B00208487

Rachel Kennedy

B.A Hons Contemporary Screen Acting

B00208487

The Sustainability

of

Gaelic Screen Drama:

An Investigation into the sustainability of Gaelic Screen Drama

through interviews with various Gaelic Drama practitioners.

Supervisor: Stuart Hepburn & John Quinn

B00208487

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Acknowledgements

I would like to thank the following people for their incredible help and support throughout

my research dissertation. Firstly, thank you kindly to everyone that allowed themselves to be

interviewed. Your contribution was invaluable to my research. I would also wish to thank my

supervisor Stuart Hepburn, and also John Quinn for their knowledge and support. Thank you

finally to my parents for bringing me up to speak the wonderful language that is Gaelic.

Taing mhor a h-uile daoine tha mi fada na do Chomain !

Ethical Considerations and Plagiarism Statement

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Ethical Considerations (Participants)

This study involves the use of Human Participants. There was, therefore, an application made to the Module Coordinator, which has been received and approved.

Plagiarism Statement

I confirm that by singing, dating and submitting this dissertation, I have read, understood and accepted the University’s regulation in relating to cheating and Plagiarism.

Signed:

Name:

Date:

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Contents Page

Chapter 1: List of acronyms and abbreviations Page 4

Chapter 2: Introduction Pages 7-17

Chapter 3: Literature Review Pages 18-27

Chapter 4: Methodology Pages 28-

Chapter 5: Findings/ Discussion Pages 34

Chapter 6: Conclusions Pages 35-37

Chapter 7: Bibliography/ Webography Pages 38-44

Appendix

1) E-mail interview with Donald Campbell (Chief Executive of MG Alba.)

2) E-Mail interview with Greg Hemphill (Actor, writer and producer.)

3) E-mail interview with Arthur Donald (Gaelic Drama Artist in Residence at Sabhal

Mor Ostaig.)

4) E-mail interview with Marisa Macdonald (Proiseact na

5) E-mail interview with Alan Esslesmont (Head of Content at BBC Alba)

5) Interview with Carina Macleod (Gaelic Actress and Comedian) C.D

6) Interview with Duncan Macneil (Gaelic Actor) C.D

7) Interview with David Walker (Gaelic Actor) C.D

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List of Acronyms and Abbreviations

BBC- British Broadcasting Corporation

CCG- Comataidh Craolaidh Gàidhlig (The Gaelic Broadcasting Committee)

CG-Comunn Gaidhealach- (The Gaelic Committee)

F.E- Further Education

MG Alba- is the operating name of Seirbheis nam Meadhanan Gàidhlig (Gaelic Media

Service). MG ALBA stands for Meadhanan Gàidhlig Alba, or Gaelic Media Scotland.

PNE- Proiseact Nan Ealan (The Gaelic Arts Agency)

PSB- Public Sector Broadcasting

SDTN- Scottish Drama Training Network

S4C- The Welsh Television Channel

TG4- The Irish Gaelic Channel

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Introduction

Research Problem

“Gaelic Drama has a very distinct voice with stories that are unique to its communities that not only need to be heard, but are a vital component of the creative landscape of Scotland and indeed throughout the UK.” (Hempill, 2012)

Greg Hempill as a well-established actor, writer and producer is a valuable asset to this

research. Hempill is not only an experienced acting practitioner, but he is also an invaluable

asset to this research project because of his lead role in the Gaelic film Eilbheas (2008)

When discussing the sustainability of Gaelic Screen Drama Hempill (2012) suggests that

Gaelic Drama is an essential element of the artistic landscape of Scotland and the United

Kingdom.

Accordingly, Eilbheas was developed by BBC Alba to showcase Gaelic Screen Drama. The

film launched the much anticipated Gaelic channel; however, there has been no similar

production, in terms of scope or budget, since. Therefore this lack of sustainability becomes

an important issue which will be further analysed within the confines of this dissertation. This

question is fundamental, in order to fully investigate the varying components which factor

into the sustainability of Gaelic Screen Drama.

To begin investigating the sustainability of Gaelic Screen Drama the research topic must be

clearly defined. Gaelic Drama involves two important elements which both need to be

elucidated.

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Firstly, the project must define the term ‘drama.’ Downs (2012) states that:

“The word drama comes from the ancient Greek verb dran, which means to take action, to do, to make or to accomplish.” (Downs, 2012 p.14)

Further discussing the origin of the word drama, Downs states that:

“Drama is a form of theatre that tells a story in which characters set out to do, to accomplish, or to take some sort of action.” (Downs, 2012 p.14)

As such, Downs proposes that Drama follows a universal formula. This would suggest that

regardless of the language, Gaelic Drama should follow the same principle structure: to re-tell

a story in which characters attempt to achieve a goal or action.

Although it is suggested that Drama follows this universal formula for story-telling the

format for broadcasting these stories vary. However, for my research investigation I will

focus on the broadcast of Screen Drama; looking specifically at Gaelic Screen Drama. For

this research investigation I will be examining Scottish Gaelic as opposed to the Irish Gaelic

(Gaeilge /'geɪlɪk/.)

According to An Comunn Gaidhealach, the oldest and most esteemed Gaelic Language

organisation, established in 1891, Scottish Gaelic is regarded as the language of the islands

and Scottish Highlands. Although previously spoken across all of Scotland. Looking at the

sustainability of the language it should be noted that Gaelic has existed in the British Isles for

a longer duration than the English language. Therefore, it could be argued that the

sustainability of Gaelic Screen Drama is worth examining.

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Contextualisation

To inaugurate this research it is necessary to firstly examine the current place of Gaelic

Screen Drama within today’s cultural society. In order to achieve this it is essential to trace

back the journey of the Gaelic language from the first record of its existence, up to the

present day. The constraints and pressures, which have affected the language, will also need

to be investigated. The Gaelic culture and the role of Gaelic Drama within that culture must

also be studied. The purpose of this will be to establish the factors which have shaped and

formed Gaelic Screen Drama.

Gaelic Screen Drama within today’s cultural society

To identify the current status of Gaelic Screen Drama within today’s cultural society, it is

important to firstly ascertain the value other acting practitioners outside of the Gaelic world

place on the Gaelic language. David Mitchell is one such practitioner that expresses his

outlook on the language. Being a high profile English speaking actor, writer and comedian

his opinion is greatly valued as it speaks for a much wider community. Mitchell (2010)

expresses his views on the relative merits of the Gaelic language on his media forum

“Soapbox.” This is a You Tube channel Mitchell uses to convey his thoughts on a variety of

topics.

This particular video entitled: The Gaelic language has received at present 197,182 views.

Mitchell introduces the video by referring to meeting people who expressed a genuine

passion for saving the Gaelic language. Mitchell goes on to state how he has “mixed feelings”

regarding the sustainability of the Gaelic language.

Mitchell (2010) states:

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“If it were in my power, I would rather see any language survive rather than die. But I am uneasy about spending too much public money, or time, on a language which is now not far above the level of a private code.”

Mitchell expresses that he would fundamentally prefer Gaelic to continue as a spoken

language. However, he highlights how he feels uncomfortable with it being sustained through

the valuable resources of public money and time when it is spoken by so few. He goes on to

express how Cornish, now a dead language should not be revived stating “once it’s gone it

gone.” However Mitchell recognises that Gaelic is in fact not a dead language:

“Gaelic is still a living language and I hope it stays that way. If I were a parent and I spoke Gaelic then I would certainly take the opportunity to bring my child up as bilingual, because it’s basically like giving them a free language. But I think it would be quite hard to justify Gaelic as a priority language to teach my child or learn myself from scratch. After all language is fundamentally a tool for communication and if you learn Gaelic you have enabled yourself to communicate with only 60,000 people. All of whom also speak English.”

Mitchell (2010) continues by discussing how the lack of speakers is due to ‘natural selection’

stating that the reason there are only 60,000 speakers of the language is due to Gaelic being

unable to adapt to its environment:

“The extinction of an animal in the modern world is almost never because of natural selection, it’s because of the actions of man.” The extinction of a language however, still is natural selection. If it dies out it’s because humans no longer need it to communicate. As long as they, they will.

However, historical research identifies that natural selection did not cause the decline but

rather the ban that was put in place on speaking the language still remains the primary reason

for the decline.

Kenneth Mackinnon (1991) discusses this when investigating the causes behind the

deterioration of the language. Mackinnon, is a Professor and Emeritus Reader in the

Sociology of Language at the University of Hertfordshire, an honorary Fellow in Celtic at the

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University of Edinburgh; and is also an associate lecturer in Social Sciences, Education and

Language Studies of the Open University

Mackinnon discusses the repression of the Scottish people in being prohibited to speak the

language of their native tongue. This puts Gaelic history, in relation to its current cultural

situation, into context. It focuses on the Act of the Privy Council in 1616 as the main factor in

the decline of Gaelic:

“Literacy in Gaelic did not count as literacy in the eyes of official policy. The language itself came to lack official status as civilised speech. The statues of Iona were ratified by an Act of the Privy Council in 1616 whose preface explicitly connects the lack of true religion, civility, godliness, knowledge and learning with the persistence of Gaelic speech and seeks to redress these deficiencies with universal establishment of English as the common language.”

This illustrates the repression the Scottish people faced in being forbidden to speak their own

native language. It highlights how Gaelic was outlawed instead of being left to face the

process of adapting and how this was deliberately deployed as a method of restricting and

suppressing the Scottish culture. This will be further investigated in my Literature Review.

Tying together both the culture of Gaelic drama and of the Gaelic language, it is important to

document the journey of Gaelic television broadcasting, in order to explore the repression it

faced and currently still faces. By arguing against Gaelic receiving its own broadcasting

channel it can be argued that the Gaelic language is again being suppressed.

In evaluating the journey of Gaelic television broadcasting, it is important to also assess the

position of Welsh and Irish Gaelic broadcasting, as equivalent minority languages.

