Mo mhallachd aig na caoraich mhòr My curse upon the great sheep Càit a bheil clann nan daoine còir Where now are the children of the kindly folk Dhealaich rium nuair bha mi òg Who parted from me when I was young Mus robh Dùthaich ‘IcAoidh na fàsach? Before Sutherland became a desert?
Tha trì fichead bliadhna ‘s a trì It has been sixty-three years On dh’fhàg mi Dùthaich ‘IcAoidh Since I left Sutherland Cait bheil gillean òg mo chrìdh’ Where are all my beloved young men ‘S na nìonagan cho bòidheach? And all the girls that were so pretty?
Shellar, tha thu nist nad uaigh Sellar, you are in your grave Gaoir nam bantrach na do chluais The wailing of your widows in your ears Am milleadh rinn thu air an t-sluagh The destruction you wrought upon the people Ron uiridh ‘n d’ fhuair thu d’ leòr dheth? Up until last year, have you had your fill of it?
Chiad Dhiùc Chataibh, led chuid foill First Duke of Sutherland, with your deceit ‘S led chuid càirdeis do na Goill And your consorting with the Lowlanders Gum b’ ann an Iutharn’ bha do thoill You deserve to be in Hell Gum b’ fheàrr Iùdas làmh rium I’d rather consort with Judas
Bhan-Diùc Chataibh, bheil thu ad dhìth Duchess of Sutherland, where are you now? Càit a bheil do ghùnan sìod? Where are your silk gowns? An do chùm iad thu bhon oillt ‘s bhon strì Did they save you from the hatred and fury Tha an diugh am measg nan clàraibh? Which today permeates the press?
Mo mhallachd aig na caoraich mhòr My curse upon the great sheep Càit a bheil clann nan daoine còir Where now are the children of the kindly folk Dhealaich rium nuair bha mi òg Who parted from me when I was young Mus robh Dùthaich ‘IcAoidh na fàsach?
I was told about Hamish Henderson a few weeks ago and just spent a delightful hour making friends with his best known song ‘Freedom Come All Ye’.
There have been a few translations into English but I didn’t really like any of them so I’ve written my own, building on unattributed previous efforts. It’s such a shame that ‘down’ and ‘bloom’, and ‘more’ and ‘bare’ don’t rhyme in my southern English accent!
Roch the wind in the clear day’s dawin Blaws the cloods heilster-gowdie owre the bay But there’s mair nor a roch wind blawin Thro the Great Glen o the warld the day
It’s a thocht that wad gar oor rottans Aa thae rogues that gang gallus fresh an gay Tak the road an seek ither loanins Wi thair ill-ploys tae sport an play
Nae mair will our bonnie callants Merch tae war when oor braggarts crousely craw Nor wee weans frae pitheid an clachan Mourn the ships sailin doun the Broomielaw
Broken faimlies in lands we’ve hairriet Will curse ‘Scotlan the Brave’ nae mair, nae mair Black an white ane-til-ither mairriet Mak the vile barracks o thair maisters bare
Sae come aa ye at hame wi freedom Never heed whit the houdies croak for Doom In yer hoos aa the bairns o Adam Will find breid, barley-bree an paintit rooms
When Maclean meets wi’s friens in Springburn Aa thae roses an geans will turn tae blume An the black lad frae yont Nyanga Dings the fell gallows o the burghers doun.
Robin’s English translation
Rough the wind in the clear day’s dawning Blows the clouds topsy turvy about the bay, But there’s more than a rough wind blowing Through the great glen of the world today.
It’s a thought that will make our tyrants (Rogues who fancy themselves so fine and gay) Take the road, and seek other pastures For their ill ploys to sport and play
No more will our bonnie callants March to war when our braggarts crousely craw, Nor wee ones from pit-head and hamlet Mourn the ships sailin’ down the Broomielaw.
Broken families in lands we’ve harried, Will curse our names no more, no more; Black and white, hand in hand together, Will drive the tyrants from every shore
So come all ye at home with Freedom, Never heed the crooked hoodies croak for doom. In your house all the bairns of Adam Can find bread, barley-bree and painted room.
When MacLean meets with friends in Springburn Sweet the flowers will all bloom that day for thee And a black boy from old Nyanga Will break his chains and know liberty
He came across an essay about a political pageant from the 1930s which has an interesting overlap with the structure of our show. The published essay is behind an academic paywall here but the author Mick Wallis has kindly provided his private copy of the essay which you can download from here if you don’t have an academic login to download from the link above.
Taken from the essay, here is the structure of a pageant performed to thousands of people in a stadium in the late 1930s:
Music and the People
1. Feudal England. A canon from 1350; songs ‘that have lived in the peasant tradition for centuries, only lately collected because they were beginning to be forgotten’; a primitive fertility ritual dance; a Hebridean spinning song. (No dramatic action.)
