Speaking after last week’s opening night of The Last Yankee, See Me Scotland volunteer Leanne McKillop made the perceptive observation that if one in four people have mental health issues, this leaves another three who can help support them. Throughout SMHAFF 2015, several events will address, champion and celebrate the extraordinary work of the many carers who dedicate their lives to assisting loved ones through periods of mental ill-health, working alongside professional bodies to encourage mental wellbeing and recovery.

On Monday 19th October, Volunteer Glasgow, the Mental Health Foundation and SMHAFF present Re-Connect at Glasgow’s Art School. Through film, discussion and information, the day will explore the roles and experiences of carers, examining the impact upon those who help others with mental health issues, and revealing how communities can support the health and wellbeing of carers.

The day begins with a film screening of Mental: A Family Experience, a short documentary about one family’s experience of mental ill-health and the bonds that brought them together. A panel discussion will follow, focussing on the caring role and allowing participants a chance to share and network with others.

Volunteer Glasgow will host a stall delivering information on the benefits of volunteering, showcasing the range of opportunities available to all members of the community. The day will represent a timely and deserved celebration of the fantastic work of carers.

The following Thursday, Edinburgh Carers Council present their annual concert at Electric Circus, this year headlined by the ‘lyrically compelling and sonically stunning’, Scottish Album of the Year Award-winning Kathryn Joseph. She will be supported by the uniquely beautiful, ‘gruff-but-sweet’ songs of Yusuf Azak, and the ‘skewed-folk despotism’ of The Son(s). Edinburgh Carers Council provides advocacy, information and learning opportunities for carers of people with mental health issues and this fundraiser will raise further awareness and funds for carers. 

Also in Edinburgh, a two-day exhibition will be held at the Carers Council, from Monday 26th to Tuesday 27th October. The work displayed stems from the creative workshop held during Carers’ Week earlier this year and has been produced by participants from a wide range of caring backgrounds, including mental health.

The exhibition (which will then move, on Thursday 29th October to Carers of West Lothian in Livingston) represents an exciting collaboration between Edinburgh Carers Council, Carers of West Lothian and Edinburgh Carers Support Project.

All told, these events promise to both reflect and promote the massive contribution carers make to the lives of those facing mental health issues, providing a platform from which we can celebrate their work and dedicate valuable space and time in which all attendees can be stimulated and inspired, relax and have fun.


Written by Mark Jones


Re-Connect, Mon 19 Oct, 1-4pm, The Art School, Glasgow; Edinburgh Carer's Council Present: Music Matters with Kathryn Joseph + Yusuf Azak + The Son(s), Thu 22 Oct, 7–10pm, Electric Circus, Edinburgh; Creative Carers, Mon 26 Oct-Tue 27 Oct, 1–7pm, Edinburgh Carers Council; Thu 29 Oct, 1-7pm, Carers of West Lothian, Livingston.

The theme for this year’s Scottish Mental Health Arts and Film Festival is passion, and no two people could have more of it than storytelling duo Beth Hamilton-Cardus and Andrew Coull. Together, they comprise Fife-based community theatre company Suit and Pace. This year, they performed their comedic storytelling session Cheering Up The King, aimed at children aged 3-8 years old, in the Postings Arts Hub, Kirkcaldy.

Cheering Up The King is a multi-modal and interactive show, cleverly designed to thrive and evolve with audience participation. However, the central premise follows (as you might imagine) the story of a crestfallen King, who, despite his Jester’s best efforts, cannot seem to be cheered up. The audience are then asked for suggestions on how to cheer up the King and encouraged to share what makes them happy, in the hope this might succeed in lifting his spirits. Using this method, the light-hearted and pun-filled performance encourages youngsters to consider what improves their mental wellbeing and how to enhance the mood of those around them.

Unfortunately, The Postings in Kirkcaldy does not see much footfall these days, with most crossing its doors only to use it as a thoroughfare to the bus station. As a result, Cheering Up The King did not receive the attention or audience it undeniably deserved. However, the small audience size had no impact on the boundless enthusiasm of the performers and fostered an intimate, engaging experience for the children and their parents. The performers’ impressive ability to inspire participation, even in incredibly young and easily distracted children, resulted in one impassioned attendee choosing to sing two songs in front of the group – and the King couldn’t help but smile.