In 1982, the Welsh television channel, (S4C) was launched. This was achieved through

funding by the British government as a priority over Irish and Scottish Gaelic because of the

increased numbers of Welsh speakers. This factor, coupled with unparalleled levels of

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political action successfully secured the Welsh their channel. This caused a great deal of

indignation amongst the Gaels and was further experienced in 1996, on witnessing the launch

of the Irish language television channel TG4, (Teilifís na Gaeilge.)

Hourigan (2007) goes on to state the effect this had on the Gaels:

“As Gaels watched the successful creation of a minority language channel in another

nation of the UK, they began to ask themselves why Scots Gaelic was not entitled to

similar levels of support and exposure in the broadcast media.” (Hourigan, 2007:78)

Thus began a long campaign which was rewarded with the Broadcasting Act 1990 being

established. Offcom (2003) highlights how valuable the Broadcasting Act was in

developing Gaelic programming.

“Under the Broadcasting Act 1990, the CTG were required to make grants for the

financing of programmes in Gaelic for broadcasting mainly in Scotland. Funds could

also be used for training, research and for related purposes such as support materials.”

(Offcom:2003)

Further investigations were carried out in 2000, in a report chaired by Alasdair Milne. The

report recommended the formation of a Gaelic Broadcasting authority, to run a new digital

Gaelic television channel. Rodger Hutchinson (2005) discusses the findings of the report:

“The report stated the maintenance of the status quo is not an option and that the

present provision was inadequate.” Hutchinson, (2005:253)

In September 2008, this important milestone was finally reached. After years of continuous

campaigning BBC Alba, the Gaelic channel was finally launched. The launch of the BBC

Alba channel in 2008 successfully aired the channel’s first ever Gaelic film, Eilbheas.

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When analysing the launch of the Gaelic channel it is difficult to do so without special

consideration being paid to Eilbheas. The purpose of Eilbheas was to showcase the channels

ability to produce high quality drama. One of the key tools that will assist in providing the

necessary data to answer my research question is the reviews published on Eilbheas.

Iain Maciver a journalist for the Press and Journal discusses the reaction of the MG Alba film

Eilbheas as well as including his own personal view of the film:

“One thing we should not be resigned to is a Gaelic TV drama being anything less than worthy of our suspension of disbelief.” (Maciver, I.2008)

The article goes on to further praise the “superb talents” of Sean Macleod who plays (Tony)

and describes Eilbheas as being “fantastic.”

The article however, continues by contrasting the journalist’s own personal opinion in listing

some concerns made by audience members- over the films use of inappropriate language.

Maciver (2008) seeks to further analyse these concerns:

“Gaels are not used to flipping and blinding in their TV programmes. The productions have been so terribly twee. They are famous for it.” The article continues to expand on that concept:

“There have been few, if any, adult-orientated shows in which the day-to day expletives of unreconstructed Gaels were used so matter- of- factly as in Eilbheas. Yet the biggest shocker about it was that it, too, was just too tame.”

Maciver considers this view by analysing the scene in Eilbheas (2008) where Tony goes into

the bath still wearing his underwear. He compares it to a similar scene in the “mods and

rockers” film Quadrophenia, (1979) when the character of Jimmy (Phil Daniels) was in the

bath naked which as Maciver recalls “prompted hardly a complaint.”

The review is concluded by Maciver in questioning the lessons that should be learnt from

Eilbheas (2008) to continue to progress forward with Gaelic Screen Drama:

“Should we insist that Gaeldom’s creative output keep up with the times? I think so. Otherwise, we will all have to be resigned to Gaelic production values being so dumbed

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down, that almost thirty years after Quadrophenia, we must keep up some ghastly pretence that pious Hebrides spare their own blushes by bathing in their drawers.”

Another review by the Scotsman, (2008) backs up the view of Maciver (2008) stating in his

review that he had not one complaint to make regarding the film Eilbheas. The article goes on

to state:

“This quirky tale was told with stunning imagery and a terrific soundtrack. The language only made our land seem even more exotic.”

Although the majority of reviews proved on the whole to be positive, it can be argued that the

negative feedback, primarily over the anti-stereotypical portrayal of island life, generated a

great deal of discussion. This discussion catalysed opinions and arguments relating to the

sustainability or otherwise of Gaelic screen drama

There are many arguments and counterarguments for the BBC Alba Gaelic channel. Thomas.

(2008) a journalist for the Daily Mail discusses the launch of the Gaelic channel as

“controversial.” Thomas (2008) states:

“The BBC will devote £11million a year on a television channel dedicated to Gaelic; a channel that seeks to provide for fewer than 60,000 people.”

The article goes on to further discuss the cost of the channel to the taxpayer. The article also

highlights how this affects BBC staff:

“The project has met with fury within the corporation, which is facing cutbacks. One detractor pointed out: This is a time when up to 1,800 BBC staff have to face losing their jobs.”

The article goes on to further quote John Whittingdale, Tory chair of influential Commons’

culture, media and sport committee who stated that the expenditure was tough for the BBC to

justify.

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Looking at Gaelic Screen drama as a relatively new innovation, I will investigate how vital

this fresh modernisation is in helping to sustain the language. Mike Cormack, presently a

course Director for the B.A in Gaelic and Media studies at Sabhal Mor Ostaig in Skye,

discusses how Gaelic screen drama, a contemporary concept can help sustain Gaelic as a

minority language:

“The impact of television on minority cultures and minority languages has frequently been assumed to be destructive, but television is so central to contemporary societies that it must feature in any attempt to defend these minorities.”

This identifies that Gaelic Screen Drama being broadcast, is in essence, essential in helping to

sustain Gaelic as a minority language. Screen Drama is a contemporary concept. Therefore,

broadcasting Gaelic Screen drama would bring together the culture of an ancient language

with the culture of contemporary society. Unless the two are united the language will struggle

to be sustained.

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Rationale

There are several reasons as to why I have chosen to investigate the Sustainability of Gaelic

Screen Drama.

Firstly, being a Gaelic speaking actor, I possess an enormous passion for the Gaelic language.

And have a genuine desire to see a sustainable future for both Gaelic screen drama, and

fundamentally the language itself. I recognise that it is an essential part of Scottish culture,

which I believe requires to be preserved and further developed. I believe that drama is a key

vehicle in helping to sustain the Gaelic language. Story-telling has always been a central part

of island culture and drama in essence is the re- telling of a story.

Also having being brought up speaking the Gaelic language I believe in the benefits that a

second language provides. “Research suggests that students who receive second language

instruction are more creative and better at solving complex problems than those who do not.”

Bamford and Mizokawa, (1991)

Speech and Language Pathologist Robert Kurtz also further identifies the cognitive

advantages of bilingualism. Kurtz (2012) states that bilingualism creates amongst other

things: an increased metalinguistic awareness, better classification skills, improved concept

formation, enhanced visual-spatial skills and an enhanced ability for storytelling. It is also

worth noting how prominent the art of story-telling has always been to the Gaelic culture of

Scotland. Story-telling has always been a central part of island culture and drama in essence

is the re- telling of a story I believe that drama (the art of story-telling) is a key vehicle in

helping to sustain the Gaelic language. Also with there being no available literature directly

discussing the topic of Acting for Screen through the medium of Gaelic; I hope there may be

some interest surrounding my dissertation, as it is research into both an ancient and

contemporary field.

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Aims and Objectives

Aim

The aim of this research investigation is to identify the present place of Gaelic Screen Drama

within today’s cultural society and to further examine whether its future can be sustained.

In order to achieve this aim, the study must be divided into attainable objectives:

Objectives

RO1: To gather and review relevant literature

RO2: Collect relevant data by means of interview

RO3: Analysis that data in relation to the research question.

RO4: To draw conclusions on the cultural impact and sustainability of Gaelic Screen Drama.

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Literature Review

This research investigation shall attempt to identify the current status of Gaelic Screen Drama

within today’s cultural society, and to further examine whether its future is sustainable.

2.1 Method of Review

Throughout the dissertation I will rely on the use of academic literature to gain an accurate

overview and insight into the current state of Gaelic Screen drama. This will assist in

identifying the discoveries that other academics and theorists may have made in this field.

It will also raise awareness as to whether weaknesses and gaps presently exist in the research

of Gaelic Screen Drama. To do this, a Thematic Structure will be applied. Saint Mary

University (2011) identifies the benefits of a thematic structure:

“This method is often a stronger one organizationally, and it can help you resist the urge to summarize your sources. By grouping themes or topics of research together, you will be able to demonstrate the types of topics that are important to your research.”

Hart (1998) identifies the format a Literature Review should follow stating that a Literature

Review should be in essence descriptive. It should clearly focus in detail on the topics

surrounding the research question. Hart also emphasises that the Literature Review should

denote the most current sources connected to the research topic.

My Literature review seeks to carry out the advice of Hart (1998). In doing so it becomes

necessary to trace back the journey of the Gaelic language chronologically, from the first

record of its existence up to the present day. This will be essential in ascertaining the reasons

why Gaelic Screen Drama is in its current position.

I will also, following the guidance of Hart (1998), examine in a chronological fashion the

broadcasting of Gaelic Screen Drama programmes. This will be invaluable to my research, in

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trying to establish periods of decline in Gaelic Screen Drama, when they began…and then by

extension, any potential periods of cultural resurgence.

In his philosophical work Reason in Common Sense George Santayana declares that “Those

who cannot remember the past are condemned to repeat it.” (Santayana: 1903)

Through my research I shall attempt to prove that continued neglect of Scottish Screen

Drama in the 21st century, would be a ratification of the mistakes of the past, and would

almost certainly lead to a continued decline in the Gaelic language, an important aspect of

Scottish culture and heritage. Imagine, Scotland in the absence of the Gaelic language would

simply become a nation of ‘Those who cannot remember the past,’ or rather their past.

