Ross-shire, November 2003

USED TO BE there was a hut on the pier at Oban. They cooked crabs, lobsters, langoustines, fresh off the boats. A quote from The Observer or The Guardian was hung on the green boards, “… the best prawn sandwich in the universe”.  How can you say that till you’ve tasted them all?

But the same could apply to the Martinmas Festival, ranging from Strathpeffer to Alness and Cromarty and still ringing in my ears. Prawns just off the boats are the real thing and don’t need much around them – plenty of them on decent bread, fresh salad and a drop of real mayo. But you don’t get that experience often.

Real storytelling can be just as elusive. True, there’s a grand, long-established International Festival linked to The Netherbow Theatre in Edinburgh. In fact at least two of the Martinmas artists came north from that one.

Yet Bob Pegg and Mairi Macarthur’s brainchild has something very much its own to offer. It has a clear established link with the culture of its Highland setting. And, in tribute to the work of Hamish Henderson, the role of the Scottish Traveller in maintaining that culture is clearly acknowledged.

This year Essie Stewart and Alex John Williamson were joined by Elizabeth Stewart, from the Turiff area and Duncan Williamson, long resident in the kingdom of Fife, but very much the International superstar of the storytelling scene. Essie and Alex John have been the core participants at all the Martinmas festivals.  The banter rings as well as the stories. They both have the rare gift of creating intimacy in a public space – a confident but natural style.

It is just the right scale, taking place in village gathering halls and continuing into various kitchen ceilidhs. It also encompasses song and tunes – since when did stories every get told one after another without a breath for blether and music? So Alison McMorland and Geordie McIntyre contributed songs as well as discussion and Chrissie Stewart’s natural singing voice brought the Gaelic aspect in.

Duncan would produce the trump or put his head back for a song when it was wanted and Elizabeth would move effortlessly from the creepiest reminiscence in the universe (yes, I am sure of that)  to belting out a trad tune on the piano.

There was space for aspiring tellers and singers to have a go without pressure – and the future is secure, judging by the formidable skills and confidence shown by Lesley Maclean (aka Whigmaleerie).  Restrained isn’t the word for another Invernesian, Andrew Macintosh, who brought the best of the music-hall tone  into proceedings.

Throughout everything was a spirit of amity that made you sure the ghost of a certain tall man, was amongst us, soaking it up. Hamish’s birthday was on Martinmas day, 11th November, so it was appropriate that the fine Hamish Henderson Tribute Album: A’ The Bairns o’ Adam (available from www.greentrax.com, and highly recommended) was featured.

The programme was skilfully themed, but there was space for round-robin sessions. But the lasting ringing note is Duncan himself, on top form, at ease and at home in Easter Ross, moving from Argyll versions of Selkie stories to the placeless and the timeless ones of jack and blacksmiths, princes and animals. Even the most implausible had the ring of an inner  truth. As Janet Macinnes  (herself a very witty teller) said in her introduction, “You have storytellers, you have master-storytellers and then you have Duncan Williamson.”

And the good news is, the hut on the Oban pier has survived the pressures of catering regulations.

Tales at Martinmas was part of The Merry Dancers Storytelling Project, a three-year initiative by The Highland Council in Ross and Cromarty, supported by RACE and made possible by a generous award from the Scottish Arts Council Lottery Fund.

© Ian Stephen, 2003