Saint Angus

Cecilia, you’re breaking my heart,
You’re shaking my confidence daily.
Oh, Cecilia, I’m down on my knees,
I’m begging you please to come home.

Paul Simon’s hit, “Cecilia,” from 1970 is at first or hundredth listen assumed to be about a girlfriend, but it’s also, he admits, about St. Cecilia, Patron Saint of Music in the Catholic tradition. One of the greatest songwriters ever, it’s as lyrically genius as pop music ever gets, while being incredibly simple. (But please don’t get me started on Foo Fighters’ dreadful and derivative “St. Cecilia”.)

As a songwriter relying on the whim of the muse, Simon’s lyric has him begging to Cecilia to stay with him, knowing how quickly the muse can vanish, and how fast she can reappear. It reminds me of many U2 songs about girls (“Mysterious Ways,” anyone?) that are actually about the Virgin Mary. Every U2 concert is a big prayer service and most of the audience doesn’t realize or care. I digress.

But it got me thinking that, while piping and drumming is of course music, and Cecilia could sort of look after us, maybe we need our own patron saint.

Looking around, there doesn’t appear to be anything officially declared.

I’m not a religious person, but I appreciate spirituality. Paul Simon was raised Jewish, as I was raised Presbyterian, and I believe he’s not religious,either, but perhaps errs on the side of spirituality.

I defy even the archest atheists who have visited Antoni Gaudi’s Sagrada Familia church in Barcelona on a sunny day with beams of fantastical yellows, reds and blues raying in through his gorgeous windows, bifurcated by the massive sequoia-like beams, not to feel spiritually moved. It’s so beautiful it makes one’s eyes well with tears.

Given that spirituality is a good thing, it wouldn’t hurt to have a Patron Saint of Piping & Drumming. But who or what? There’s no apparent Catholic saint who played a bagpipe. There are depictions of pipers in various abbeys and kirks, but these are only gargoyles and the odd seraphim.

St. Andrew I guess would be a natural, but he’s a bit predictable. In North America, anyway, St. Patrick is much appreciated for his big pipe band money-making day in March, but that a bit tacky. St. Philemon the Piper is the only allusion to it, but the “pipe” in this context appears to be a flute, not a bagpipe. After Ireland, St. Columba was all about the Highlands and Islands, so he’s getting there, but it’s a bit too close for comfort between Celtic and Rangers supporters.

So, with the lack of existing options, and the problems with religiosity, could we not collectively anoint one of our own as a “saint”? There are pipers and drummers in our history that seemed to perform miracles of music.

Saint Angus? Saint Padrick Og? Saint Donald Mor? Saint Alex? Saint Willie? Saint Donald? Saint G.S.? Saint Alasdair? Saint Gordon? Saint Captain John? Saint Seumas?

I doubt any of these greats were 100% pure, but no piper or drummer I know of is. And the histories of most “real” saints are often filled with violence and evil-deeds. I mean, killing snakes and serpents by today’s standards isn’t very nice.

There’s been more than one piper or drummer who’s said a little prayer at the line or during a tune or would commit him or herself to God in return for the creation of just one divine tune that would be played in perpetuity by the piping world ad infinitum, Gloria in excelsis Deo.

We could use a little divine intervention these days to keep us on the straight and narrow. Even if it’s all hokum, it sure can’t hurt to have a little talisman in the sporran, a superstition for moral support, or, when no one else out there seems to care, a piping and drumming saint who’s got your back.

Jubilation!
She loves me again!
I fall on the floor and I’m laughing.

 

Schooled

Scotland has resurrected piping and drumming to unprecedented new heights through widespread, accessible teaching. It’s an awesome and continuing success story, and the fruits of its strategy have become more and more evident with each passing year.

Just take a look at last week’s Shotts & Dykehead Juniors competition: 185 young pipers and drummers competing in a variety of solo events. Look at what’s to come in March when more than 800 piping and drumming students from at least 120 schools will participate in the eleventh Scottish Schools Pipe Band Championships. And witness the steady growth in size and quality of Scotland-based pipe bands across all grades.

Teaching piping and pipe band drumming in private and public schools is now baked in to the Scottish curriculum. When 20 years ago playing the pipes might have been the epitome of nerdiness, today it’s cool-factor seems to have risen at least on par with playing bass in the school rock band.

It’s hard out there for the rest of the world to keep up, and it will only get more difficult.

As much as other piping and drumming regions of the world would love to have widespread teaching programs as part of public and private schools’ curriculum, it’s not realistic. Yes, there will be exceptions, such as St. Andrew’s College in Aurora, Ontario, or Knox College in Sydney, Australia.

But in countries like Canada and the United States that have been built with a diversity of immigrants, expecting that Highland piping and pipe band drumming will be taught in the public school system is as likely as India’s sitar or the Chinese erhu becoming part of the curriculum, equally excellent and deserving instruments though they might be. I wish it weren’t so, but that’s the reality. It’s not impossible, just extremely unlikely.

Bands not based in Scotland are increasingly scrambling for players to keep up with both the numbers and standard of their Scottish counterparts. While the World Championships continue to be a draw for international bands in all grades, every year I see more of them bolstering rosters with available players from other groups, even from the cross-town rivals, just to meet the size standard, and hopefully also playing quality, when they get to Scotland.