2.2 Themes identified

This Literature Review will follow a thematic structure, with the use of sub headings. This

will allow the reader to follow the arguments clearly and identify the key points. However,

when tracing back the history of the language and of Gaelic Screen Drama, this will be

carried out chronologically, yet still remaining within a thematic structure. The key themes I

will evaluate are:

1. The Historical decline of the Gaelic language.

2. Identifying the role of young people: in sustaining Gaelic Drama.

3. The Role of MG Alba in the sustainability of the Creative Industries

4. The role of Further Education in sustaining Gaelic Screen Drama.

5. Illustrating the potential for a culturally and finically successful Gaelic Screen Drama,

using the model of Gaelic Theatre.

6. The Historical Timeline of Gaelic Screen Drama.

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The Historical decline of the Gaelic Language

In seeking to understand the present situation that Gaelic Screen Drama is in, it is necessary

to journey back to the beginning of the Gaelic language. This is necessary, in order to

understand the factors which have shaped and formed the Gaelic language and in turn

affected Gaelic Drama.

Michael Fry (2005) in his book Wild Scots: Four Hundred Years of Highland History

discusses the formation of the Gaelic language and the struggles it faced, in maintaining

survival through the various forms of repression experienced. Michael Fry is both a historian

and journalist, spanning research into four hundred years of highland life; Fry (2005) offers

an incredible insight into the social history of Scotland. Fry’s book labels itself as being

controversial in describing how the Highlands simply had to modernise, and examines in

detail the creative ways in which Gaelic culture withstood economic decline.

Fry (2005) examines the history of the Gaelic language and the repression it faced in the Act

for the Settling of Parochial Schools. Fry discusses how the clan chiefs were kept captive in a

castle for several months only to be released on the condition that they attend another

meeting. At the meeting the King’s Commissioner Andrew Knox, also Bishop of the isles,

revealed the King’s legalisation for the Highlands.

“In 1616 they were lured into an agreement that included an overt assault on the Gaelic language as such. The Act for the Settling of Parochial Schools passed by Parliament that year, the first educational legislation since the Reformation, ordained that the vulgar Inglishe toung be universallie plantit, and the Irish language, whilk is one of the chief and principall causes of the continewance of barbarite and incivilitie amongis the inhabiants of the Ilis and Heylandis, may be abolishment and removeit.” (Fry, 2005:14)

Fry (2005) further ascertains the cultural suppression that took place through educational

agency in the Highlands: The Society in Scotland for the propagation of Christian

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Knowledge. This society affirmed a guileless confidence in civilizing aptitude of English

Education:

“Nothing can be more effectual for reducing these countries to order and making them useful to the commonwealth, than teaching them their duty to God, king and country, and rooting out their Irish language, and this has been the care of the society so far as it could, for all the scholars are taught in English.” (Fry 2005:124)

T.M Devine, chairman of Strathclyde University and Rosalind Mitchison, (Edinburgh

University) explores the history of Scotland and recognises it as being a multi-cultured

society. Rosalind Mitchison and T M Devine, authors of People and Society in Scotland

volume I, 1760-1830 (1988) agrees with the information provided by Fry (2005) in

identifying the repression of the Scottish people:

“The Lowlands Gaelic became a sign of backwardness if not barbarism; to be a Gaelic speaker marked one, as outside, and below, in terms of culture and class.”

(Mitchison & Devine, 1988:128)

This evidence supports the research question in identifying why Gaelic screen Drama is

requiring to be sustained. Through years of repression, evidenced in the history stated above,

it illustrates the constraints and pressures which have affected the language and caused a

decline. As a consequence; a decline in the Gaelic language, resulted in a decline in Gaelic

culture and directly affects Gaelic Screen Drama.

The role of young people: in sustaining Gaelic drama.

In identifying the constraints and pressures, that have affected the language what became

evident from the research was the key role young people faced, in being re-educated to

believe that the Gaelic language marked them out as “being below, in terms of culture and

class.”

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Although the effects of this suppression have not vanished completely it is evident to see the

steps that have been taken to reinvent a positive attitude towards Gaelic, especially in young

people. One of the steps that is proving most successful is the linking together of the Gaelic

language with drama. Cormack, (2011) reflects on the success of The Sgoil Shamhraidh

Dhràma (The Gaelic Drama Summer School) in achieving this. Arthur Cormack, Chief

Executive of Fèisean nan Gàidheal said:

"Gaelic Drama is an excellent vehicle through which to engage young people in using the Gaelic language. The Sgoil Shamhraidh Dhràma offers a great opportunity for young people to pick up acting and technical skills through the medium of Gaelic and it is hoped that there will be new opportunities for them to make use of those skills through BBC ALBA and other media in the future." Cormack (2011)

The importance of young people taking up the Gaelic language is imperative if Gaelic is to

see a sustainable future. Young people play a central role in the development of the language

and, if nurtured correctly, have the potential to bring forth a wealth of creative talent. The

National Plan for Gaelic (2012) discusses how young people should be encouraged to

embrace the language:

“In order to engage and retain the attention and interest of young people in particular, language and culture must be associated with fun and recreation.”

The Role of MG Alba in the sustainability of the Creative Industries

MG Alba understands this, and as such, is committed to training and developing initiatives,

that focus on engaging young people in the language, and in the creative industries. Such

strategies currently include Film G:

“Film G is MG Alba’s Gaelic online digital short film competition aimed at discovering and nurturing new talent in all areas of audio-visual content production.”

MG Alba (2009: 7)

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MG Alba also seeks to currently support two students at the Caledonian University

studying MA in TV and Scriptwriting, and eight students a year on the Television course

at Sabhal Mor Ostaig: “MG Alba seeks to support students, and young people, and is

committed to training and development initiatives.”

This research is relevant to my investigation as it illustrates that MG Alba has identified

the importance of Drama as a key vehicle in the sustainability of Gaelic, and has further

signified how crucial it is to engage young people in Drama in order to build and secure a

sustainable future.

The role of Further Education in sustaining Gaelic Screen Drama

The Scottish Drama Training Network (SDTN) is a website which features a section on the

importance of supporting education and training within the Scottish Creative and Cultural

industries. This directly relates to the role of further education in helping to provide a

sustainable future for Gaelic Screen Drama.

The Royal Scottish Conservatoire has in recent years, developed a strong link with Sabhal

Mor Ostaig the Gaelic college in Skye. This is a hugely encouraging leap forward in

establishing Gaelic Drama as an important part of Scottish Culture. The SDTN website

(Scottish Drama Training Network) conveys its potential plans to provide a structured

framework of how to best provide a Gaelic drama training programme at both undergraduate

and post-graduate levels. This would involve a partnership between the Royal Conservatoire

and Sabhal Mor Ostaig.

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This is an encouraging partnership and continues to be progressing with a seven day Summer

School planned for August 2012. The Royal Conservatoire has advertised the course on its

website. Royal Scottish Conservatoire (2012)

By the end of the Summer School course, it promises that participants should have: Gained a

greater knowledge of contemporary Gaelic texts, examined techniques for teaching acting

skills, had the opportunity to work creatively using the Gaelic language and engaged in

topical discussions around the role of Gaelic in Scottish theatre.

This research is significant to my investigation at illustrates that the sustainability of Gaelic

Drama is a contemporary issue that is being examined by academic colleges, universities and

conservatoires

Illustrating the potential for a culturally and finically successful Gaelic Screen Drama, using the model of Gaelic Theatre.

The research for this dissertation was made immensely challenging by a distinct lack of

secondary source material regarding the sustainability of the Gaelic language. This fact alone

is a strong argument in favour of the importance of Gaelic Drama, a drama which has the

potential to function as a vehicle, in place of, and to encourage the future generation of such

academic discourse.

Drama and the arts are notorious in their social function as popularising mediums. The pop

culture film Braveheart popularised, and romanticised, racially stereotypical concepts of

Scotland to the world, and increased Scottish Nationalism within Scotland in a way that was

unprecedented. Envisage what a similarly popular film rich in Gaelic culture, a culture that

dates back to antiquity, could do to improve damaging racial stereotypes, which have been

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perpetuated around the world by films such as Braveheart, and how such an artefact of new

Gaelic culture could improve Scotland’s preconceptions of itself.

Many believe that sustaining, and promoting Gaelic culture is a potential drain on public

finances. In response to such criticism, referring to the example of Braveheart (above), films

promoting Scottish culture, racially damaging or not, can generate vast amounts at the box

office, generating more for the Scottish economy than could (potentially) be spent in public

money. It seems unfortunate, that in 2012, the only real money being spent on promoting

Gaelic culture in blockbuster film is the soon to be released Brave, the American production,

which can only promote Scottish culture and generate money for the Scottish economy by

association.

Further argument, in favour of the potential of Gaelic Screen Drama is illustrated in the

success of Gaelic theatre in the late 20th century/ early 21st century, such a success, which also

illustrates how Gaelic Drama can be accessible and instructive to modern English speaking

audiences, natively and internationally.

To support my argument, I would primarily like to refer the reader to the example of the Irish

play Translations by Brian Friel, and then to the Scottish play Calum’s Road, adapted by

David Harrower, from the book by Roger Hutchinson.

In Translations, often the British cannot communicate with the Irish, because the Irish refuse

to speak in anything other than Irish Gaelic. However, the characters are mostly speaking

English, in order to be understood by all of the modern day Irish audience. The feelings of

cultural loss hit the largely (English-speaking) Irish audience hard. The play highlights the

issues of the Irish cultural oppression, while also addressing some of the core issues

responsible for causing unrest in Ireland, in the 1980's.

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Augusto Boal in Theatre of the Oppressed writes that, “all theatre is necessarily political,

because all the activities of man are political and theatre is one of them.” (Boal : 1979 : IX)

The same can be said of film, furthering the argument in favour of a socio-politically relevant

Gaelic Screen Drama. Film is currently, the most popular form of entertainment, and the most

popular platform to promote culture and politics.

