Catchment Conversations

Catchment Conversations Photo Kate Foster

Catchment Conversations Photo Kate Foster

In early February 2014, Catchment Conversations took place – the concluding event of the Working the Tweed programme. It was a gathering of people with different interests and connections to the Tweed Catchment. We shared views about the Tweed Rivers and discussed how we would like to imagine the future of the Catchment. The event took place in the inspiring studio at Hundalee Mill, the workplace for furniture maker Thomas Hawson on the Jed Water and we were well nourished during the day with  homemade soup , bread and cakes by Jenny Ozwell. Discussion revolved around what was working well on the river and what needed to be improved. We asked people to bring a photograph or image to illustrate both pf these and also an object that represented something about their particular connection to the Tweed rivers by way of an introduction. From the morning discussions, three topics were explored further in the afternoon : • Action towards creating a healthier ecosystem • Actions towards improving renewables in the Catchment • Action towards a better human appreciation of the river Catchment Conversations were framed at the start and end of the day by short presentations by the Working the Tweed artists. We explored what role art projects might play in catchment management and what the lead artists had experienced, working in different artforms. A full summary is available as a pdf by clicking HERE

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Riverside Meeting 6: Water Resources / Land Use

The theme for our sixth and final Riverside Meeting was Water Resources / Land Use. It took place at at Lees Fishing Shiel, Coldstream on January 21st 2014, and the speakers were Dr David Welsh (Historian); Derek Robeson (Senior Project Officer, Tweed Forum); Mary Morrison (Creative Leader, CABN).
The Lees Fishing Shiel provided welcome warmth and shelter, and our project tables were unfolded for books, papers and refreshments.  The view over the river towards England gave plenty to think about, from riparian boundaries to debatable territory. A goosander, a cormorant, and a flock of guinea fowl were feeding along the river, where a salmon leapt, with intermittent shots from a goose scarer. This final Riverside Meeting focussed on strategies currently being developed in the Scottish Borders for both land use and culture. The session as a whole provided a challenge to how artists can work with complex histories and geographies, and engage with uncertain futures.

Dr David Welsh opened with a review of how the Tweed has been represented historically. Accounts such as Herbert Maxwell’s ( The Story of the Tweed), or WS Crocket, (In Praise of the Tweed); in poetry, by Scott and Will Ogilvie, and in painting, eg by Scott, Kerr and the Glasgow Boys. But what of contemporary representations? These do include of course taxidermy, as illustrated by the walls of the bothy displaying a trophy. Teasingly, David suggested that the fishing pool map could benefit from artistic accuracy. It takes a specialist eye to know what needs to be corrected.

Dr David Welsh, Lees Fishing Shiel, photo Kate Foster

Dr David Welsh, Lees Fishing Shiel (photo Kate Foster)

The border between Scotland and England was often portrayed as being created as a result of wars between these two entities, but David pointed out that the current border had much earlier roots, largely having been established by the 12th century as a result of disputes between much earlier kingdoms and power blocks, including the monastic communities at Lindisfarne, the kingdom of Strathclyde and even Welsh kingdoms.  So, a bit like the landscape itself, the way history is presented is itself subject to cultural vagaries.

David posed a question: where are there contemporary artistic renderings of the border between Scotland and England?

His wealth of detailed local knowledge of river and field told of flux and flow, for example the field name of Dry Tweed (East, Mid and West) marks a changing river course, and helps explain anomalies, such  as why plots of land to the south of the river are Scottish. Possession of the river banks can be traced in records, and far from smoothing out anomalies, the border has the capacity to become more complex, and remain debatable. He pointed out how difficult it had been to resolve land ownership disputes, with England and Scotland having different legal systems.  Thus, if a case were to be heard in the Court of Session in Edinburgh the automatic presumption would be that, since the court there could only rule on matters pertaining to Scotland, that the ownership was Scottish, and if the case were to be heard in an English court the ownership would be presumed to be English. There was a great history of debatable lands.

