How could you fail to have an argument about
identity in
Scotland – and at a time
like this? A referendum on independence should be the very definition of the
moment to have it.
You'd have thought the Scottish cultural air would be
thrumming with an accrued history of intellectual fighting and flyting over who
we are, dating back to the unions of crowns and parliaments, through the
Enlightenment and into all the scientific and artistic legacies of 19th and
20th-century Scottish culture, as manifested now, at a constitutional
crossroads.
But this is a strange time.
The argument about
Scottish culture is not being had. The accusation aimed at the Better Together
campaign is that it has no positive vision of the UK.
But, by exactly the same
token, the yes campaign has little more than economic promises, based on
speculation that an independent Scotland could be better off financially.
In
this reductive economic standoff, Scots are defined only by geographical
residency, our identity dependent on resolving the currency problem, our future
pegged on the dubious question of EU membership.
There is lots of angry smoke
in the debate, but no real fire.
There was, curiously, more cultural expression
during the process of devolution.
Glasgow had been galvanised by its year as
European city of culture; Scottish artists ("Scotia Nostra", as
Douglas Gordon referred to them in his 1996 Turner
prize speech) were seizing their place in a global market; the new parliament
in Edinburgh (with its Catalan designer) was being worked up into the capital's
most extravagant experiment in modern architecture;
Trainspotting (with its Scottish producer
and English director) transformed the image of Scottish cinema; the "new
Scottish fiction" was gripping publishers from Edinburgh to London.
That was a time of constitutional reorganisation,
but now, on the brink of revolution, Scotland's cultural elites seem to have
fallen into sterile postures of consensus.
The majority of artists and writers
– the ones who are prepared to speak up – are yes voters by default, but not
argument.
The minority who disagree remain largely mute, cautious of their
reputations, fearful of vilification. The atmosphere is tense, nervous and
unimaginative.
The only discernible argument about identity currently to be had
is the daft idea that an independent Scotland would become like Scandinavia.
No
one who really knows Norway or Sweden (and they are not easy to know) would
confuse their discreet, anti-confrontational, technocratic political cultures
with our liberal and disputatious – Scottish or British – ones.
But beyond the
economics, where is the legendary Scottish dispute?
This may be the first time
Billy Connolly has been heard to say that he doesn't have an opinion (recently
asked about the referendum, he replied that he had more in common with a welder
from Liverpool than a Highlands crofter, but wouldn't be voting in September).
Ian Rankin, despite his detective Rebus being a classically cantankerous
character of Scottish fiction, isn't touching the subject.
Cosmopolitan painters such as Callum Innes,
Peter
Doig or Alison Watt have not been tempted to air their views on traditions
in Scottish art.
One former Dr Who,
David
Tennant, says it's not his business, since he doesn't live in Scotland and
the new Doctor can't speak, due to BBC impartiality rules, which is also why no
explicit opinion – either way – will emerge from the likes of
Andrew
Marr, Eddie Mair,
Kirsty Wark or
James
Naughtie.
The BBC, with its Reithian foundations, is a fundamentally
Scottish-British institution.
The problem is that the in-or-out binary question
bypasses the reality of Scottish culture, which has, historically, lived out a
duality.
It is not the state, or geography or ethnicity that defines what it
means to be Scottish.
As David Stenhouse writes amusingly in
How the Scots
Took Over London, the streets of the British capital are paved not with
gold, but with a road surface invented in 1816 by John Loudon McAdam.
In the
19th century, Scots, having invented modern city planning in Edinburgh, were
designing half the bridges across the Thames.
London is not an English city, but a world city –
and never more so than now, in the era of mass migration.
It is Scotland's
biggest market and its third most important portal to the world.
A vote for
independence in September would not mean separation from England (a matter of
cartography that was resolved 1,000 years ago).
It would mean separation from
Britain, a country that was created and constituted by Scots at least as much
as it was by our partners in the union.
But the Scottish Enlightenment, the
diaspora, Scots in the empire, Scottish explorers and scientists and
philosophers and inventors – the tartan seams in the British story – have been
bleached out of a narrow debate.
Almost every great Scottish writer has
struggled with, or been inspired by, their dual identity.
Boswell thrived on
his Johnson. Burns wrote poetry to Britain as well as Scotland. Scott gave the
name Waverley to the fluctuating loyalties of Jacobite fervour and Georgian
settlement. Stevenson's
Jekyll and Hyde universalised the split psyche.
Scottish creativity sprang from its
argumentative, oppositional nature.
Scotland wasn't subsumed by the union; its
institutions of law, education and kirk were flintily sharpened against the
English. The existential battle for identity fought by Lewis Grassic Gibbon or
Alasdair
Gray has been won – and the picture has become plural.
Completely different
versions of the country have emerged in the hands of Allan Massie or
James
Kelman,
Irvine Welsh or
Alexander McCall Smith. But they are the old
guard.
Writers, artists, poets, film-makers – even those who desire
independence – no longer obsess over national identity.
Contemporary Scottish
culture is international cosmopolitan, or personal. Dundee and its gaming
culture (home of
Grand Theft Auto) is global.
Many Scots
feel equally British and Scottish. This is not depressing dilution, it is
cultural chemistry.
The most exciting current Scottish film is David
Mackenzie's
Starred Up. Produced by Gillian Berrie, boss of
Scotland's leading, home-grown production company, Sigma, it is the most
visceral English prison story ever told.
The best 21st-century work of Scottish
theatre so far has been
Black Watch. Written by a Scot (
Gregory
Burke) and directed by an Englishman (
John Tiffany),
it put the Scottish National Theatre on the international map.
Scottish culture is not defined by the
technocratic trade-offs between market and state that are contemporary
politics.
The current Scottish government – which, make no mistake, is popular
and effective – nevertheless has no record on culture.
Scottish cultural
identity is borderless. The British dream is not a confining state, it is a
creative and commercial opportunity.
Saying no to separation should mean saying
yes to a different constitutional settlement for the UK as a whole.
That is
what all the political parties now need on the table. The status quo is not an
option.
Enhancement and ratification of the powers of the parliament in
Holyrood would allow Scotland to get on with being itself and, with no
contradiction at all, to reap the creative potential of a Britishness, which
was ours historically and is ours still to make.