The launch this week of a major new grassroots arts initiative in
Edinburgh comes at a very interesting moment. Craigmillar Now has announced a
programme of local-based international arts that aims to rekindle the spirit of
the old Craigmillar Festival Society. This has been brought to fruition as a
labour of love by people living locally.
Entirely separately to this, the event once dubbed the ‘Festival
of Brexit’ last week announced a shortlist of teams bidding to take part in the
high profile multi-million pound initiative in 2022. With the event now branded
Festival UK* 2022, teams feature several major institutions from Scotland. The
announcement comes at a time when theatres and music venues are closed due to
the ongoing Covid-19 pandemic. With many freelance workers struggling to
survive, Festival UK* 2022 has been criticised by some, with questions asked
over whether it should go ahead at all.
Craigmillar Now and Then
Away from all that, Craigmillar Now has begun operations in the
former church that was previously the home of Craigmillar Community Arts.
Drawing much of its inspiration from Craigmillar Festival Society, the
organisation founded in 1962 by the late Helen Crummy and other local mothers
after seeking some kind of arts provision for their children, Craigmillar Now aims
to provide a year-round artistic programme as well as hosting an archive of its
forebears.
Already announced is a six-month residency and exhibition by Craigmillar
based Syrian artist, Nihad Al Turk, who will develop a new body of work set to
be shown in Summer 2021. Al Turk’s work has been seen all over the world, from
Damascus to Venice to New York, as well as at the 2003 Latakia Biennale, where
he was awarded the Golden Prize.
Alongside Al Turk’s work, artist Shauna McMullen will be leading the
creation of a new community artwork celebrating the women of Craigmillar. This is
designed to replace a now missing Women of Achievement plaque dedicated to
Crummy.
Craigmillar Now will also be developing a local archive of vital
historical material about the area. This will see a team of trained volunteers
collecting and preserving the Craigmillar Festival Society archives, featuring
documentation of the organisation’s 40-year history up until its closure in
2002.
In keeping with this emphasis on living history being passed down
through generations, a series of community mapping walks will be led by local
5-11-year-olds. These will be run in collaboration with The Venchie, the
Niddrie based children’s activity centre run on the site of what is believed to
be Scotland’s first adventure playground, which is currently under threat of
closure.
With other major events set to be announced in 2021, Craigmillar
Now has already made quite an opening statement. Despite this, those behind the
new initiative are more than aware of the tough act they have to follow. Craigmillar
Festival Society, after all, was a boundary-pushing organisation that
revitalised a marginalised area of Edinburgh that suffered institutional
neglect and a welter of social problems that came in the wake of ill thought
out planning decisions.
Despite this, during the 1970s and 1980s, CFS and the work it
enabled was championed and supported by forward thinking individuals within a
well-resourced local authority. The influence of CFS saw it used as a model for
community arts around the world.
The full background to Craigmillar Festival Society can be found
in Crummy’s memoir, Let the People Sing! published in 1992. A short history of
CFS appeared in 2017 in Rachael
Cloughton’s essay, Dangerous Mothers. This formed part of Dangerous Women, a
project initiated by the University of Edinburgh’s Institute for Advanced Studies
in the Humanities. - http://dangerouswomenproject.org/2017/03/08/dangerous-mothers/
Since then, as newly appointed Project Manager, Cloughton has become
one of the driving forces behind Craigmillar Now. With support from City of
Edinburgh Council and others, Cloughton has worked alongside community
councillor Maureen Child, artist Andrew Crummy, who is also Helen Crummy’s son,
veteran Craigmillar activist Johnni Stanton and others. Support has come too
from Dr Sophia Marriage of Scottish Episcopal Church, owners of the building.
With such a strong team in place, Craigmillar Now looks set to pick up from
where CFS left off to create a brand new future for Craigmillar.
What the Actual…?
Meanwhile, just as Craigmillar Now introduces itself to the world,
the event now known as Festival UK* 2022 last week announced a 30 team
shortlist of teams from Scotland, England, Wales and Northern Ireland bidding
to take part in the £120 million backed festival. Selected from 299 entrants,
each team will be given £100,000 to hone their ideas during a period of
research and development. From this, 10 teams will be selected to create a new
work for Festival UK* 2022. This was greeted with criticism by some, with the grassroots
Migrants in Culture group calling for the event to be scrapped entirely.