The performance incorporated a range of mediums, including colourful and tactile props; physical engagement through activities such as juggling; anecdotes with a positive mental wellbeing message; and a final craft task. All of these were designed to reflect on what made the attendees happy and all served to underline the take home message: know what makes you happy, know what you might have to do to cheer yourself or others up, and know that improved mental wellbeing can be achieved through discussion.

Throughout the performance, though, one particular issue struck me. While it is fantastic that arts projects are able to facilitate discussions regarding mental wellbeing amongst younger generations, they shouldn’t be the sole platform. Throughout my entire time at primary and secondary school, I vividly recall detailed drugs, alcohol and sexual health education, but not once was mental wellbeing even being touched upon – let alone candidly discussed. I am far from alone in this experience – many children and adolescents receive absolutely no formal mental health awareness education at all.

At least nowadays, some theatre companies can be brought into schools to approach these issues. Suit and Pace themselves have run workshops for senior high school pupils in order to promote frank discussion regarding mental health. While this is an excellent and worthwhile initiative, it is simply not enough. In order to ensure children and adolescents feel comfortable discussing mental health, education regarding mental wellbeing should follow the same model as drugs, alcohol and sexual health – starting early and increasing with age. This would promote forthright discussion, reduce stigma, and ensure young people know the appropriate steps to take should they themselves experience problems or find themselves supporting a friend or family member. Given that a quarter of us will experience a mental health problem in any given year, it’s inconceivable that it does not yet have a place in school curriculums.


Written by Nicole Bell


Image by Faisal Aziz

Gina McKie Interview SMHAFF

Gina McKie, Radio Clyde presenter, is not only passionate about the Scottish Mental Health Arts and Film Festival, but also about helping others with anxiety, fears, phobias and confidence. Gina hosted the Renfrewshire Festival launch event, Feel Good Friday, where she spoke more about inspiring change.

‘I’m a talker, of course, so I’m currently halfway through creating my own audiobook. I could write things down, but it’s easier for me to record them.’

Gina is a qualified counsellor, hypnotherapist, reiki master and Neuro-Linguistic Programming Practitioner. She has also studied Psychology. But it is from her years of working in the media that she has seen how limiting a lack of confidence can be:

‘It’s easy to lose confidence, and I’ve seen it be knocked out of people. I’ve known people who want to go on auditions for TV and films, and just can’t find the confidence to do it.’

And that’s where her latest venture, her audiobook Change Your Life Over Lunch, comes in.

‘Confidence doesn’t grow like hair or nails. This audiobook is my system to build confidence. I want people to go out and grasp at what they want in life, not to get caught up in the minutiae and to stop worrying what others will think. I want to make a difference in their life.’

It seems like Gina is already making a huge difference in the lives of her current clients, who she loves to ‘help fly’. And it is this nurturing, warm persona that makes Gina so inviting, and so very genuine.


Written by Louise Marie Smith

Image by Stephen Rygielski


You can listen to a free chapter from Gina’s audiobook on her website: www.ginamckie.com.

Since the early 1990s, a mysterious suicide epidemic has been spreading in rural communities throughout the Venezuelan Andes. Almost everyone in the region knows someone who has taken their own life, but no one is any closer to understanding why this is happening or what could be done to bring it do an end. Striking young and old, male and female alike, each death is its own unique tragedy, raising countless questions that nobody can ever fully answer.

Eliezer Arias, the filmmaker and anthropologist behind the poignant and desperately beautiful The Silence of the Flies, knows these communities as well as anyone. Having first visited the area around twenty years ago, he has studied their lifestyle in detail and witnessed first-hand the dramatic changes that have taken place in that period. ‘I was part of the landscape,’ he jokes, years before starting to make this film. ‘I was working there as an anthropologist for a long time. I was the researcher who came to ask questions.’