Developing a Land Use Strategy is a daunting task, given the scale of the problems. Derek Robeson of Tweed Forum is Project leader, piloting this for the Scottish Government in partnership with Scottish Borders Council. Convincing people of the need to change habits of land management is the main tool, and Derek’s experience of working with farmers on integrated land management for over 20 years gives him great authority. A sustainable Land Use Strategy means dealing with wider issues (including climate change – more extreme weather events; food scarcity; biodiversity loss) within the very varied localities of the Scottish Borders. The Land Use Strategy is one of only two pilots in Scotland, and Scotland is almost unique in the world in developing a Land Use Strategy, with only two other countries in the world having done this. The strategy is largely map-based, and Derek presented a number of maps, such as maps of biodiversity hotspots and current farming use of the land.

 

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Derek Robeson at Lees Fishing Shiel (photo by Kate Foster)

The strategy needs to be supported by those who manage large parcels of land, but Derek pointed out how everyone is implicated, as decisions made affect all in the area. Subsequent discussion included how the idea of ecosystem services underpins the process, which means that (for example) a deciduous woodland might become more ‘economic’ if the full value of its ecological contribution is recognised.

On our walk along the river bank, Derek encouraged the idea of 100 year planning (at least!) for woodland is to take shape, but the political reality is that 5 years is as far as policy can often manage. Field and river margins offer a study in how people shape land, and make choices for aesthetic as well as economic reasons that have wider impacts. Copses of trees were originally planted to provide fox coverts for hunting and as shelter belts, but now provide cover for pheasant shooting and,with the recent changes in the weather patterns in the Borders to much wetter winters, help prevent soil erosion – especially helpful on the steepest slopes which are more prone to soil erosion secondary to water run-off.

Working the Tweed Coldstream Lees 4 photos J Horne

Riverbank Walk at Lees Fishing Shiel (photo by Jules Horne)

Mary Morrison of CABN provided an overview and a commentary on the draft Cultural Strategy (link) for the Scottish Borders. This new venture should act as a basis for supporting the cultural sector development. Recognising that creativity is (and should be) unruly, what can be said about the strategy overall? Mary noted that it took place-making as a creative task, and also that there was mention of ecology and land use, though this had been developed in isolation from the land use strategy.

Working the Tweed Coldstream Lees 2 Photo J Horne

Mary Morrison talking at Lees Fishing Shiel (photo by Jules Horne)

Claire Pençak suggested discussion could tease at the idea of cultural landscape, and the idea of a land ethic (as articulated by Aldo Leopold – quote in box) ran through the points we covered.

James Wyness pointed out how the Borders region is not a homogeneous cultural entity, and how folk from the coast identified themselves with other coastal communities rather than with ‘the interior’.

James Wyness spoke about how not all art results in a material product, and how one strand of current arts practice looks at processes between people, so that an outcome might be a meeting or a performance.

Jules Horne reflected on the term ’Land Use’ and its implication of who Land is used by – People. Claire reflected on the possibility of mapping from other perspectives – Otter for example.

Maps as used by the Land Use Strategy attracted interest. Firstly the one about Place seemed to have a very restricted scope. It locates places visited, constructed as tourist sites, protected or designed. Not even wildlife reserves or walks (Abbeys Way for example) were represented. Secondly, Claire said she found them too static. However Derek assured her in combination they can show change.

Mike Scott commented that if one issue stood out to bring people together to consider land use, it would be flooding.

What follows are further points in the discussion Kate picked up on (comments welcome – this is not intended as a complete record).

Land Use and Land Reform are separate in ongoing political processes. But, we realised how large estates do play a large part in shaping land use and can take the long view, but breaking them up might not have positives in terms of sustainable land use, as forcing landowners to sell might result in land being  traded as an international commodity and managed by people with no interest in the life of people in the Borders. I learnt from this line of thinking, and also Derek’s description of the ‘taste’ of the Tweed being sugar, and slavery’s role in developing large country estates, whose design is an aesthetic standard to this day.