Festival UK* 2022 was originally known as The Festival of Great
Britain and Northern Ireland, and was first announced under Theresa May’s Westminster
premiership in 2018. This is a period in history which in light of everything since,
now looks rather quaint.
Back then, May’s proposed shindig was described by Downing Street as
a ‘nationwide festival in celebration of the creativity and innovation of the
United Kingdom’. The festival was also described as ‘a unique event’ with
echoes of the 1851 Great Exhibition and the 1951 Festival of Britain.
Unofficially, the 2022 event was derided as a Festival of Brexit. Perhaps with good
reason.
“Just as millions of Britons celebrated their nation’s great
achievements in 1951,” said May, “we want to showcase what makes our country
great today”. May also declared that The Festival of Great Britain and Northern
Ireland would strengthen what she called “our precious union”, conjuring up
nightmare images of the last night of the Proms on an eternal brain mushing
loop.
Both the world and the prospects for May’s precious union have
changed significantly since then. Brexit has shambled on, overshadowed only by
the seemingly unforeseen disaster of Covid-19. Somewhere along the way, the
triumphalism of The Festival of Great Britain and Northern Ireland morphed into
the far buzzier sounding Festival UK* 2022.
With any mention of Brexit excised from its publicity material,
Festival UK* 2022’s website outlines its aim of presenting ‘ten open, original,
optimistic, large-scale and extraordinary acts of public engagement that will
showcase the UK’s creativity and innovation to the world.’
Festival UK* 2022’s mission statement goes on to say how ‘Bringing
people together in astounding ways, the festival will platform the full range
of our creative imaginations by combining Science, Technology, Engineering,
Arts and Mathematics.’
Such a fizzily upbeat rebrand comes with its own problems, however
shallow. As any terminal adolescent can’t fail to notice, Festival UK* 2022 rather
wonderfully abbreviates as F UK* 2022. With its knowingly placed asterisk
embracing the spotlight like a runaway emoji doing a turn, such a headline
grabbing banner is just a consonant away from potty-mouthed opprobrium.
Then again, perhaps such a guffaw-inducing acronym was deliberate.
Perhaps its wording is a symbolic in-gag on a par with the apparent potential
for subversion from within by those taking part. And perhaps that’s the reason
the louche looking asterisk seems to be winking at us, letting us in on a joke
that might otherwise be lost in translation. Which is why, in the interests of
both shorthand and cheap laughs, this article will henceforth exclusively refer
to the latest incarnation of Theresa May’s bastard offspring as F UK* 2022.
And who knows? Such calculated looking phrasing could be part of
an even bigger wheeze. Perhaps F UK* 2022 was inspired by 2023: A Trilogy, the
novelistic sprawl penned by Jimmy Cauty and Bill Drummond, writing as one of
their former 1980s pop star names, The Justified Ancients of Mu Mu.
Published in 2017, this epic fantasia by the artists formerly
known as The KLF, The K Foundation and many other names besides, was trailed by
a poster that appeared in Hackney bearing the urgent inquiry, ‘2017: WHAT THE
FUCK IS GOING ON?’ This referenced 1997 (What the Fuck’s Going On?), a 1997
performance by Cauty and Drummond as 2K. This in itself drew from 1987 (What
the Fuck is Going On?), the debut album by The JAMS released a decade earlier.
Perhaps this was also the spirit being channelled by high street
fashion emporium French Connection a few years back when it was reinvented as the
infinitely more attention grabbing FCUK.
If no semantic shenanigans were even slightly intended, chances
are that the Siobhan-Sharpe-from-Twenty-Twelve think-alikey marketing types who
brainstormed it up will be kept on their toes with how the phrase is used for
some time. Either way, F UK* 2022, what is
going on? And if The K Foundation isn’t part of it, why not?
To Hull and Back
F UK* 2022 is headed up by its Chief Creative Officer, Martin
Green. Green comes with a back catalogue that includes producing the opening
ceremony for the London Olympics 2012. The ceremony was directed by
Trainspotting director Danny Boyle, with musical direction by Rick Smith of
Underworld. Amongst its many evocations of the subjectively selected best of
British culture, the ceremony’s showstopping extravaganza included a
celebration of the NHS.