Let me be clear: the Scots are doing the right thing for piping and drumming, and are not responsible in any way for the resulting challenges felt in the rest of the world. The grassroots teaching efforts by Scottish immigrants and visiting instructors that began some 50 or 60 years ago that brought piping and pipe bands in Canada, the USA, Australia and New Zealand to a world standard have been formally adopted by the home of piping and drumming but in a more organized and publicly supported way.

And barring some radical shakeup by unanticipated Sassenachs, the Scottish teaching infrastructure will only improve and expand. There will be a standard in each grade for Scottish bands, while visitors – including those at the top of their grade at home – more often than not will languish in the lower half.

While Scotland should celebrate and be congratulated for its teaching success, the rest of the world will need to find new ways to keep up. Idly expecting local bands or occasional individuals to do all the teaching using a variety of excellent, good or downright terrible methods will not be enough. Associations need to step up with organized programs and standards that make learning piping and drumming accessible to young students. They need to work with school districts to investigate at least the possibility of getting organized expert teaching into classrooms.

Associations should have recognized it 20 years ago, and some, including me, tried to get programs off the ground a decade or longer ago only to be rejected ultimately by executives and board members.

If the rest of the world is going to keep up, it’s no longer enough for piping and drumming societies and associations to be Highland games-running machines. They need to provide the fuel and the fire to keep the mechanism running.

 

#MeToo

I can only imagine what it’s like for female pipers and drummers to persevere in what is still a male-dominated – and often dominating – avocation. It’s a topic that has interested me for many years, going back to the 1990s when I worked to pull together a piece on females in piping.

It wasn’t easy then to get women to speak to the issue, and it’s still a difficult subject to discuss openly, many seemingly afraid of rocking a boat or jeopardizing their band’s or their own chances with judges and “authorities” – which are heavily weighted to males.

For sure, much has changed since the 1970s when women were still prohibited from competing at the major solo competitions until Patricia Innes (Henderson), Rhona MacDonald (Lightfoot), and Anne Stewart (Spalding) broke the gender barrier in 1976. Top-grade Scottish pipe bands disallowed female members until Ontario’s Gail Brown courageously stepped into the World Champion Shotts & Dykehead Caledonia in 1973.

It would take another 31 years before a woman would be awarded a Highland Society of London Gold Medal, when Faye Henderson broke the glass ceiling at Oban in 2010, not coincidentally following in the trail-blazing footsteps of her co-pioneering mother.

Back then, I wrote a blog post on the topic of pigeon-holing males and females, but the piping and drumming world remains a disproportionately male-dominated place, replete with its share of crass macho-shiteheads who continue to operate as if it’s an old-boys club. Only 20 years ago there were bands that not only wouldn’t allow women into their ranks, but would not even allow them to get on the bus. Maybe there still are.

The Royal Scottish Pipers Society only a few years ago voted to accept women as members, perhaps recognizing that they risked becoming a complete anachronism in addition to being hopelessly discriminatory. I don’t know how many women have been accepted as members, or have even been invited or applied. They might have jumped that shark decades ago.

If pipes|drums readership analytics are an indicator, about 25% of the world’s pipers and drummers are female, yet women are under-represented in associations’ executives, directors and judges, often woefully so. As far as I know, the RSPBA has one active female adjudicator. Of the Solo Piping Judges Association’s 52 judges listed on its website, a grand total of two are women.

The excuses are many. Well, there aren’t that many women who are qualified. Well, they just don’t seem to be interested. Well, they don’t have time, what with looking after their families. Well, they can’t physically blow a good instrument or carry a heavy drum. Well, their fingers are too short. Well, their wrists are too weak. Well, they’re moody. Well, they’re always complaining. Well . . .

The truth is, piping and drumming is still not the inclusive place that it must be. The challenges that women are faced with are systematic, insidious and, mostly, considered endemic. “Oh, well, that’s just the way it is,” I have been told by some great female pipers, resigned to having to put up with both blatant and tacit discrimination at practices and competitions. We males might not even recognize it, but it is there, often in subtly demeaning ways, and sometimes in quite awful insults – or worse – that probably force women to quit the scene altogether rather than put up with it.

And then we have the audacity to wonder why there aren’t more females who rise to the top.

The #MeToo social media campaign should be eye-opening to any sentient male. Personally, I have been astounded and saddened to see so many female piper or drummer friends of all ages come forward to divulge publicly that they have been the victim of emotional or physical abuse. I can safely assume that at least some or even many of those experiences have been around piping and drumming. Horrifying as it is, I know that there have been Harvey Weinsteins among us.

But, like thoughts and prayers, sadness and astonishment won’t solve anything on their own. We need to take action.

  1. All piping and drumming associations and pipe bands need to adopt a zero-tolerance policy against any member discriminating against any minority – female; non-white; LGBTQ.
  2. Members of associations must sign an agreement to uphold its zero-tolerance policy in order to become members and maintain membership.
  3. Associations must actively strive to reach and maintain gender parity between its leaders and judges and its membership.
  4. Associations must adopt a safe and private process to allow its members to report acts of harassment, bullying or discrimination.
  5. Members and leaders who have been found to breach the policy should be suspended or, if warranted, banned for life.

Some organizations might already have similar policies and rules but, given that it’s hard to agree on obviosities like teachers not judging pupils or family not judging family, I suspect not.

Piping and drumming comes from all-male military roots, but chalking up discriminatory behavior to “just the way it is” is no longer acceptable. It never should have been acceptable in the first place.

We’re a slow-moving and change-averse lot, but implementing these policies, and altering our habitual way of thinking, can no longer wait.