Another theatre production, Calum's Road, scripted in Gaelic and English, illustrates the

struggles faced by Scottish people from the early industrial period onwards. This research is

relevant in investigating potential ways in which Gaelic Screen Drama can be achieved.

Investigating the successful blue print of Gaelic theatre is one avenue to consider in

understanding and further developing Gaelic Screen Drama.

The Historical Timeline of Gaelic Screen Drama

BBC Alba, on its website lists a broadcasting timeline. This timeline consists of all the major

achievements from the conception of Gaelic radio broadcasting in 1923, to the broadcasting

of The New Year ceilidh (Cèilidh na Bliadhn' Ùire) 2010. However, between 1923 and 2010

BBC Alba only lists two Screen Drama programmes: Gruth s’Uchar (2002) and Eilbheas

(2008.) Looking chronologically at Gaelic Screen Drama, however, there is also the drama

Machair, which must be considered. One reason it may not be documented on the BBC Alba

website is because it was aired by STV rather than the BBC. Machair was and still is the first

and only, Gaelic televised soap. Produced in 1993 and continuing until 1999 it was well

received by the public. In investigating Gaelic drama it is important to seek to identify the

popularity of a soap opera such as Machair (1993-1999) Livingstone (1990) is one such

theorist that discusses the appeal:

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"The popularity of soap opera appears to rest on its undemanding nature and its preoccupation with everyday concerns" (Livingstone 1990:56).

This research can be considered valuable as it demonstrates how people find drama relatable.

If people can relate to drama in the everyday concerns it documents, surely Gaelic Screen

drama can generate a similar appeal.

2.3 Summary of Findings

The research for this dissertation was made more challenging by the distinct absence of

secondary source material on the sustainability of the Gaelic language. This however,

highlights how contemporary an area of research this is, and further illustrates the need to

create a sustainable and highly viable future for Gaelic Screen Drama. The main factors

identified in enabling this were in Education: In ensuring that training remained and

progressed in order to gather an even greater wealth of Gaelic talent right across the creative

arts. There were no theorists that argued against Gaelic Screen Drama directly but indirectly

at the funding that was being provided for the language.

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B00208487

Methodology

3.1 In order to answer the research question I want to identify the varying factors that are

presently prohibiting Gaelic Screen Drama from being broadcast. This identifies my research

as being Qualitative as I wish to gather the knowledge and opinions of my interviewees based

on their own personal principles and values.

3.1.2 My epistemological position proposes that a valid method to gathering data on these

ontological issues is by interacting with people, conversing and listening to them in being

able to gain admission into their accounts and vocalisations.

3.1.3 Therefore the Qualitative method I will employ will be to conduct face to face

interviews and e-mail interviews with Gaelic actors. Interviewing a range of Gaelic actors is

vitally important to this research as it provides a past and present insight into Gaelic Screen

Drama. E-mail interviews will also be conducted with those working at the highest level, in

Gaelic Media broadcasting. This will be essential in providing an accurate knowledge and

understanding of the work of the Gaelic media in the field of Gaelic screen drama

To gain validity in this research field I have decided to use a Qualitative methodological

framework as opposed to a Quantitative one. This is not to assume that Qualitative research is

more academically valued than Quantitative, but that on this occasion a Qualitative method

has been selected as it is better suited to investigating: The Sustainability of Gaelic Screen

Drama.

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As I am seeking to identify the current position of Gaelic Screen Drama my research will

involve gathering the opinion of individuals connected to the Gaelic creative industries.

Silverman (2000) illustrates how a quantitative method would be ineffective to my research

as it requires the use of figures and statistical data to examine the hypotheses.

(Silverman, D 2000: 53)

Silverman (2000) further expands on this idea when identifying some of the criticisms of

Quantitative research by stating:

“Quantitative research can amount to a quick fix, involving little or no contact with

people or the field.” (Silverman 2000:7)

This further highlights how a quantitative research investigation that involves “little or no

contact with people” would leave me unable to carry out my investigation. Peräkylä (2008)

discusses this idea when identifying and examining the role of a qualitative researcher.

The task of a Qualitative researcher is to examine the oral and transcribed accounts of human

experience. (Peräkylä 2008: 53)

As my investigative research relies heavily on the values, opinions and experiences of people

it is evidently clear that in investigating: The Sustainability of Gaelic Screen drama, my

research is infinitely better suited to a Qualitative investigation.

To provide the most comprehensive coverage to answer my question I will conduct

Qualitative semi-structured interviews as my chosen Methodology. Gillham (2010) clearly

describes the structure of a standard interview:

On discussing the framework of a standard, Gillham breaks the interview down into sections.

Identifying firstly the form in which questions are allowed to be freely answered by the

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interviewee. Secondly, Gillham examines rapport in interviewing. The rapport between the

person asking and answering the questions (interviewer) and (interviewee) should be

responsive and interactive. This provides an opportunity for the interviewee to clarify any

question they may not have fully understood. Thirdly the standard interview follows the plan

that the interviewer has constructed. Although the sometimes informal language used during

the interview helps the interviewee to respond in a naturalistic way. (Gillham 2010: 3)

The interviews I shall conduct will be semi structured interviews. Semi-structured interviews

are carried out using a fairly open framework. This interview technique has been selected as

it allows the interviewer and the interviewee to maintain focused, conversational, two-way

communication. Gary Thomas (2009) explains why the semi-structured interview is so

effective:

“The semi-structured interview provides the best of both worlds as far as interviews are

concerned combining the structure of a list of issues to be covered together with the

freedom to follow up points as necessary, because of this combination it is the most

common arrangement in most small scale research.”

(Thomas 2009:169)

It is for this reason that I have chosen to carry out semi-structured interviews as my chosen

Qualitative methodology, as opposed to questionnaires. Byrne (2004) also highlights why

Qualitative interviewing is a more effective form of research when analysing individual’s

opinions:

“Qualitative interviewing is specifically beneficial as a research technique for retrieving

individuals’ opinions and values that may not always be noted or accounted for in a

written questionnaire.” (Byrne 2004:182)

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It is for this reason that I have discounted surveys as they do not allow the researcher to

gather as much in-depth information on research topics as may be gathered from an

interview.

I have also discounted Focus groups as a viable methodology for my research question.

Although Focus Groups are also very effective in gathering opinion and do work well side by

side Qualitative interviewing they do not allow for as much in-depth detail as a one to one

interview. According to Byrne (2008) although it can also be argued the communications

between participants do on occasion produce dissimilar data that may not have arisen from

conducting a personal one to interview. That aside, on this occasion selecting a Focus Group

would have been an extra time constraint. It would have proved especially challenging to

plan a schedule for arranging a Focus Group as a large percentage of my Focus Group would

have consisted of Gaelic actors, who have complex and sometimes unpredictable work

schedules.

3.2 My objective in selecting Qualitative semi-structured interviews is that it ensures my

research question is fully answered by interviewing a range of practitioners within my subject

area. This will allow me to gather varied, non-biased responses.

Firstly I will arrange an interview with Alan Esslemont: Head of Content for BBC Alba. I

will ask Mr Esslemont to explain the current strategies that the BBC have in place to

encourage Gaelic Screen Acting and to identify the main challenges that BBC Alba face in

seeking to ensure a future for Gaelic screen acting.

I will also interview Donald Campbell Chief Executive of MG Alba to underline the aims and

objectives of Eilbheas (2008) as the first and last, large scale drama produced for the channel.

This is important in investigating how successfully these objectives were met in regard to the

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channels aims. I will also discuss Mr Campbell’s view on the importance of Gaelic screen

drama and whether the channel has an action plan to ensure its sustainability.

The essence of my research is to identify the thoughts of Gaelic Screen Actors on the

Sustainability of Gaelic Screen Acting. Most Gaelic actors have grown up with Gaelic as

their first language. The way most actors became involved with drama was through the

language. Thus illustrates how essential drama is as a vehicle in sustaining the language. I

feel it is vitally important to gauge their opinion on the current status of Gaelic Screen

Drama. The actors I have selected are all highly esteemed and have worked on a variety of

Gaelic and English television programmes ranging from: Machair, Gary Tank Commander,

Eilbheas and Still Game. These actors include Carina Macleod, David Walker, Duncan

Macneill, Greg Hempill and Arthur Donald. Each actor is vitally important to this research as

they each have different backgrounds within acting. I will also interview the actors involved

in Eilbheas, to discover whether in their opinion Gaelic screen acting has become more

recognised since Eilbheas, or indeed what lessons can be learnt to progress further..

I will also interview Marisa Macdonald Head of Production at Proiseact nan Ealan (The

Gaelic Arts Agency) PNE’s aim is to be the strategic agency for Gaelic arts development and

to be passionate about promoting the importance of Gaelic language and culture within a

modern, vibrant and confident Scotland. It is for this reason that I feel interviewing Ms

Macdonald will provide me with an insight into their opinion of the current state of Gaelic

Drama. I will ask questions that seek to identify the current position that Gaelic drama now

holds.

Interviewing those working in the different sectors of the Gaelic media is vitally important in

gaining meaningful insight and understanding of the work and in particular the efforts made

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to maintain the Gaelic arts and encourage Gaelic acting, while also discovering the challenges

they face in making this happen.

Altogether I will conduct interviews with eight people within the industry. On their

agreement I will film my interviews using a small Flip camera. Although the majority of my

interviewees will have no problems talking with a camera present, the size of camera will

ensure it is not intrusive. I will also ensure I give each person being interviewed a copy of the

written transcript after the conducted interview to ensure they find what I have transcribed to

be satisfactory in its accuracy.

On completing my Qualitative interviews I will then be able to generate my data and examine

the findings. I will seek to deconstruct the information gained from my discourse analysis

using a thematic structure.

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Justification for research

I feel I can justify studying: The sustainability of Gaelic Screen Drama as it is an area of

research which has not received a great deal of individual attention.

