An Lanntair, Stornoway, Isle of Lewis, 13-15 April 2011

THE TOWN got busy very suddenly. It wasn’t like the Heb Celt or even the Mod but there were a lot of new faces. It was semi-welcoming to restless natives like myself, emerging blinking from their own work in electronic media. You could book free tickets for open evening events in the main auditorium.  There were open programmes of screenings in the Martin’s Memorial Hall.

Lectures and workshops occupied different part of an Lanntair. But sometimes, as a non-delegate, it was not quite clear if you were where you should be. A blackboard in the foyer indicated that the arts centre was closed for normal business. But if you had a ticket for the event whether it be the 5 climbs, 5 islands discussion or the awards ceremony/ ceilidh, the tone of the notices weren’t that welcoming.

It seems a small point, but I got the feeling the interaction between the delegates and  others could have been helped along a bit with a little positive thinking: “You are welcome in an Lanntair . There are many free screenings and events but please book your ticket here. And sorry but some events are only for delegates.” Rather than – “Celtic Media delegates only”, which was inaccurate because the programme clearly invited the public to selected events.

And the current exhibition was pretty well dismantled, though there could have been some real opportunities to showcase some pertinent new works in film and video as part of the loops which semed to be projecting only logos and statements of intent.

Climbers Dave MacLeod and Tim Emmett on Harris

But there was much to enjoy. I caught up on the full showing of The Guga Hunters of Ness. The work cleverly alludes to the only previous documentary filming of the tradition. So there is already an implied narrative of change and contrasting ways of life.

The Nessmen spoke eloquently and in a very natural played-down way. My favourite line was when the man assigned the fiendish job of burning-off the stubble after plucking said – “I’ve no eyebrows left. “I know my second name is Burns but this is pulling the piss.”

I caught the sheer ordeal the men went through willingly – water washing past their waists on the deck on the way up and the sweat and stink while they labour on the bare rock. Most moving was when the men spoke of putting a stone on their own cairn – the marker that implied they had done their last season in the hunt.  And there was a very beautiful moment of film-poetry – all the more powerful because of the spare filming around it, when the birds came down the chute in a spray of salt.

You might have followed the 5-hour long live climbing of a new route on Sron Ulladale back last summer. . I did not. I have seen some clips and heard the impressive Dave Macleod describe some of the issues. But the Thursday event was a full-on piece of storytelling.  Richard Else, the executive producer, and Cameron MacNeish relived the challenges faced by the logistics team as well as the climbers, as the sheer scale of the challenge was re-lived.

The phrase “audacious climbing” was used more than once in the commentary. But it was also an audacious broadcast – to trust that a significant audience for a minority pursuit could be held for an all-day event.

The drama was unrelenting. But there were monents of humour as well as real beauty. At this level (sorry) climbing is a highly athletic sport requiring disciplined training, skills and unwavering nerve. Macleod and Emmett have taken their partnership to an inspiring level.  After the tense elegance of clearing the massive overhang, they have to slog through atrocious slime and meet hail. With seconds to spare both climbers were there on the top. No-one would have been audacious enough to script that . This was documentary and ballet and challenge and teamwork brought to a level of international high art .

And the double act on the an Lanntair stage had its own moments too.

But here were also workshops and seminars during the days in a very tightly packed programme. I went to hear the designer of This is England, The Magdalene Sisters, and Neds talk us through the meticulous details which conveys as much as the script.  Peter Mullen, director of the last two of these films, was in the audience. It  was a real moment of insight as well as humour when the two shared their polite disagreement on the use of colour to convey mood and character in the design of one room as a setting.

The two pointed out a contrasting approach to the subject of Mullen’s elegant but still harrowing drama with the more monochrome and deliberately dowdy design used by a television documentary.  The designer was convincing – who would send their clothes to a dingy laundry. The contrast between the bright floors and the unrelenting persecution was telling.

Peter Mullen

These shared insights made something very valuable happen. Delegates and residents on the host island really did come together at the dancing. Face the West gave it  their all. An audience that was a bit reluctant  to move at first, gave way to a high level of participation. The goldfish bowl feel of the open auditorium was overcome as the place jumped till the small hours. Staff were welcoming and the smiles were wide.

And the winners? See the link below.

© Ian Stephen, 2011

Links

• Award Winners
• Ian Stephen