Since opting to tackle this subject, however, he has encountered few easy answers. Describing the phenomenon as ‘complex’ and ‘multifactorial’, he says there are ‘too many [things] that can explain why people commit suicide. You can of course look for some tendencies that could explain it in these rural areas,’ but there are always going to be numerous exceptions. The problem is not strictly a local one either, with suicide rates in rural communities across Latin America, as well as in countries like Japan, Switzerland and the UK, outstripping national averages, but the region’s unique culture may account for its scale.

Arias believes that the driving force behind the issues in this Venezuelan town is the rapid pace of change occurring within it and the introduction of ‘new values that come from globalisation’. ‘My hypothesis is that these communities [have changed] a lot in recent years,’ he says. ‘They still live with old traditions, a lot of machismo,’ but the ancient ‘institutions’ that sustained and justified that culture are crumbling. Farming used to be the region’s lifeblood, but with the economy in ‘a mess’, it is very difficult for people to be successful: ‘When you talk to the farmers, the poor farmers, they feel like they are failing.’ It is perhaps no coincidence that the most common way for men to take their lives is by drinking agricultural pesticides.

Young people are hit hardest by the changes, caught ‘in a trap’ between the old and the new. ‘It’s more difficult to be young in a rural community than in a big city,’ says Arias. ‘In a big city, you can be someone else. For example, if you have a tattoo, if you paint your hair blue or green, that’s normal. But in rural areas, you are stigmatised.’ Homosexuality is particularly difficult to deal with and coming out is rare: ‘You have to be willing to be oppressed by the community.’ But nobody seems safe from all forms of social alienation. In the interviews we hear with their friends and relatives, there is an overriding sense that the victims felt they did not belong and were ultimately not allowed to. People are unable to express themselves, to reveal their true personalities, particularly when they go radically against the prevailing culture.

Their inability to speak out is reflected in the way that Arias presents the testimonies that comprise the film’s soundtrack. Recorded entirely without cameras, they are given as voiceovers alongside shots of the speakers in different settings, looking silently and expressionlessly into the camera. This technique was a ‘risk’ and an ‘experiment’, but encourages multiple interpretations in this context. In part, it was simply a way for Arias to protect his subjects and avoid ‘exposing them to the camera’ in their most emotional moments, but it also enabled him to explore innovative ways to bring the dead into the film. In depicting the relatives in this way, he explains: ‘I wanted to show that there is an emptiness, an absence.’ They are both there and not there, and in many cases always will be. 

The dead also occupy a physical space in the landscape, through belongings carefully placed in trees, streams and mountainsides. There is something uncanny about their presence here, in contrast with the spectacular and idyllic environment. Arias was interested in showing ‘something very terrible’ against this setting, which he describes as ‘bucolic’ and ‘very romantic’, adding that it is still a popular honeymoon destination for couples from the cities. But he finds ways to draw the tragedy into the story, his imagery suggesting connections between the natural environment and the pain and isolation the locals suffer. ‘The landscape is part of the movie,’ he says, ‘one of the characters.’

The film focuses on two mothers, Marcelina and Mercedes, who both lost their daughters in the same year at the same age. Their search for answers eventually takes them to the top of a mountain, which is ‘very arid, very grey’, almost a blank slate for them to start again on. Generally, there is an ‘attitude of stoicism’ about the suicides in the community, which Arias describes as ‘something like a defence. They are saying: I suffered this loss but I have to keep going with my life.’ Within the community, ‘they have a different way to understand suicide. Sometimes, they even say that the expression, suicide, is not something they understand at all. They see it as 'something that happened’ to them as opposed to something they did, which can be interpreted as deeply empathetic, as well as a kind of denial.

The film’s title, The Silence of the Flies, was inspired by this disticintive attitude, as well as one of the region’s most striking but less attractive features. ‘In this community, there are a lot of flies,’ says Arias. ‘It’s amazing. Twenty years ago, the first time I was there, I was impressed by the flies. But none of the people reacted to them…The flies are part of the community, part of the landscape. And suicide is the same.’

The people in the town have to a great extent ‘normalised the phenomenon’. But Arias cannot say whether that is a good or a bad thing: ‘It’s [simply] a different way for relatives to give meaning to the suicides.’ There is little stigma surrounding the issue, largely because it is so common, but that seems to be doing little to help alleviate the situation. ‘Suicide is a universal phenomenon,’ he says, ‘but has different meanings for different people.’ His film is a moving and valuable exploration of a community’s search for answers, and an examination of a culture that is finding it increasingly difficult to stay alive.