Aesthetics play a large part in shaping decisions about Land Use, but neither strategies articulate this very specifically (though Social is included in Land use). Derek’s comment that what looks good is often good is fascinating. How do we learn to see? to see differently than received ideas? What allows people to see process, to understand abstract shaping influences? How can this be reflected in art practice?

Anthropocentrism means, for example, that place can be constructed as entirely for humans, which closes down insight into people within environment, with tangled and complex interactions. Following on from this, what happens in the Borders should be placed within wider social and ecological contexts that take the debate beyond just the Borders region and narrowly human concerns. We need conceptual and poetic tools to allow us to engage with such complexity.

Perhaps artists in rural areas have a tacit knowledge about people within environment, and being assertive about the value of this knowledge is important. This is undermined If values of success are imported from conventional art world that bases it’s notions of worth on an urban sensibility. This leads on to thinking of the arts community in the Borders as having a distinctive competence that is different, but no less valuable, from those who work in a largely urban setting. An example would be the project of ‘Working the Tweed’ that allowed for  productive and sustained conversations between artists and a wide variety of land users.

Ecosystem services contains idea of exchange and value, and this could be a vein for artistic production.

Symbolic action, the notion of process and also exploration of sensory experience through moving, are expected outcomes for performance and dance, but not necessarily part of a visual artist repertoire. Working across art-forms in the project Working the Tweed has allowed public engagement to include visual props with performance, or listening in abstract to exist alongside detailed attention to words used. River culture should inhibit fixed viewpoints, but help make suggestions about aesthetic choices and possibilities of ecological action.

Riverside Meeting 1 – Paxton-Berwick

The boat is late. The tide is touch-and-go. Hot weather has dropped the levels in the Tweed and the Paxton-Berwick shuttle is waiting for safe passage.

We’re five miles inland on the river at Paxton House, among landscaped gardens, fields of sheep, a tractor mid-harvest over on the English bank. A seaboat in this calm farmland idyll seems unlikely, almost alien. But here she comes, On a Promise, a yellow-white skiff skippered by David Thompson, fresh from the port at Berwick. David has a quick catchup with the netsmen and then it’s off down the widening Tweed to the sea.

Martha Andrews, Paxton curator. Image © Kate Foster

Martha Andrews, Paxton curator. Image © Kate Foster

The crew for the first Riverside Meeting: Kate, visual artist, Sandy, musician, Jane, theatre maker, Claire, dance maker, Bridget, poet, Jules, playwright, Cath, textile designer, Michael, venue manager, and Janet, a crime writer scouting for likely murder haunts.
Martha Andrews, the Paxton curator, fills us in. Paxton is one of only two netting stations left on the River Tweed, from its heyday of around 80. George and Jo Purvis run a small commercial fishing operation – the rest have been bought out for ‘the rods’.

Netting at Paxton

Netting at Paxton. Image © Michael Scott

George spots a change of wind, the ripple of salmon heading upstream. Reading the river, its subtle signs. The rowboat heads out in a wide loop, the nets splashing cork by cork from the boats. As the team pull the net in, the corks dip – a sign of a catch. Once landed, the fish are rushed to the anaesthetic-tub and tagged by Tweed Foundation. Ronald Campbell’s industrial strength stapler plants a yellow plastic cable in the fish’s side. The groggy fish comes to in oxygenated water and is ferried back to the Tweed.

Dr Ronald Campbell of Tweed Foundation tagging a salmon

Dr Ronald Campbell of Tweed Foundation tagging a salmon. Image © Michael Scott

Ecologist Melanie Findlay is an otter specialist. A nearby bridge looks a likely spot. Sure enough, otter spraint. It has an earthy, metallic smell. Kate makes spraint-marks in her notebook. We hear about Himalayan balsam and Japanese knotweed, and compare with sycamore, ground elder, sea glass… will today’s scourges also be transformed by time?

Ecologist Melanie Findlay at Paxton

Ecologist Melanie Findlay at Paxton. Image © Michael Scott

On the boat, we pass the abandoned shiels of the netting industry, some just roofless ruins, some renovated as holiday retreats. At some point, our lips start to taste of salt.