Green was also at the helm of Hull UK City of Culture 2017. This year-long
series of events in the East Yorkshire located port of Kingston upon Hull included
a weekend programme curated by Edinburgh spoken-word provocateurs Neu! Reekie! This
included performances by Scottish Album of the Year winners, Young Fathers, plus
Bill Drummond, Linton Kwesi Johnson, and a screening by film director Mark
Cousins.
Green, then, is clearly no flag waving nostalgist on a mission to
save some mythical empire. As his track record demonstrates, he is plugged in
to pop culture that has mass appeal while remaining artistically provocative.
This may have been why Green was hired as executive producer of Edinburgh’s
Hogmanay for a couple of years, seeing in 2020 with what might possibly be the
last event of its kind for some time.
Such are the apparent contradictions at the heart of what has
become the inherited baggage of the now independently run F UK* 2022. The list
of Scotland based organisations amongst the teams bidding to take part serve up
even more food for thought. Two Scotland-only entries have been selected for
the R&D Project that will take place between now and February 2021, with
further Scotland based organisations joining other creative teams.
Edinburgh International Festival and the National Theatre of
Scotland join forces with V&A Dundee, Edinburgh Science Festival, Sky Arts,
the University of Strathclyde and Dundee based video games company, 4J Studios,
to make up one of Scotland’s bids.
The other team sees Glasgow based music festival Celtic
Connections collaborating with Aproxima Arts, the company formed by former driving
force of NVA and Test Department, Angus Farquhar. Also on board with them are
BEMIS Scotland - the umbrella body for empowering the country’s ethnic and cultural
minority communities – and Dingwall-based Gaelic participatory arts company, Feis
Rois. They will be joined by environmental art and lighting company, getmade
design, environmental research body, the James Hutton Institute, and the
agriculture based Scotland’s Rural College (SRUC)
Elsewhere, Dance Base Scotland is collaborating with partners that
include the Royal Astronomical Society and the Institute of Engineering and
Technology (IET); Edinburgh Napier University joins forces with a team that
features celebrity chef Jamie Oliver’s company; and arts development body Creative
Dundee are collaborating with partners that include Liverpool based cultural
organisation, Metal.
With proposals to open a new centre in Dundee, the Cornwall based Eden
Project is working with the city based publisher DC Thompson to form an
alliance with the Institute of Global Health Innovation and others. Royal
Botanic Garden Edinburgh continues an ongoing partnership with Serpentine
Galleries alongside progressive economists, Doughnut Economics Action Lab, and hi-tech
design agency, Superflux. The Scottish Association for Marine Science,
meanwhile, feature in a bid with a team that includes the Tyndall Centre for
Climate Change Research.
In other teams, Pitlochry based conservationist charity, the John
Muir Trust, are working with North of England Zoological Society and the
University of Cumbria;
and internationally renowned audio visual auteurs 59 Productions,
who have worked with the National Theatre of Scotland and the Traverse Theatre,
Edinburgh, team up with The Poetry Society among others
Scottish associations among the 30 teams continue, with former
Traverse Theatre associate director Lorne Campbell, now artistic director of National
Theatre Wales, co-leading the company’s collaboration with partners including
the Centre for Alternative Technology, Youth Arts Network Cymru and Disability
Arts Cymru. Long-time spoken word producers Apples and Snakes, meanwhile, are
working with Trigger Stuff, led by
arts producer Angie Bual, who previously led the Govan-based Allotment project
with the National Theatre of Scotland.
Turner Prize winning design collective, Assemble, partner with the
Centre for the Study of Perceptual Experience and the Sackler Centre for
Consciousness Science for their bid. Assemble won the Turner in 2015 for their
work on reimagining a series of inner city houses in Liverpool. They were
presented with their award at the ceremony held in Glasgow, where they
exhibited at Tramway.
Biting the Hand
Given that both EIF and NTS are supported in various ways by the
Scottish Government, the presence of both organisations among F UK* 2022’s
bidders shouldn’t come as a surprise. Especially as F UK* 2022 is itself funded
by the Scottish Government alongside those of the other devolved nations, and is
partnered by Scotland’s national tourism body, EventScotland.
However cannily national arts institutions have to work within the
prevailing political orthodoxies of the day, as long as Scotland, Wales and
Northern Ireland remain tied to the UK, they are unlikely to ignore such high
profile platforms as F UK* 2022. This is the case however glaring any political
motivation to undermine the self determination of the devolved nations may or
may not be.
