared history' as though history, in this case, were anything other than a record of coerced assimilation – a process in which Scotland's Parliament dissolved itself under duress, its elites bribed and strong-armed into submission, while its people bore witness to their nation being relegated to a provincial outpost of London's ambitions. To deny this is to inhabit a realm of fantasy where the Highland Clearances were merely an invigorating game of musical chairs, and the exploitation of North Sea oil and gas reserves was an act of benevolent Treasury largesse. These Unionist apologists – these parochial zealots swaddled in Union Jacks – would have us believe that sovereignty is a fixed, immutable doctrine, akin to the divine right of kings or the literal truth of Genesis. They quiver at the thought of Scottish self-determination as though it were heresy, a rupture in the cosmic order. Their arguments – when not drowned in syrupy sentimentalism about wartime camaraderie or the Queen's Christmas broadcasts – amount to little more than the petulant wails of a child unwilling to part with a favourite toy. 'But we built the Empire together!' they bleat, as if the moral and economic ruin of that enterprise were not already scrawled in blood across the pages of history. READ MORE: BBC Alba launch search for homegrown talent to play Belladrum festival And what of their vaunted 'United Kingdom', this patchwork of asymmetrical power? It is as contrived and unsustainable as the Ptolemaic model of the universe, requiring ever more elaborate contortions of denial to uphold its fiction. The Unionist's devotion to it is a form of Stockholm syndrome – bizarre loyalty to the machinery of their own cultural diminishment. They are the political equivalent of those who, confronted with Darwin's On the Origin of Species, retreat into murmuring about 'missing links' and the aesthetic perfection of the banana, as if wishful thinking could erase the fossil record. Scotland a colony? The question scarcely requires an answer. Only those afflicted with terminal imperial amnesia – or perhaps the careerist urge to ingratiate themselves with the mandarins of Whitehall – could dismiss the evidence. The sun has long since set on the British Empire; it is high time it ceased to set on the intellect of those who confuse subjugation with solidarity. Alan Hinnrichs Dundee PETER Bell lays out an interesting formula to get us to independence (Letters, May 25). One thing that kept entering my thoughts throughout the piece was: as a colony getting independent status, how would we the people of Scotland and the newly reformed Scottish Parliament get our hands on any of 'our dosh' held at Westminster and how, if at all, would that be calculated? Ken McCartney Hawick