Written by Rob Dickie


The Silence of the Flies is screening at Summerhall in Edinburgh at 7pm on Monday 12th October. To book tickets, visit this page.

Feel Good Friday SMHAFF Renfrewshire Launch

Radio Clyde’s Gina McKie invited us to feel good on Friday with the launch of the Scottish Mental Health Arts and Film Festival in Renfrewshire. This afternoon of theatre, music, poetry and song kick started the programme and gave us a sneak peek at what’s to come.

First up to perform at The Wynd Auditorium was Jenny Lindsay, whose intense performance poetry captivated everyone in the room. After experiencing mental ill-health and getting some much needed space to recover, Jenny penned a poem about what she went through, detailing her days on a scale of 1-10. ‘Six is fine, six is fine’ she tells us, though the deeper context is that it’s really not.

Next up was Arts Co-ordinator Sarah Grant, who spoke about the upcoming Paisley Poetry Trail, which continues until Saturday 31st October. Sarah has been immersed in organising the Renfrewshire events and, after a busy week, said how much she was looking forward to attending the events and seeing everything come together.

Theatrial performance Cirque Du Passion by Changing Stages took us through the connotations of passion in mental health. The struggles caused by anxiety pushing passion to the back of your head was beautifully demonstrated in the group’s performance. The actors spoke of passion and its ‘bully brother’ mania, the taker to passion’s giver.

With passion at the heart of this year’s festival, Gina took this opportunity to speak to the audience about her own: confidence building and helping others deal with anxiety attacks, fears and phobias. She is currently halfway through recording her forthcoming audiobook on confidence and esteem, which she hopes will help others realise that ‘the most important thing you can invest in is yourself’.

Andrew Eaton-Lewis, Arts Lead from the Mental Health Foundation, spoke of this year’s theme, explaining that passion is not only central to the festival’s ethos, but is what ultimately drives artists. 

Static, a short film by Louise Baird, led us in to the disarray of the depressed and anxious mind, before finishing with hope, that maybe it’s all ‘not that bad’. In an energetic performance, Claire Craig also performed the Charleston, complete with 1920s dress. She will be running a dance workshop, Passionate About Dance, on Monday 26th October as part of this year’s festival.

George Walker, Ruth Adamson and Julie Hardie of Paisley Writers Group opened up their hearts and minds with prose and poetry readings. Ruth’s passion and pride at what she can bake beamed across the room and Julie’s poem captured perfectly the feelings of many fighting their way through mental ill health: ‘I just don’t deal well with roundabouts and swings’.

Jeanette Allan, Renfrewshire Festival Co-ordinator, spoke fervently about the region's commitment to arts and recovery. She also touched on Read It, Pass It On, which takes place in cafes throughout Renfrewshire this October. Participants can go to any of the designated cafes to pick up a copy of Matt Haig’s Reasons to Stay Alive and upon returning, write their name inside and pass it on.

Young songbirds Rachelle and Brittany Davies touched the audience with ‘Shout Out’, a dedication to their friend who took her own life in 2014. Their self-composed song is available on iTunes and has received Twitter support from musical legend Rod Stewart. The duo are raising funds for Young Minds, a child mental health charity. You can show your support for the girls on Twitter at @Rach_Britt.

In exploring this year’s festival theme, RAMH held their Passionate About Photography competition asking entrants to show what they are passionate about. Stephen McLellan, chief executive of RAMH presented awards for 1st, 2nd and 3rd place winners. The top entry was by John Joe Gallagher for his picture taken in Warsaw, capturing his enthusiasm for people photography.

Finally, Buddy Beat treated the audience to some hypnotic drum beats, performing an African piece. The talent and hard work of the group and their well-rehearsed music was a fitting end to a day about passion, mental health and community.


Written by Louise Marie Smith

Image by Stephen Rygielski


Feel Good Friday launched the Scottish Mental Health Arts and Film Festival in Renfrewshire. For full listings in Renfrewshire, featuring many of the artists mentioned above, please visit our events page.