Firstly, looking at Gaelic Screen Drama it is still a fairly new innovation. The television itself

only became available from the 1960’s through the invention of John Logie Baird. The first

Gaelic television programme was in 1964 “S’e ar Beatha.” However, the first Gaelic Drama,

Machair, was not broadcast until 1993 which ran until 1999. Gruth s’ Uchar, followed in

2002 and then Eilbheas was broadcast as the first Gaelic film on the channel (MG Alba)

This highlights Gaelic Screen Drama as a modern invention in that it has only been

broadcasted for less than fifty years. In actual terms this figure is numerically much smaller,

as Gaelic Screen Drama has not been aired continuously between 1964 and now. This in itself

is justification enough to research exactly why it was not unremittingly sustained.

Also researching Gaelic screen drama, further narrows down my investigation as Gaelic is a

minority language spoken by only 60,000 people.

Although it is a narrow field of investigation it is a very relative area of investigation as it is

presently receiving media attention from politicians both arguing for and against the

preservation of Gaelic. The launch of the Gaelic channel has also received a lot of attention

and criticism. This brings my investigation to the fore front of modern day culture and

illustrates my research as being vital in helping to even in a very small way shed some new

light on the topic.

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Ethical Considerations

There were many Ethical considerations involved in researching: The Sustainability of Gaelic

Screen Drama. Firstly, because my investigation used the Qualitative research method of

interviewing, this brought with it many ethical considerations. During my face to face

interviews I had to ensure that my interviewee was comfortable being filmed. I ensured I

stated the purpose of the interview and explained that the footage would only be used for the

purpose of my investigation. I also ensured I had written permission granted in order to use

the information from my interview in my dissertation. The same permission also had to be

granted from those of whom I conducted an e-mail interview. It was also an important factor

to ensure my interviewees were happy with the information they had given me. To ensure

they were; I offered them copies of my transcripts or if they preferred a copy of the interview

on a C.D.

Also as my research also relied heavily on academic literature I also ensured I cited all the

sources of my research correctly. This is of vital importance as it gives the author the correct

accreditation and ensures I do not plagiarise.

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B00208487

Findings

The aim of this research investigation was to identify the present place of Gaelic Screen

Drama, within today’s cultural society, and to further examine whether its future could be

sustained.

Interviews

In total four to face interviews were carried out with three Gaelic acting practitioners: Carina

Macleod, (Actress and Comedian,) David Walker, (Actor and Comedian) and with and

Duncan Macneill, (Actor, Producer and Director.)

Five e-mail interviews were also communicated: with actor, writer and producer Greg

Hemphill, Marisa Macdonald, (Proiseact nan Ealain), Donald Campbell (Chief Executive of

the Gaelic channel, BBC Alba) and with Alan Esslemont, (Head of Content for BBC Alba.)

My findings are of a combination of the results from my Literature Review and semi-

structured interviews. I have broken my findings up into sub headings to make it clearer for

the reader.

The Current state of Gaelic Screen Drama

The primary aim of my research was to identify the current position of Gaelic Screen Drama,

within today’s cultural society. When carrying out my interviews this, was the main question

I wanted to be investigated. The results from the findings were unanimous. All of the acting

practitioners I asked identified Gaelic Screen Drama as being in a highly impoverished state.

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The question was answered by some describing the situation of Gaelic Screen Drama as

being absolutely “zero” “absolutely dire” “very poor” and “absolutely appalling.”

One practitioner described the lack of Gaelic Drama being broadcast as being absolutely

appalling stating:

“There is no Gaelic drama there’s no Gaelic comedy. Everything they produce is either sport, factual or music. Even when they do have drama it’s quite sad that they are repeating Machair which was actually filmed seventeen years ago maybe more. This is what they are throwing out and like I said they are actually buying over from Ireland drama and playing Irish drama on the channel when Gaelic actors and actresses are struggling to make a living. Personally for me the channel has been the kiss of death. I was busier before there was a Gaelic channel doing Gaelic programmes than I am now.”

When asked to describe their opinion on the current state of Gaelic Screen Drama there was a

unanimous response from the practitioners that it was inadequate. This relates to my research

in identifying the position of Gaelic Screen Drama to consider whether it is a concept worth

sustaining.

What is causing the lack of Sustainability?

Through my research, I have discovered the main factors preventing Gaelic Screen Drama,

from currently being sustained. These have been identified as a lack of Gaelic script-writers,

an absence of trained actors, an absence of Drama being taught at an academic level of

certification and predominantly, insufficient Government funding and investment into the

channel. A lack of funding thus directly results in a lack of Gaelic Drama being broadcast on

the channel. My Literature Review also identified the various factors which caused a decline

in the numbers of Gaelic speakers and thus making Gaelic a minority language. From the

literature review, it can be concluded that in past, speaking Gaelic was a sign of

‘backwardness:’

“The Lowlands Gaelic became a sign of backwardness if not barbarism; to be a Gaelic speaker marked one as outside and below in terms of culture and class.”

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(Mitchison & Devine 1988:128)

It is important to identify that thus repression has still remained with those who speak the

language. From a personal perspective, growing up, in school it was always deemed ‘uncool’

to speak Gaelic. Thus is also echoed by the Runrig musician, Calum Macdonald, on The

Culture Hebrides website (2003) the website discusses how Macdonald began his singing

career entirely in English, as he too thought Gaelic to be uncool! What can be identified from

the findings is that as Scottish people, we as a nation should be proud of Gaelic being a part

of our culture; and rather than being embarrassed and denying it, should proudly embrace it.

Lack of Writers

A lack of Gaelic writers was also identified. Although, there are numerous universities and

colleges that offer courses in TV Writing and Script-writing; there is very little appeal or

attraction to writing for Gaelic Screen Drama as there is at present no new Gaelic Drama

being produced. This could be seen to move writers away from writing in Gaelic and force

them into abandoning their Gaelic writing in favour of a more profitable career in English

writing. This is evidenced to be an issue that MG Alba have noted and are currently taking

action on encouraging; through offering scholarships in MA in TV and Scripting writing.

Currently MG Alba has supported six students through the course at the Caledonian

University. These findings are relevant to my investigation as it illustrates that MG Alba has

identified the importance of Drama as a key vehicle in the sustainability of Gaelic.

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Lack of trained actors

At present there is no facility available for Gaelic speaking actors to train professionally in

the specialised field of Gaelic Drama. They would presently need to train in an English

speaking university or Conservatoire and then transfer their skills in drama into the Gaelic

language. These findings are valuable in trying to address the issue of sustaining Gaelic

Drama. Can Gaelic Screen Drama progress if there is no institution to train Gaelic actors?

This question however, can also be reversed by asking, is training necessary if there is

presently no industry in Gaelic Screen Drama.

Drama being unavailable as a subject in school.

From this investigation it has been concluded that the largest Gaelic speaking community is

in the Western Isles. In the Western Isles there are four High Schools; one based in Harris

“Sir E Scott School,” one in Lewis “The Nicolson Institute, and two high schools in the

Southern Isles, “Lionacleit” and “Castelbay” None of these schools teaches Drama at a level

of academic certification.

Nicolson Institute, (2012) Sir E Scott School, (2012) Lionacleit School, (2012) Castlebay

School (2012)

Although, as evidenced in the Literature Review there are steps being taken such as the Sgoil

Shamraidh Gaelic, (The Gaelic Summer School) which seek to reaffirm the link between

Gaelic and drama. The importance of Drama in Education is also a view that is supported by

Teachit. Teachit is an online education resource used by thousands of teachers specialising in

English, Drama and Media. Teachit states:

“Drama has an important rôle to play in the personal development of our students. The

skills and qualities developed by students in drama, such as teamwork, creativity,

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leadership and risk-taking are assets in all subjects and all areas of life.”

(teachit.co.uk accessed 13/04/12)

This is relevant to my research as it evidences the skills that drama can provide. It

highlights how beneficial it would be to have Drama taught as a subject in Gaelic speaking

schools. Theoretically it could develop creativity, skills in leadership, risk taking and

teamwork. If Drama was offered as an academic subject in schools it could develop a

greater interest in Gaelic Drama and produce an even greater pool of creative talent. This

would provide more Gaelic actors and potentially engage more people with Gaelic

language and culture.

as adding to the sustainability of Gaelic drama.

A lack of Gaelic Drama broadcast on screen

From the research generated in the Literature Review it is clearly evident to see the

insufficient amount of Gaelic Screen Drama. Since Eilbheas, launched the Gaelic channel in

(2008) there has been no similar production, in terms of scope or budget, since. The only

Gaelic Drama that is being aired currently on the BBC Alba channel is repeats of the Gaelic

soap, Machair. The absence of Gaelic Screen Drama is a view shared by Donald Campbell

(Chief Executive of MG Alba) Campbell (2012) states: “The audience wants drama, in fact

they crave drama.” This is a crucially important finding, in understanding that an absence of

Gaelic Screen Drama is not a reflection of a lack of interest.

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Lack of Government funding to broadcast Gaelic Screen Drama

The most common answer that kept arising from the question ‘what are the obstacles in

preventing Gaelic Screen Drama’ was in a lack of funding being available. Drama is the most

expensive form of television broadcasting. The current problem MG Alba faces is in a lack of

money being funded by the Government and individual investors. Donald Campbell (2012)

reports:

“What are the steps required to get significant amounts of Gaelic Drama on the screen? First more funds! Drama is expensive as you know. With a budget of only £14m for a seven hour daily schedule BBC Alba has to create a portfolio of programmes which will draw audience reach of around ten per cent of the national audience each week.”