2. The Massacre of the Innocents. Parts of two pageant-plays are performed, as if to the villagers: after the famous complaint from the Second Shepherds’ Play, Herod and the Innocents – ‘no doubt much of its popularity owed much to the memory of the massacres of their own people after the rising of 1381’; the song King Herod and the Cock in which ‘the invincible spirit’ wins against the oppressor; a choir of early Christians, following an introductory verse by Paul Robeson; and, since ‘the play’s not finished yet’ (i.e., of history) the Basque Lullaby.
3. Peasants in Revolt. A return to 1381: John Ball addresses the crowd; a signal arrives from him; the march on London, singing The Cutty Wren; Tyler’s meeting with Richard II, and murder (‘All words spoken in this scene, except for the commentary of the Speaker, are taken from authentic records’); all the men of the Mass Chorus (nine choirs) sing The German Peasants’ Song.
Interlude. ‘The ancient ritual carried on / And the forbidden message spoke’: members of the Woodcraft Folk ‘come on in small numbers, like conspirators, and perform the Stag-Dance’, part of the cult which was ‘the bond of unity between the harassed peasants’.
4. Soldiers of Freedom. Two Announcers briefly set the scene for 1649 (the episode is not concerned with celebrating Cromwell). ‘One king may be dead, but who still owns the land? Six Levellers and the actor-singer Parry Jones sit at tavern tables and sing; an Announcer recounts their talk as they remain in tableau; a group of dancers; some Diggers brought on in ropes by soldiers; an Announcer hails them in verse while the soldiers order drinks; the Diggers sing Stand up Now.
5. Village Green to Concert Hall. Announcer’s verse reports the break-up of rural communities and the appropriation of their culture by bourgeois institutions; ‘A group of dancers enters and performs to the tunes from which The Beggar’s Opera was concocted. At the end of their dance, a proscenium arch appears over the platform, and a scene from the play is performed to the dancers as audience.
6. Changing Europe. 1792. French revolution, singing the Carmagnole, verses 1 and 2, dressed as French peasants of 1790
7. Prisoners. ‘Ludwig van Beethoven descends from rostrum’; ‘But who are these / In modern clothes appearing / Their haggard eyes / The brand of torture like a web of scorpions wearing?’; prisoners from the Nazi concentration camps enter and sing the Peat-Bog Soldiers’ Song.
8. Slaves. ‘Following this train of thought’, John Payne and his Negro Choir enter as slaves, singing a chain-gang song, a cotton-picking song, and some ‘songs of freedom, led by one of the foremost champions of freedom’, Paul Robeson’.
9. The People Advance. As Robeson’s Kneelin’ Low ends, the Mass Chorus sings the Chartist We’re Low and the Speaker takes up a prose narrative to take us forward to trade unionism – ‘To every trade its club, to every club its song’ – and ‘the Trades Unionists sit round a table and sing their song’ (unspecified), ‘the verse sung solo’; ‘the tide rose apace’, and in a few sentences taking in the Co-operative Movement, the Speaker takes us to the late 1880s – a crowd headed by William Morris enters, singing People of England; the Speaker relates the killing by the police of the demonstrator in Trafalgar Square in 1880, and William Morris gives his famous ‘Not one, not one, nor thousands must they slay’; the Chorus marches off to the Russian 1905 Funeral March, ‘that now commemorates all those who have fallen in the fight for freedom’.
The Speaker makes a summation in verse of the Pageant, and reflects on its meanings for us now:
And having present struggles and despairs Sharp in our minds, remember too The past whose urgent influence prepares The issues of today, and know that you By today’s action map the future’s road…. Never so needed was that single will That unity of the people, to fulfil The claim for freedom, and to ensure our peace… It is time we answered, as they answer now In Spain, in China, in every tortured land…. Let our song rise whose simple power Can flood the boundaries that divide us still And make our common hope, our single will.
Then a procession of groups: Christian Hymn; Levellers’ Song; Marseillaise; People of England; ‘Bandera Rossa’ ; German Solidarity Song; Chinese Student Song; Spanish National Anthem; (and now not representations but actual) veterans of the International Brigade led by Fred Copeman; the Negro Choir. Paul Robeson sings The Land of Freedom, ‘the great song of liberated Soviet humanity’, with the Acting Chorus (twelve choirs); Tom Mann, the Dean of Canterbury, and Fred Copeman speak briefly on the theme ‘Music and the People’ . Finally, all (audience included) sing the American Men Awake! the Day is Dawnin
This is a lovely old Germany song which may be super old, but as ever, no one really knows… Here is what wikipedia has to say, and below is Pete Seeger’s adaptation into English. Note that these words are slightly different to the version embedded above. You can hear another version here but for some reason it will not embed outside of YouTube.