Rounding the last meander, we see the bridges of Berwick as we’ve never seen them before. From low in the water, passing beneath the sleek A1 concrete, the Victorian railway arches, the ancient pink sandstone, it’s as though history unfolds. Two territories, one each bank, connected and divided by a river.

Someone mentioned the word ‘rival’ derives from the Latin for river. ‘Rivalis‘ – ‘an adversary in love’. Neighbours in competition. Maybe our forebears once stood on the bank each side? Waving, shaking fists, and then rowing across, bartering fish, grain, daughters.

Arriving at Berwick. Image © Claire Pencak

Arriving at Berwick. Image © Claire Pencak

Bridges, Berwick

Bridges, Berwick. Image © Michael Scott

Bridges, Berwick. Image © Michael Scott

Bridges, Berwick

Sheep and swans from the Paxton boat

Sheep and swans from the Paxton boat. Image © Michael Scott

Tweed shiel and salmon lookout.

Tweed shiel and salmon lookout. Image © Michael Scott

George Purvis laying nets

George Purvis laying nets. Image © Michael Scott

Paxton netting team

Paxton netting team. Image © Michael Scott

on a promise: Riverside Meeting at Paxton

promise

field drawing © Kate Foster

We watched the nets being laid out across the tide, learning that some fish ‘cheat the net’.

promise1

field drawing © Kate Foster

 

What, I wonder is the N for, on the coble’s stern?

promise2

field drawing © Kate Foster

N … for Norham? The coble’s fishing port?We talk to a bailiff.

The possibility is raised that it is labelled N because the boat always swings North – just like a magnet.

We talk to the boat owner.

N, for Ned. No, NET.

That’s to say it’s registered to fish, in legal hours

paxtonkf2

photo © Kate Foster

Another boat arrives, I am excited: we will sail with the falling tide, on brine, to Berwick-upon-Tweed.

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field drawing © Kate Foster

I can’t help noticing how big the sheep are, in England.

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field drawing © Kate Foster

Sport not Profit, a notice on our vessel remarks. Swans, herons, cormorants. Our youngest crew member is disappointed that nothing pink is visible on the banks.

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field drawing © Kate Foster

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field drawing © Kate Foster

So many shiels that need saving! Ninety six altogether on the river we are told: some are just a pile of stones though.We also learn about the bridges: the by-pass bridge built in 1885. The concrete cast bridge from 1935. The railway bridge, the longest in its day in 1850 – opened by Queen Victoria. She thereafter closed the curtains in Newcastle as she travelled by (because refreshments at that station made her late for her Berwick bridge appointment).  And a much much older bridge, built by an early King, who was afraid that the tide and wind would prevent his return to London.

We ourselves land, in sunshine and calm seas.

Artists’ Paxton Netting and River Trip – 10th Aug

Calling Borders artists! Would you like to join a Riverside Meeting at Paxton, followed by a Tweed boat trip on the new Paxton-Berwick shuttle service?

This is the first in our series of six meetings between artists and river specialists, and it’s aimed at uncovering the hidden world of river work and making links between the arts, environmental and science communities, as well as cross art-form.

Get picked up by shared minibus from various parts of the Borders, then we head to Paxton for a riverside gathering to hear from Dr Ronald Campbell, fish biologist at the Tweed Foundation, Melanie Findlay, ecologist specialising in otters, and Martha Andrews, the curator at Paxton House. It’s a rare chance to see river netting and hear about the changing fish patterns in the Tweed catchment. Then we head downriver on the ‘On a Promise’ with skipper David Thomson to the mouth of the Tweed at Berwick, accompanied by Mel with her insights into the local wildlife. The boat can only carry 12, so please book your place soon! Deadline Fri 2nd Aug (later than on application form).

Download Riverside Meeting Paxton details here.

Download application form here.

Many thanks to Tweed Foundation and Paxton House for their support with this event.