Through the Literature review, it is also evident that MG Alba not only recognises a need

for Drama, but that they are actively seeking to meet this need. Campbell and Esslemont

both identified a lack of funding as MG Alba’s biggest obstacle in preventing new Gaelic

Screen Drama. Alan Esslemont (Head of Content MG Alba) states:

“Drama is expensive. The BBC Alba strategy is to serve Gaelic speakers and to be useful and of value to non-Gaelic speakers. In all areas of our schedule we lack the funding to create critical mass (annually both S4C and TG4 produce about three times more hours of originations than BBC Alba). In the area of drama, the most expensive form of TV production, our hours of origination are very low indeed.”

Donald Campbell (Chief Executive of MG Alba) concurs and identifies how beneficial a

Gaelic Drama would be to the Gaelic channel:

“Evidence from other countries and channels would suggest that long running Gaelic drama would help create station identity and audience loyalty. The BBC Alba team are working on bringing Gaelic drama to the screen-the key enabler will be a funding package.” Other enablers include a pipeline of talent-acting and writing.”

These findings were important in identifying BBC Alba’s view on a Gaelic Drama and in

understanding precisely how important funding is to the issue of Gaelic Screen Drama and

effectively its sustainability.

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Are there benefits to having Gaelic Screen Drama broadcast?

When I asked several Gaelic Drama and Media practitioners if in their opinion they believed

there was any benefits in having Gaelic Screen Drama, they all unanimously agreed there

were. Here are some extracts:

“There are huge benefits. When a Gaelic screen drama is created it creates a lot of jobs for both Gaelic and English speakers. It also helps develop the experience and skills of those involved. Hopefully leads to future work. Good drama would also help raise the profile of Gaelic within the media.” Arthur Donald (2012

“First, the audience wants drama, in fact they crave drama. All public service broadcasters want to provide the best drama possible. Second, BBC ALBA needs more drama to help build station identity. Long running or serial dramas are at the heart of the identity of PSBs. Think of C5 and CSI, or C4 and Shameless/Hollyoaks, BBC1 and Eastenders, ITV and Corrie. In the case of Gaelic there would be further benefits - language, jobs, talent development, community and cultural benefits.” Donald Campbell (2012)

“I believe that Gaelic Drama has a very distinct voice with stories that are unique to its communities that not only need to be heard, but are a vital component of the creative landscape of Scotland and indeed throughout the UK.” Greg Hempill (2012)

In order for Gaelic Screen Drama to be sustained it was important to ensure it was a justified issue in benefiting Scotland and its people. These findings were important in gauging the value practitioners placed on Gaelic Screen Drama.

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Conclusion

Research Problem

This research investigation, attempted to identify the current status of Gaelic Screen Drama

within today’s cultural society and by doing so, further examine whether its future could be

sustained.

This investigation was conducted in two ways. Firstly, by carrying out a Thematic Literature

Review, this allowed me to investigate the opinions of a variety of Gaelic Screen Drama and

media practitioners. Secondly, by conducting both face to face and e-mail interviews, I was

fully able to carry out my qualitative methodology.

The sustainability of Gaelic screen drama is a topic that a lot of Gaelic drama practitioners,

are immensely passionate about. The relationship between Gaelic Screen drama and the

sustainability of the language go hand in hand. Drama and story-telling have been identified

as being fundamental to Scottish culture.

Combining both the research generated from my semi-structured interviews and from my

Literature Review there are many vitally important conclusions that can be drawn in regards

to the sustainability of Gaelic Screen Drama.

Firstly, from the findings it can be determined that the present situation of Gaelic Screen

Drama is as described “very poor”. Although identified as being inadequate in its provision it

can be concluded that the lack of Gaelic Screen drama broadcast is not through a lack of

audience interest. Donald Campbell, Chief Executive of MG Alba states: “The audience

wants drama, in fact they crave drama.”

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From the research generated, it can be noted that, although television audiences may crave

drama, there are still numerous obstacles preventing the facilitation of said drama.

These obstacles range from a lack of writers, to a deficit in well-trained actors, a deficiency

of Gaelic drama training institutes, an absence of Gaelic drama/ performance being taught as

an academic subject in FE schools/ colleges/ and universities, as well as, an insufficient

provision of funding being awarded to the Gaelic channel.

Through the research accumulated, Gaelic Screen Drama can be seen to provide an

abundance of benefits: Socially through education, economically through employment and

culturally in engaging people with the history of Scotland; and in doing so helping them to

retain and embrace their heritage.

Broadcasting Gaelic Screen Drama has also been identified as being essential in helping to

sustain Gaelic as a minority language. This is further illustrated by Cormack (1994)

“The impact of television on minority cultures and languages has frequently been assumed to be destructive, but television is so central to contemporary societies that it must feature in any attempt to defend these minorities.” Cormack (1994)

Gaelic Screen Drama is a part of contemporary Scottish society. Therefore, it can be

concluded that, broadcasting Gaelic Screen drama should be essential in its preservation and

growth. It is important, and beneficial to bring together the culture of an ancient Scottish

language, with the culture of a contemporary Scottish society.

In summation, Gaelic Screen Drama is to a large extent just a concept. The provisions for

Gaelic Screen drama are inadequate, and the potential for the development of the Drama

across the board appear to be underfunded and under developed. As a concept, Gaelic Screen

drama is in its gestation period. Scotland as a society needs to decide whether the embryonic

concept of a sustainable Gaelic Screen Drama is something which we as a society want to see

grow and develop to full term, granting new life to a modern Scottish culture, with a

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foundation in genuine Scottish heritage. This must surely be the only positive way forward,

as the only other alternative is to abort said concept, before it has a chance to come to life. As

E.M. Forster writes in Howards End, “Death destroys a man: the idea of Death saves him.”

(Forster: 2000) Hopefully, the idea of the death of Gaelic culture in Scotland, will save the

ideal of a sustained Gaelic Screen Drama.

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Mackinnon, K. (1991). Gaelic A Past & Future Prospect, Saltire Society: Edinburgh

Mason, J. (1996) Qualitative Researching. 1st Edition. Sage Publications Ltd.

Murray, N. & Hughes, G. (2008) Writing Up Your University Assignments and Research

Projects: A practical handbook, Open University Press: London

Thomas, Gary. (2009) How to do your research project: A guide for students in education &

applied social sciences. London: SAGE.

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Thomas, L. (2008) Mail Online: BBC Launches controversial £21m Gaelic channel-costing

£365 per native speaker

Silverman, D (2000) Doing Qualitative Research: A Practical Handbook. 1st Edition. Sage Publications Ltd.

Silverman, D.(2004) Researching Society and Culture. 2nd Edition. Sage Publications Ltd

Smith, P. (1997 3rd ed) Writing An Assignment: How to improve your research and

presentation skills, How to books Ltd: United Kingdom

Stewart, A. (2009) Tradition and Modernity in Scottish Gaelic Language Media

Wilkson, D. (2002) The Researchers Toolkit, The complete guide to Practitioners Research,

Routledge: Abimgdon

Withers, C.W.J. (1988) Gaelic Scotland: The transformation of a Culture Region , Routledge:

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Webography

BBC Alba-History Timeline (2012)

http://www.bbc.co.uk/alba/tasglann/timeline/

Last accessed (12/5/12)

Castlebay Community High School (2012)

http://www.castlebayschool.org.uk/

Last accessed (12/5/12)

Cooper, Neil. (2007) Why is it so hard to be rude in Gaelic, The Herald: Scotland

http://www.heraldscotland.com/why-is-it-so-hard-to-be-rude-in-gaelic-1.839352

(Last accessed 7/1/12)

Gaelic Broadcasting (2003)

Ofcom

http://www.ofcom.org.uk/static/archive/itc/itc_publications/itc_notes/view_note77.html

Hemley, Matthew. (2008). BBC and MG Alba to launch Gaelic digital channel, The Stage

News:

United Kingdom

http://www.thestage.co.uk/news/newsstory.php/21559

(Last accessed 8/3/12)

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Lionacleit School Website (2012)

http://www.sgoillionacleit.org.uk/ (Last accessed 12/512)

Macdonald, Angus. (2000). Future Stars of Gaelic, Times Educational Supplement: Scotland

http://www.tes.co.uk/article.aspx?storycode=338517 Last Accessed (8/3/12)

Meiklem, J. (2008) The Gaelic Job, The Herald: Scotland

http://www.heraldscotland.com/the-gaelic-job-1.834005 (Last accessed 7/1/12)

Mitchell, David- The Gaelic Language: David Mitchell's SoapBox

You Tube (2010)

http://youtu.be/OvlQXPNwrqo (Last Accessed 12/05/12)

National Theatre of Scotland (2012)

Calum’s Road

http://www.nationaltheatrescotland.com/content/default.asp?page=home_CalumsRoad

Last Accessed (12/05/12)

Saint Margaret’s University Website (2011)

http://www.smu.ca/administration/library/litrev.html

Last Accessed (12/05/12)

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Scotland’s Islands Website (2011)

Growth in Numbers at Gaelic Drama Summer School in Skye

http://www.scotlandsislands.com/news/growth-in-numbers-at-gaelic-drama-summer-school-

in-skye/

Last Accessed (12/05/12)

Teachituk Website (2012)

http://www.teachit.co.uk/armoore/drama/drama.htm

Last Accessed (12/05/12)

The Nicolson Institute Website (2012)

http://www.nicolsoninstitute.org/# (Last Accessed 12/05/12)

Salmond, Alex - Opening of Bun-sgoil Ghaidhlig Inbhir Nis

You Tube (2008)

http://youtu.be/BvAdARkH4wM (Last Accessed (7/5/12)

Sir E Scott School Website (2012)

http://www.sirescott-school.co.uk/ (Last Accessed 13/5/12)

Stephen, Iain. (2007) The Callanish Stoned (An Lanntair, Stornoway and touring) Hi-Arts:

Scotland http://www.hi-arts.co.uk/Default.aspx.LocID-hianewn4u.RefLocID-

hiacg5005001.Lang-EN.htm (Last Accessed 8/1/12)

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TG4-Background (2012)

http://www.tg4.ie/en/corporate/background.html

Last Accessed 9/5/12

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B00208487

Filmography

Peter May. STV, (1994) Machair 1. UK [TV]

Braveheart(1995) d. M. Gibson. [DVD] USA:Icon Entertainment International.177mins.