Die gedanken sind frei, my thoughts freely flower Die gedanken sind frei, my thoughts give me power No scholar can map them, no hunter can trap them No man can deny, die gedanken sind frei
I think as I please and this gives me pleasure My conscience decrees, this right I must treasure My thoughts will not cater to duke or dictator No man can deny – die gedanken sind frei
Tyrants can take me and throw me in prison My thoughts will burst forth like blossoms in season Foundations may crumble and structures may tumble But free men shall cry – die gedanken sind frei
Original German lyrics (with translation below)
Die Gedanken sind frei, wer kann sie erraten, Sie fliegen vorbei wie nächtliche Schatten. Kein Mensch kann sie wissen, kein Jäger sie schießen Mit Pulver und Blei: Die Gedanken sind frei!
Ich denke was ich will und was mich beglücket, Doch alles in der Still’, und wie es sich schicket. Mein Wunsch und Begehren kann niemand verwehren, Es bleibet dabei: Die Gedanken sind frei!
Und sperrt man mich ein im finsteren Kerker, Das alles sind rein vergebliche Werke. Denn meine Gedanken zerreißen die Schranken Und Mauern entzwei: Die Gedanken sind frei!
Drum will ich auf immer den Sorgen entsagen Und will mich auch nimmer mit Grillen mehr plagen. Man kann ja im Herzen stets lachen und scherzen Und denken dabei: Die Gedanken sind frei!
Ich liebe den Wein, mein Mädchen vor allen, Sie tut mir allein am besten gefallen. Ich sitz nicht alleine bei meinem Glas Weine, Mein Mädchen dabei: Die Gedanken sind frei!
Thoughts are free, who can guess them? They fly by like nocturnal shadows. No person can know them, no hunter can shoot them With powder and lead: Thoughts are free!
I think what I want, and what delights me, Still always reticent, and as it is suitable. My wish and desire, no one can deny me And so it will always be: Thoughts are free!
And if I am thrown into the darkest dungeon, All these are futile works, Because my thoughts tear all gates And walls apart: Thoughts are free!
So I will renounce my sorrows forever, And never again will torture myself with whimsies. In one’s heart, one can always laugh and joke And think at the same time: Thoughts are free!
I love wine, and my girl even more, Only her I like best of all. I’m not alone with my glass of wine, My girl is with me: Thoughts are free!
The Deserted Village is a poem by Oliver Goldsmith published in 1770. It is a work of social commentary, and condemns rural depopulation and the pursuit of excessive wealth.
The location of the poem’s deserted village is unknown, but the description may have been influenced by Goldsmith’s memory of his childhood in rural Ireland, and his travels around England. The poem is written in heroic couplets, and describes the decline of a village and the emigration of many of its residents to America. In the poem, Goldsmith criticises rural depopulation, the moral corruption found in towns, consumerism, enclosure, landscape gardening, avarice, and the pursuit of wealth from international trade.
Sweet Auburn, loveliest village of the plain, Where health and plenty cheared the labouring swain, Where smiling spring its earliest visit paid, And parting summer’s lingering blooms delayed.
Dear lovely bowers of innocence and ease, Seats of my youth, when every sport could please, How often have I loitered o’er thy green, Where humble happiness endeared each scene!
Sweet smiling village, loveliest of the lawn, Thy sports are fled, and all thy charms withdrawn; Amidst thy bowers the tyrant’s hand is seen, And desolation saddens all thy green:
One only master grasps the whole domain, And half a tillage stints thy smiling plain; And, trembling, shrinking from the spoiler’s hand, Far, far away, thy children leave the land.
Ill fares the land, to hastening ills a prey, Where wealth accumulates, and men decay: Princes and lords may flourish, or may fade; A breath can make them, as a breath has made;
But a bold peasantry, their country’s pride, When once destroyed, can never be supplied. A time there was, ere England’s griefs began, When every rood of ground maintained its man; For him light labour spread her wholesome store, Just gave what life required, but gave no more: His best companions, innocence and health; And his best riches, ignorance of wealth. But times are altered; trade’s unfeeling train Usurp the land and dispossess the swain;
Sweet was the sound, when oft at evening’s close, Up yonder hill the village murmur rose; There, as I past with careless steps and slow, The mingling notes came soften’d from below; The swain responsive as the milk-maid sung, The sober herd that lowed to meet their young, The noisy geese that gabbled o’er the pool, The playful children just let loose from school,
The watch-dog’s voice that bayed the whispering wind, And the loud laugh that spoke the vacant mind, These all in sweet confusion sought the shade, And filled each pause the nightingale had made.