In this sense, Scotland’s national arts bodies are undoubtedly influenced
by Holyrood’s arguably enlightened agenda. By contrast, the National Theatre of
Great Britain, for instance, has at times had a less harmonious relationship
with Westminster. In the current climate, at least, neither approach are
necessarily bad things. Whether artists biting the hand
that feed them is even an option by the time we get to 2022, however, remains
to be seen.
Welcome World?
Nevertheless, many of those bidding to take part in F UK* 2022 already
have pretty strong track records in kicking against the pricks. While some might see Edinburgh International Festival as part of
the cultural wing of the British state, internationalism has been at its heart
since its foundation in 1947 to ‘provide a platform for the flowering of the
human spirit’. This was defined in an even simpler fashion in 2016 when the long
planned festival slogan - ‘Welcome World’ – was revealed not long after the
Brexit referendum result.
It is telling too that EIF and NTS have just collaborated on last
weekend’s online production of Hannah Lavery’s play, Lament for Sheku Bayoh. Lavery’s
piece was inspired by 31-year-old Bayoh, who, as a child, fled the civil war in
Sierra Leone, and who died in 2015 while being restrained by police in
Kirkcaldy.
In this way, neither EIF or the NTS have shied away from tackling
some of the civic and political ills going on outside their front door that reflect
a big bad world beyond. The potential sleight of hand within F UK* 2022 looks
even more pronounced with the presence of Angus Farquhar’s Aproxima Arts
company.
Out of all the artists in Scotland who form part of one F UK* 2022
bid or another, Farquhar has perhaps been the most vocal in his opposition to Brexit.
Farquhar has been at the vanguard of cultural dissent for four decades. This
stems back to his days battering out martial sturm-und-drang in abandoned
factories with Test Department during the Thatcher era, to reconstituting the
Beltane Fire on Calton Hill, and all the environmental interventions with NVA
that followed.
More recently, Farquhar took part in Dear Europe, an NTS-run international cabaret held at SWG3
in Glasgow on what was supposed to have been the day of Britain’s departure
from Europe on March 31st 2019. As with pretty much everything else
since 2016, the UK government made an almighty balls of things, and the grand
exit was postponed. Dear Europe’s compendium of bite-size plays and
performances went ahead anyway, and became part lament, part show of
international strength.
Performing at the event with marimba player Cameron Sinclair as
Second Citizen, Farquhar gave an emotional testimony of what Europe meant to
him after he wrote to every European nation asking them to adopt him as a
citizen.
Farquhar and Second Citizen also saw in what then looked like a
potentially bright 2020, performing at a Hogmanay End of the Decade party hosted
by iconic Glasgow club night, Optimo. With
all involved waiving their fees, the night raised funds split between the
Coalition for Racial Equality and Rights, anti-racist refugee and migrant
homelessness charity, Positive Housing in Action, and Drumchapel Foodbank.
As Farquhar points out, “I campaigned on the streets against
Brexit and made a passionately pro-European work for the National Theatre…. We
decided openly to go for this bid because we are in a Scotland-only consortium,
and the budget and content of the final work is controlled within Scotland, an
avowedly and deeply pro-European country. We are confident that our project
will not and cannot be hijacked by the Brexit Right in the UK government. It
was only on this basis that we could bid.”
While full details of all bids are currently under wraps, Farquhar
says that his team’s bid will focus on food poverty, youth unemployment, active
travel and local arts activism “on a truly national level” with the aim of
creating an adoptable framework for European and international partners. As
Farquhar sees it, “It is a once in a moment chance to really try and do
something for the whole country.”
In terms of how F UK* 2022 might turn out overall, Farquhar points
to 14-18 NOW, the five-year commemoration of the First World War centenary that
took place between 2014 and 2018. While all events in 14-18 NOW’s programme
remained respectful in its tributes to those who took part in the war, much of
the work presented took a less orthodox approach than one might expect.
Artist Jeremy Deller’s contribution, We’re here because we’re here,
was a particularly moving highlight. Created
to mark the anniversary of the Battle of the Somme, the event saw everyday
public interventions by 1,400 volunteer participants dressed in First World War
uniform, who appeared unexpectedly in public places on July 1st, 2016.
If anything in F UK* 2022 comes even close to evoking something as poignant, its
existence will arguably have been justified.