(2002) Gruth s’ Uchdar, d.Bill Macleod, BBC Scotland

(2008) Eilbheas, d. Robbie Fraser, BBC Alba

(1979) Quadrophina , d. Franc Roddam, The Who Films

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Appendices

Appendix 1: E-mail interview with Donald Campbell (Chief Executive of MG Alba.)

Appendix 2: E-Mail interview with Greg Hemphill (Actor, writer and producer.)

Appendix 3: E-mail interview with Arthur Donald (Gaelic Drama Artist in Residence at

Sabhal Mor Ostaig.)

Appendix 4: E-Mail interview with Marisa Macdonald (Head of Production at Proiseact nan

Ealan: The Gaelic Arts Agency)

Appendix 5: E-mail interview with Alan Esslesmont (Head of Content at BBC Alba)

Appendix 6: Interview with Carina Macleod (Gaelic Actress and Comedian) C.D

Appendix 7: Interview with Duncan Macneil ( Gaelic Actor) C.D

Appendix 8: Interview with David Walker (Gaelic Actor) C.D

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Appendix 1:

E-Mail Interview with Donald Campbell Donald Campbell E-mail Interview

Date: 16/04/12

Donald Campbell is the Chief Executive of MG Alba.

This interview was conducted by Rachel Kennedy via e-mail.

Rachel: What were the aims and objectives of creating the film Eilbheas?

Donald: The programme was commissioned specifically for BBC ALBA launch night as part of a powerful first night statement about the kind of channel BBC ALBA intended to be - breaking stereotypes and appealing to a wide audience. The launch schedule was carefully chosen. First a traditional ceilidh from Skye to let new viewers understand that the channel would be close to the hearts and minds of Gaels, the ceilidh being live to make another statement - that the Gaelic channel would tackle technically difficult projects and would feature events as part of its core proposition. Second - a high quality drama with a well-known TV star playing the lead role and new on-screen Gaelic talent being featured - again making the statement that the channel aspired to high quality and that it would not conform to stereotypes - Greg Hemphill playing Elvis was exactly that. Finally we put out a documentary about the notorious murderer Peter Manuel - a key statement by the channel that it wanted to appeal to the whole of Scotland and that it would offer stories of compelling interest to Scottish audiences.

Rachel: Do you feel these aims and objectives were successfully met through the film?

Donald: Yes. Greg Hemphill as Elvis caught the public's imagination and the drama intrigued a new audience.

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Rachel: Do you believe there are any benefits to having Gaelic screen drama?

Donald: Of course. First, the audience wants drama, in fact they crave drama. All public service broadcasters want to provide the best drama possible. Second, BBC ALBA needs more drama to help build station identity. Long running or serial dramas are at the heart of the identity of PSBs. Think of C5 and CSI, or C4 and Shameless/Hollyoaks, BBC1 and Eastenders, ITV and Corrie. In the case of Gaelic there would be further benefits - language, jobs, talent development, community and cultural benefits.

Rachel: What are the current requirements put in place by MG Alba for Gaelic screen drama?

Donald: With a budget of only £14m for a 7 hour daily schedule BBC ALBA has to create a portfolio of programmes which will draw audience reach of around 10 per cent of the national audience each week. The key audience drivers nationally are: music, sport and documentaries with subtitles.  Each of those genres have low barriers to access for non-Gaelic speakers.  The key audience drivers for the core Gaelic audience are: news, children’s, entertainment and when possible drama and comedy.  What are the steps required to get significant amounts of Gaelic drama on the screen? First more funds.  Drama is expensive as you know.  Second, decisions on just what kind of drama we are talking about.  Who would it have to appeal to? Just Gaelic speakers or non-speakers? Would we target the over-45s, who are our biggest audience group? Or would we go for teens?  Would we go for a female skew? Would it be a long running drama or a returning serial drama? Or, as some might argue, a series of singles or mini-series that create legacy?  Would we make Gaelic drama with a view for wider sales (eg The Killing, Borgen)? Would we make it to attract a national Scottish audience or would it just be for the core Gaelic audience? How would we represent the Gaelic language and culture – would it be urban or rural or both, would it be contemporary or nostalgic.  Would it be 6 one hours or 13 half hour serial returning drama  or 26 or 36 long-running drama?  All the above questions are inter-related, but the key TV question is what audience do we want to serve? Clearly with drama we wish to serve the core Gaelic audience, but to get a drama off the ground we might have to aim to achieve a lot more with it. 

Evidence from other countries and channels would suggest that long running Gaelic drama would help create station identity and audience loyalty.  Would it also create new audiences? That would depend on the type of drama, how it was cast, scripted, produced and promoted. 

The BBC ALBA team are working on bringing Gaelic drama to the screen – the key enabler will be a funding package. Other enablers include a pipeline of talent – acting and writing.  At the moment MG ALBA is supporting 2 students at Caledonian Uni MA in TV Scriptwriting and did the same last year - in total 6 Gaelic speakers have been through or are going through this prestigious course which gives them a chance to experience writing for dramas such as Waterloo Road and East Enders.

Rachel: In your opinion what is the future for Gaelic screen drama?

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Donald: The aspiration is to have returning TV drama of high quality. This will probably not be year-long, but ideally will be long enough to create economic and talent development impacts in a Gaelic-speaking community in which the production would be centred.  My opinion is that the future of Gaelic screen drama will depend on whether grass roots drama in the community and on digital media (such as FilmG) can thrive as we wait for the happy day when TV drama becomes possible.  Or alternative, like we are doing with writers, that we foster a pipeline of Gaelic-speaking talent that works in English media in order to earn their stripes, so that when the happy day comes some of them will migrate to Gaelic drama from their positions of seniority and expertise in English drama.  One thing is certain – the planning horizon is 2/3 or even 5 or 10 years out. 

Rachel: What were the viewing figures for the screen drama Eilbheas?

Donald: BBC ALBA is not monitored on BARB so we do not have national programme by programme viewing figures, although we know that about 500,000 watched the channel at some point over its first week. The viewing percentage can be taken to be a percentage of the Gaelic speaking audience.  The rating is the audience Appreciation Index (AI) marked out of 10.  You will see that Eilbheas scored the lowest mean AI on launch night – that is not really surprising as the drama itself was challenging stereotypes and appealed to a certain segment of the audience – something that was apparent even in anecdotal feedback. We were absolutely delighted with it, the audience had fairly strong and at times polarised views on it.

Rachel:  How is programme allocation organised in terms of public demand and budget?

Donald: The starting point is the TV schedule which is designed to meet audience aspirations.  The News at 8pm weekdays is the heart of the schedule, and is immediately followed by programming that is designed to keep the news audience – programmes aimed at core Gaelic audience.  9pm normally sees a switch to programmes with a national appeal, such as documentaries and post 10pm you will see programmes appealing to specific audience groups, eg music, archive etc. 7pm to 8pm is for learners and the core audience and is generally archive material and 5pm to 7pm is childrens.  Audience research lets us know if we are reaching our targets for reach and approval, and we have detailed information on the geographic, age and gender breakdown of our audience.  Once we know what our audience wants we then commission, generally through published commissioning rounds. You will see that the specifications we publish are aimed at specific audiences and schedule time slots. The TV schedule attempts to serve Gaelic speakers and to provide programmes of interest to the non-Gaelic speakers that they cannot get anywhere else.  The budgets for each genre are agreed once we know how many hours of what genre are required for the forthcoming year. The aspirations of the commissioners and schedulers have to be tempered with the constraints of having such a small channel budget, so inevitably the more expensive genres such as drama are not easy to meet.

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Appendix 2:

E-Mail Interview with Greg Hemphill Greg Hemphill E-mail Interview

Date: 3/5/12

Greg Hemphill is a successfully actor, writer and producer. Most famous for creating the scottish sitcoms Still Game and Chewin. As well as his role as Elvis in the first Gaelic film to be broadcast on the Gaelic channel.

This interview was conducted by Rachel Kennedy via e-mail.

Rachel: Do you feel you gained anything from your role in Eilbheas?

Greg: I think you gain something from every acting role you take on, sometimes just a wee thing, but in this case it was special as I was such a huge Elvis fan!

Rachel: How would you describe the experience of acting in a Gaelic film?

Greg: Being unfamiliar with the language it was daunting but very exciting. But the cast and crew were very welcoming and made it very easy. It was a memorable trip to Lewis.

Rachel: Based on your many years’ experience in the industry what is your opinion on the sustainability of Gaelic Screen Drama?

Greg: I think Gaelic Screen Drama will continue to thrive provided the proper script development is in place and the iron will that is needed to bring good stories to the screen is there in abundance.

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Rachel: Do you believe there are any benefits to having Gaelic Screen Drama broadcast?

Greg: I believe that Gaelic Drama has a very distinct voice with stories that are unique to its communities that not only need to be heard, but are a vital component of the creative landscape of Scotland and indeed throughout the UK.

Rachel: To what extent do you feel Gaelic Drama is an important vehicle in sustaining the language?

Greg: Scottish audiences crave Scottish stories and Gaelic audiences are no different. It is a vital that the stories told are a reflection of its audience and I imagine the Gaelic language is fundamental to that process.

Rachel: What do you feel are the most important factors in developing the growth and interest in Gaelic Screen Drama?

Greg: There are better people than me to answer this question, but very simply, the best way to encourage growth and interest in Gaelic Drama is to tell unique, compelling and powerful stories. If this continues, the whole world will turn its ear.

Rachel: As a successful English speaking actor what advice can you give to Gaelic Drama community on sustaining Gaelic Screen Drama?

Greg: Never ever give up!