But now the sounds of population fail, No cheerful murmurs fluctuate in the gale, No busy steps the grass-grown foot-way tread, For all the bloomy flush of life is fled.
All but yon widowed, solitary thing That feebly bends beside the plashy spring; She, wretched matron, forced in age, for bread, To strip the brook with mantling cresses spread, To pick her wintry faggot from the thorn, To seek her nightly shed, and weep till morn; She only left of all the harmless train, The sad historian of the pensive plain.
Last week a dear friend of ours was sent to prison for 16 months for a peaceful protest against fracking. Fracking is a reckless technique to get fossil fuels out of the ground which is banned in France, Holland and Ireland amongst others, which we often discuss in the show.
Please excuse the language, but this is a f*cking disgrace.
Most people have heard of the Tolpuddle Martyrs but how many know about the Ascott Martyrs? These were 16 indomitable women of a little known village in Oxfordshire.
In 1873, 16 women of Ascott-under-Wychwood were sent to prison for the part they played in the founding of the Agricultural Workers Union. The newspaper in 1873 printed the story under the heading, “Rioting in Chipping Norton”.
The above (from page 73) is a good example of how strong the connection was between the foundations of the coop movement and the desire of people to be free of hideous urban slum conditions and return to a rural agricultural existence.
Nick Hayes just put me on to this amazing page about the Newton Rebels of 1607 in Northamptonshire which was part of the Midlands Revolt concerning enclosure. Have a look at the photos from their 400th anniversary in 2007
The Green Backyard in Peterborough have just signed a 12 year lease, winning an amazing victory saving land from some dubious business people and a council which has some amazing people in it …and others with more questionable motives. Read about it in the Peterborough Telegraph:
In twenty zero eight, two enterprising souls
Set to work to realise their very worthy goals
They met allies and met baddies, now listen as i tell
A tale of Peterborough’s finest and some pond scum straight from hell
There’s pair of Antonelli’s, both grafters through and through
Give them tools and wellies… there is nothing they can’t do
I sure want them on my team when we build the barricades
As we fight the fight for all that’s right with rascals and comrades
Three cheers for the green backyard, ’tis a glorious hour for people power
On two acres of good land that never knew concrete
They set to work creating a paradise complete with
Veg and flowers and people, and ponds and compost loos
But a few in power (with faces sour) had some other views
In twenty and eleven, the council battle began
Machen and Kneally, they worked an evil plan
And we mustn’t forgot Cereste, they don’t get more corrupt
Someone should him soon arrestie, cos he’s such an evil fuck ….refrain
But in our growers’ corner we’ve Gillian Beasly who was
A very early ally and the council chief exec too!
And props to Jay and Allan, more people joined the team
Now the scene is set, the players met, all captured in one tune
We mustn’t forget ‘Metal’, who invite arty sorts
And let them loose around here, to sow creative thoughts
Like ‘if this were to be lost’ and ‘this land is our land’
And ‘people before profit when when we all together stand’ ….refrain
‘For sale’ the sign was raised, this was a big mistake
Gave our growers marching orders, even set a date
But the town and country planning act, a couple of VIPs
Plus a tonne of people power brought the blighters to their knees
so to conclude my story, there’s still much work to do
but this is quite a victory, so credit where its due
and i hope our children’s children can be nurtured by this land
and people far from peterborah will know of this fine stand ….refrain
I’m not sure yet how relevant it is to the current show but if we end up working with our Scottish and Irish friends, this looks like a good place to start exploring due to the way it is indexed.
The parent part of the site also has lots of interesting stuff on it. What I love about this so much is that it is still in super old HTML style which means it is so much easier to navigate and search than all this fancy, flashing, fancy pants and usually pointless web design which is currently the fashion!
I’ve just finished reading these three excellent booklets about enclosure and the open field system in East Yorkshire… Two were written in late 1950s and the third in the mid eighties. All were thoroughly researched, succinct and insightful.
I missed this last month but never to late to learn about the amazing work of trade unionist and labour rights Don Pollard who died in August. #legend
‘The trade unionist and labour rights activist Don Pollard, who has died aged 80, was one of the driving forces behind the Gangmasters (Licensing) Act 2004, legislation brought in by the British government to curb the exploitation of agricultural and food workers in the UK.
It took the Morecambe Bay tragedy to bring his and fellow union organisers’ efforts to fruition. In 2004, 23 workers from China drowned after their gangmasters sent them cockle-picking in lethal tides. Some of the victims had been employed previously on farms in East Anglia, where Pollard had uncovered appalling conditions. His work had laid the ground for a coalition of unions, business, and MPs to push through the Labour MP Jim Sheridan’s private member’s bill introducing licensing to the gangmaster sector.’