There is a sense that some of the teams bidding to be part of F
UK* 2022 possibly see themselves as entryists working on the inside. Others
might see such credible names being used as Trojan horses to give what was
originally one of Theresa May’s grand follies a patina of credibility in order
to help make the current UK government appear – no, really, - enlightened.
Migrants in Culture
Whether any of this carries any weight with Migrants in Culture or
any of F UK* 2022’s other critics remains to be seen. Migrants in Culture is a
network guided by ‘a vision of culture without borders’. They have been
particularly scathing about F UK* 2022, and, in calling for it to be scrapped,
state that ‘We reject the use of culture as nationalistic branding. Cultural
workers are compelled to act as ambassadors for UK soft power in order to
access this funding.’
An open letter from Migrants in Culture has been sent to Martin Green
of F UK* 2022, UK Secretary of State for Digital, Culture, Media and Sport
Oliver Dowden, and Neil Mendoza, who in May 2020 was appointed by the UK
government as its Commissioner for Cultural Recovery and Renewal. The letter
states that F UK* 2022 ‘capitalises on
the racist and xenophobic movements and discourse that have led to Brexit, the
Windrush Scandal, the Home Office’s Hostile Environment against migrants, the
rise of far-right politics as well as Grenfell, and the endemic racism,
societal divisions and inequality.’
The letter goes on to call for ‘An immediate cancellation of the
festival and the reallocation of its £120 million budget towards an equitable
recovery for the arts and culture sector…’ At time of writing, the letter has been
signed by more than 600 artists, art workers and arts organisations across the UK.- An Open Letter to Martin Green, the Festival UK 2022 and
Oliver Dowden - Google Docs
Comedian Josie Long has already withdrawn from her involvement in
F UK* 2022 after being made aware of what she called its “nationalistic
agenda”.
A Radical Road
Migrants in Culture’s call to arms in part echoes playwright Peter
Arnott’s words a couple of weeks ago accepting this year’s Critics’ Awards for Theatre
in Scotland’s Best New Play award. This was for The Signalman, presented as
part of Oran Mor’s A Play, a Pie and a Pint lunchtime theatre series in Glasgow
back when visiting theatres was still possible.
Calling for a radical rethink about how arts and culture might be
organised in a post Covid landscape, Arnott suggested that “I think we are
going to have to think some pretty radical thoughts about how we organise what
it is we do for a living if any of us expect to do anything like it again. I’m
talking about upending the entire structure of governance we inherited from the
reinvention of culture at the end of World War II… and reinventing it all over
again.”
Which brings us back to Craigmillar Now. In the yet to be defined
new age of the post Brexit, post Covid era, organisations such as Craigmillar
Now, Migrants in Culture and others advocating ideas as radical as those argued
for by Arnott might point the way to where that new age begins. By contrast, and
however it turns out, F UK* 2022 runs the risk of merely marking the end of
everything that went before, and which is about to be lost.
Play to Win
Despite what the ancient Greeks thought when they invented the spoken
word scene by putting poetry into the Olympics in a way that would now be
branded as a Cultural Olympiad led by an epic opening ceremony, art probably
shouldn’t be treated as a competition. Of course, winning awards can inspire
confidence, while infinitely more useful financial rewards help keep those
creating work alive long enough to hopefully do something else beyond. But
judging art shouldn’t be based on who brings the best report to what might look
to some as a grown-up version of show and tell.
Nor should the £120 million allocated to F UK* 2022 be used as a
temporary salve to plug the artistic and economic chasm caused by Covid. Rather,
as with every single other industry currently struggling for their collective
and individual lives, and as Migrants in Culture point out, arts workers
require a security only universal basic income can bring.
While the UK government continues to operate a sticking plaster
approach that ultimately won’t save anything except their own livelihoods, a
more enlightened Ireland announced last week that a key recommendation of its
Arts and Culture Recovery Taskforce report was a potential basic income for
arts workers. Now, there’s something for both F UK* 2022 and the Scottish
Government to think about.
Playing the Joker
As far as what happens next with F UK* 2022, all of the above may
turn out to be purely academic. Only one of the two Scotland teams competing
directly against each other will make it through to the final. As for the rest,
like an own goal in a Home International, an edition of It’s a Knockout where
you’ve already played your Joker, or a Big Brother Does Bake Off Brexit
Special, it’s perfectly possible that no other Scotland based organisation is
left standing.