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Appendix 3:

E-Mail Interview with Arthur Donald Arthur Donald E-mail Interview

Date: 16/04/12

Arthur Donald is at present the Gaelic artist in residence at Sabhal Mor Ostaig. Arthur is also a trained actor and has a range of Screen Acting credits in both English and Gaelic ranging from Machair, Eilbheas to Rab C. Nesbit.

This interview was conducted by Rachel Kennedy via e-mail.

Rachel: What was your role in Eilbheas?

Arthur: I had two roles in Eilbheas. I was firstly employed as casting director and then the director gave me the role of a creepy council worker in the programme.

Rachel: What impact (if any) do you think the film Eilbheas made on the Gaelic acting world?

Arthur: It is interesting, that out of the new young cast members that appeared in Eilbheas, two are training or working in Gaidhlig drama today. So it did have a small impact on making people’s dreams a reality.

Rachel: How would you describe the current state of Gaelic screen drama?

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Arthur: Very poor! There is very little Gaelic drama available on t.v. today. It is hoped that there will be a new regular Gaidhlig production in a few years’ time. MG Alba are presently carrying out a study on the possibility of this.

Rachel: Do you believe there are any benefits to having Gaelic screen drama broadcast?

Arthur: There are huge benefits. When a Gaelic screen drama is created it creates a lot of jobs for both Gaelic and English speakers. It also helps develop the experience and skills of those involved. Hopefully leads to future work. Good drama would also help raise the profile of Gaelic within the media.

Rachel: What do you think is the future for Gaelic screen acting?

Arthur: We need to hope that the economy will get stronger, so that investment can be put towards a future drama project on screen. Also hope that in the next few years that some opportunities may be available in Gaelic theatre and radio.

Rachel: If you could come up with an action plan to help sustain Gaelic screen drama what would it include?

Arthur: Gaelic drama to be compulsory in schools. Help to community groups throughout year.

Rachel: Do you feel that lessons can be learnt from Eilbheas in order to help sustain Gaelic screen drama?

Arthur: We need more people with an interest to train professionally, so then they can work in Gaelic or English!

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Appendix 4:

E-Mail Interview with Marisa Macdonald Marisa Macdonald: E-mail Interview

Date: 13/4/12

E-Mail interview with Marisa Macdonald (Head of Production at Proiseact nan Ealan: The Gaelic Arts Agency)

This interview was conducted by Rachel Kennedy via e-mail.

Rachel: In your opinion did the MG Alba film Eilbheas make any kind of impact on the Gaelic world?

Marisa: None of us at Proiseact nan Ealain feel that it did.

Rachel: How would you describe the current situation of Gaelic screen drama?

Marisa: Non-existent basically, but Proiseact nan Ealain also feel that the current situation with regards professional and armature drama is dire, and in an ideal world all these would nurture and feed of and into each other. Having said that we are enjoying watching repeats of “Gruth is Uachdar”, “Machair”, “Am Posadh Hiortach” and also mention of “The Christian Watt Papers” all very well produces dramas or Drama Doc’s

Rachel: If you could come up with an action plan to help sustain Gaelic screen drama what would it include?

Marisa: We feel there is nothing to sustain, what we need is a comprehensive plan to develop Gaelic Drama across the sector.

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Rachel: Do you feel there are any obstacles in preventing more Gaelic screen drama from being produced?

Marisa: Money probably and a constant diminishing of the small skills pool that existed in the 1990.

Rachel: How important is Gaelic Drama as a vehicle in helping to sustain the language?

Marisa: It is very important we feel.

Appendix: 5

E-Mail Interview with Alan Esslemont Alan Esslemont E-mail Interview

Date: 11/05/12

Alan Esslemont presently works as Head of Content for BBC Alba

Interview conducted by Rachel Kennedy by E-mail.

Statement by Alan Esslemont:

All my replies will relate to my role as Head of Content for BBC ALBA and the channel strategy for which I am jointly responsible with Margaret Mary Murray. They are personal views.

Rachel: What were the aims and objectives of creating the film Eilbheas?

Alan: ‘Eilbheas’ was a project which was linked to the BBC ALBA launch. Our commissioning and scheduling strategy has two poles -

• to be a service to Gaelic speakers (especially news, drama and entertainment).

• to broadcast interesting or useful content for the wider Scotland/UK population (especially factual, music and sport).

For our initial first-night and first-weekend schedule we wanted a mix of programming which might encapsulate a statement of our strategy. The three main elements in the first night were live music from SMO, ‘Eilbheas’ and ‘Peter Manuel’ - a documentary on a Scottish murderer. The programming that night and over the weekend tried to carry our message that

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the strong tradition of Gaelic TV broadcasting would be prized and continued but equally that BBC ALBA would not feel itself constrained by past models.

We see news and drama as the two key genres needed to satisfy the core Gaelic audience. We did realise that with our annual budget of £14M that it would be very difficult to create any continuity of drama in our schedule. Our hope was that this budget would increase and that the amount of drama produced for BBC ALBA would rise.

The opening night schedule did however present the opportunity to showcase our drama intentions. Entering the last quarter of the 2007-08 financial year, the MG ALBA budget had not been fully committed and this presented us with several opportunities - one of which being the creation of a drama with a budget higher than would normally be possible. A contribution from the BBC was also available.

Given the short lead-in timescale, working towards a new drama from scratch was not practicable. We considered work which had already been developed to a certain level. ‘Eilbheas’ was an existing script which had been written by Màiri Kidd and Torcuil Crichton. I don’t have chapter and verse on its genesis but Màiri or Torcuil could help you.

We appointed Fiona Black as producer and Robbie Fraser as director. You can get the full crew from IMDB http://www.imdb.com/title/tt1282141/fullcredits#cast .

Regarding the aims and objectives of any television drama, I would always tend to break these into three categories:

1. Aims and Objectives of the writer(s).

2. Aims and Objectives of the Producers/Directors.

3. Aims and Objectives of the Broadcaster.

I can only really give you the aims and objectives of the broadcaster, BBC ALBA. I know that there were certain tensions between the writing team and the production team. In most cases like this the production team tend to win out as they are closer to the end-product. I think that this area is very interesting and if you have time, separate interviews with Màiri, Torcuil, Fiona and Robbie would be enlightening.

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Our aim as a broadcaster was the creation of a quality piece of drama which would chime in some way with the core Gaelic audience, but given the scheduling position of the drama in our first night’s broadcasting, that the story should also be accessible to a national audience. The concept of a drama set in Lewis but which would star one of the world’s great icons, Elvis, (played by one of Scotland’s best loved actors, Greg Hemphill) seemed promising.

Rachel: Do you feel these aims and objectives were successfully met through the film?

Alan: Check with the writers and producer/director regarding their own view.

The broadcaster’s aims - I do. The reaction from the core audience was very interesting and we tended to get very mixed feedback from Gaelic speakers. This is not unusual in television - I always say that if you show me a room of 20 people, I’ll show you 20 different opinions on any single television programme. ‘Eilbheas’ did provoke a strong adverse reaction amongst part of the Lewis community who felt that the island and island life was not portrayed in a favourable light. Many people enjoyed the story and many more enjoyed the individual performances of the actors. I felt that the young actors did very well.

With the national non-Gaelic audience, the reaction I received was far more uniform and full of praise. The piece was seen as accessible, innovative and clever, raising questions of culture and community, growing up with a modern consciousness within an ancient culture. The television industry community also appreciated the drama and it received a BAFTA nomination:

http://whitehall1212.blogspot.co.uk/2009/11/eilbheas-left-building-empty-handed.html

Rachel: What were the viewing figures for the screen drama Eilbheas?

Alan: Scotland-wide we do not track programme reach figures - only channel reach figures.

Rachel: Do you believe lessons can be learnt from Eilbheas in order to further develop and sustain Gaelic screen drama?

Alan: Drama is expensive. ‘Eilbheas’ showed that young Gaelic talent is available and can sustain Gaelic drama. For me, this was also one of the clear lessons which emerged from Machair as well.

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Rachel: How important is Gaelic screen drama as a vehicle in helping to sustain the language?

Alan: Drama and news are the key elements of the service we must provide for the Gaelic-speaking audience. We have been very successful with our news programming. However we have failed to achieve the extra funding needed for returning drama.

Rachel: What are the current requirements put in place by MG ALBA for Gaelic screen drama?

Alan: BBC ALBA, through our commissioning rounds, continue to welcome once-off drama projects and in the area of children’s drama ‘Siubhlachan’ and ‘Calum Dongle’ have been successful.

Rachel: What were the average viewing figures for the screen drama Machair when it was first televised?

Alan: Not sure. You could ask STV. It made a substantial national impact in its early years. Television audiences have fragmented greatly since then.

Rachel: What are the average viewing figures for the Gaelic screen drama Machair now that it is being repeated?

Alan: Scotland-wide we do not track programme reach figures - only channel reach figures.

Rachel: How is programme allocation organised in terms of public demand and budget?

Alan: As stated above, the BBC ALBA strategy is to serve Gaelic speakers and to be useful and of value to non-Gaelic speakers. In all areas of our schedule we lack the funding to create critical mass (annually both S4C and TG4 produce about three times more hours of originations than BBC ALBA). In the area of drama, the most expensive form of TV production, our hours of origination are very low indeed.

Rachel: Do you feel there are any obstacles in preventing more Gaelic screen drama from being produced?

Alan: Money. MG ALBA has invested significantly in expert reports on how returning Gaelic drama could be produced. At this point, as one of my colleagues said to me ‘The road map is quite clear – however we have no gas in the tank’. Returning Gaelic drama would

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require a minimum of £3M extra funding per year and a multi-annual commitment. At this point it is difficult to see where that money would come from, but returning drama has been a priority for the MG ALBA board.

Rachel: If you could come up with a plan for the sustainability of Gaelic screen drama what would it include?

Alan: Returning drama, produced in a Gaelic speaking area.

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