What we’ll be left with then is anybody’s guess, though at least massed
choirs belting out Land of Hope and Glory on the hour every hour to define what
F UK* 2022 ends up being all about will have been headed off at the pass.
Nevertheless, one suspects that some or all of the projects that
don’t make the final cut of F UK 2022 may be enabled to happen anyway. This
might then be an opportunity to bring other partners on board in a way that
embraces those who might feel beyond F UK* 2022’s reach. There seem to be plenty
of them about.
The Global Village
In the forthcoming and possibly still far off post Brexit
landscape, future generations’ entire experience of Europe might well be
gleaned from the likes of the glossy tourist brochure styled froth of hit
Netflix show, Emily in Paris.
With this in mind, fiddling while Rome and everywhere else feels
the Brexit burn might not necessarily be the best internationalist
response. If F UK* 2022 isn’t scrapped as
Migrants in Culture are arguing for, perhaps Green and co might do well to step
outside their great big ginormous events bubble and take a look at what is
already happening at a grassroots level.
Glasgow based charity Refuweegee, for instance, works
with numerous organisations to work with forcibly displaced people arriving in the
city. One of these organisations is grassroots live music promoters Sounds in
the Suburbs, who are currently running Zoom based fundraising gigs for
Refuweegee on the last Thursday of every month.
Similarly styled fundraisers for refugee charities have run in
Edinburgh for several years under the name Solidarity with Displaced Humans,
and continue do so online. These and many, many other similarly styled
grassroots bodies fuse internationalism and artistic expression in ways that
make a genuine if largely unsung difference. Despite having a much lower
profile and little or no government support, such events are arguably equally
as important as anything likely to happen at F UK* 2022.
Those behind F UK* 2022 should perhaps also take a look too at Craigmillar
Now. Here is an organisation steeped in local history, founded on a grassroots
model and building on both for a brand new future where the global and the
local meet.
Beyond the Fringe
While it’s probably fair to presume that none of the grassroots
organisations mentioned here made their own bid to be part of F UK* 2022, it
will be interesting to see how they and others respond. Perhaps they won’t do
anything, and will just keep on keeping on with the mighty work they do already.
Or perhaps, as some wags have suggested, the high profile presence of F UK*
2022 will provoke dissenting voices to kickstart their own counter event. Such
a move would inadvertently conjure up the spirit, not of the 1821 Great
Exhibition or the 1951 Festival of Britain, as Theresa May’s display of
England’s dreaming predicted, but that of an accidental consequence of
Edinburgh International Festival.
That event took a sharp turn towards the future after a couple of
student theatre companies not officially programmed turned up and decided to do
their own thing anyway. From such small but dramatic acorns was eventually
spawned the monster of today’s Edinburgh Festival Fringe.
With this in mind, it has also been mooted that, rather than similarly
brand any F UK* 2022 alternative event as a fringe, that it adopt the model of
the Avignon Festival, that other great
European arts extravaganza founded in the post-World War Two rubble to promote a
spirit of unity. In Avignon, as with Broadway, fringe events are referred to as
‘off’ the official programme. This would make for something that could be
legitimately and magnificently referred to as F UK* 2022 Off. My, how that
asterisk would wink.
Beyond such potential fun and games, the big idea these days for large-scale
public events like F UK* 2022 is legacy. In fifty-years-time, for instance, how
will F UK* 2022 have affected things, and how will future citizens of whatever
country they’re part of by then be keeping its spirit alive?
These days such things are more likely to be spun for potential
artistic, civic and political capital. Then again, those behind F UK* 2022 might
want to see for themselves how such long term side effects can happen
organically, democratically and in a way that puts people first. If so, they
could do worse than check out Craigmillar Now. Those making things happen there
already look like a winning team.
Craigmillar Now - www.craigmillarnow.com
The Venchie - www.venchie.org.uk
Festival UK* 2022 - www.festival2022.uk
Migrants in Culture - www.migrantsinculture.com
Refuweegee – www.refuweegee.co.uk
Solidarity with Displaced Humans - https://www.facebook.com/groups/1653384801546439/
Let the People Sing! by Helen Crummy was originally published by
Craigmillar Communiversity Press in 1992.
ends
Bella Caledonia, November 2020
ends
Comments