History of the Games
A short history of Glenurquhart Highland Gathering & Games
After almost six years of World War II, Britain was desperate for community life to return to normal as soon as possible. For some sporting events this was to take years, but the people of Glenurquhart were well ahead of the game. Indeed the war in the Far East still had almost a month to run when, on July 8th 1945, the Minute Book records, a Public Meting was held in Drumnadrochit’s Blairbeg Hall “for the purpose of constituting the Glen Urquhart Highland Gathering”.
An 18-strong committee was formed under the chairmanship of village headmaster and local legend Alistair C. McKell. Officials – including famous Inverness strong man, “Gym” teacher and entertainer Donald Dallas – were appointed, and arrangements made for a six-a-side Shinty contest which was such an important feature of the early years. The last Saturday in August was chosen as the date, creating an instant tradition. 1,773 spectators paid £73 12s 0d for the privilege of sharing that piece of history and “in addition large numbers of juveniles attended for whom no charge was made”.
These are the origins of the feast of Highland sporting and cultural entertainment which is The Glen Urquhart Highland Gathering and Games. The event has come a long way since its wartime origins and the road has not always been easy. In 1957 and 1958 fortunes had reached such a low ebb that annual decisions had to be made whether or not to carry on, hardly a problem in the current era of unbroken success.
By this time another vital milestone had been reached with the change from Professional to Amateur Games in 1954. The athletes you see here today are all Amateurs and the Glen Urquhart Games has long had the tradition of attracting the very best performers in both sports for what is regarded by all as the “Jewel in the Crown”.
A read through the Minute Book of the Games conveys one immediate and abiding impression – the sheer industry and commitment which since 1945 an entire community has put into this one day in August. Fundraisers such as the Games Ball, Whist Drives and (before the term “raffle” was quite respectable) Free Gift Schemes have all contributed to the finances. Tea which would fill Loch Ness and mountains of sandwiches which would dwarf the Achmony Hill have been produced by an army of dedicated helpers.
Meanwhile the menfolk have laboured to convert a field which offers little room for flexibility into a strong arena set in one of the most romantic locations in the Highlands. And how many souls have been sold and to whom to ensure that this square mile (usually) enjoys the best of weather on this last Saturday of August is nobody’s business!
The global COVID-19 pandemic enforced a two-year break on the Games, with a welcome return in 2022 to celebrate the 75th Anniversary.
The Chieftain
In days gone by the role of the Chieftain was to care for the welfare of the Clan in times of war and of peace. Indeed the Chieftain was required in every way to act as the head of a family for in fact the word “Clan” in Gaelic actually means “children”. Fast forward to the present day and every Highland Games has its Chieftain whose job it is to be the ceremonial face of the whole occasion. The Chieftain must be on hand to welcome important guests and to present the prizes to those who have been successful in the competitions. Most importantly, the Chieftain must preside over the opening and closing ceremonies and as such will be seen at the head of the Grand Parade of Pipes and Drums as it proceeds around the field to mark the official opening of the Games. Likewise at the end of the day as the Games flag is lowered and the pipes play to mark the end of another successful day, the Chieftain’s presence is required.
Given the importance of the role, it is a great honour to be chosen by a community to be Chieftain of the Highland Games.
Celtic Art of George Bain
Each year since 1946 a Celtic design has appeared in the Games Programme. Created by the artist George Bain, it shows a Highland Dancing competition taking place on the Games field beneath a sky created from a pattern of Celtic knotwork.
Bain (1881-1968) was a native of Scrabster, Caithness but moved to Edinburgh as a young man where he commenced his artistic training with a lithographic firm. As a part time student he attended Edinburgh College of Art from 1896 to 1902 when he gained first place in a National Scholarship to the Royal College of Art in London.
In London, Bain was employed as a book and newspaper illustrator while he also exhibited his paintings at the Royal Scottish Academy and in Paris. Wishing to return to Scotland, in 1911 he gave up Metropolitan life to take up an appointment with the Art Department of Kirkcaldy High School. During the First World War he recorded incidents of the 26th Division in Salonika before returning to teaching in Kirkcaldy High School. There he was to remain until his retirement from the post Principal Teacher of Art in 1946.
Bain’s greatest legacy to Scotland came in his devotion to Celtic Art. From an early date he showed great interest in Highland Culture especially in ancient stone slabs, crosses and brochs many of which are to be found in his native Caithness. This interest prompted him to a study of Pictish and Celtic art forms and from this he developed patterns which he applied to textiles, rugs and metals.
At an International Collection of Embroidery mounted by J. & P. Coates Ltd. of Paisley at the Empire Exhibition of 1938 in Glasgow, examples of George Bain’s Celtic Embroidery designs were judged to be amongst the most outstanding specimens to be displayed.
In conjunction with his practical work in the field of Celtic Art, Bain also wrote a number of booklets on the subject which were published by Maclellan Publishers. He followed this with a book, “A Comprehensive Study of Celtic Art,” in 1951.
In 1946 George Bain retired to Drumnadrochit where at Kilmore Old Manse (the present day Ben Leva Hotel) he set up his College of Celtic Culture and devoted the rest of his life to the stimulation of further interest in Celtic Art. He was accompanied by his wife Jessie who was a native of Drumnadrochit having been born at Upper Drumbuie where her father Thomas Mackintosh lived as a gamekeeper on the Balmacaan Estate.
Examples of George Bain’s Celtic Art work are to be seen in the Celtic Cross to Georgina Mackintosh in Old Kilmore Cemetery and the beautiful carpets with Picto-Celtic motifs to be found in St Ninians Episcopal Church, Glen Urquhart.
In March 1968 George Bain died at the home of his daughter Chirsty at Codsall, Staffs and his ashes were brought north to be scattered beside those of his wife on the hill-side at Upper Drumbuie which overlooks the Games Field at Blairbeg.
The author, Fraser Mackenzie, would like to acknowledge the fact that much of the information used in this account was provided by the late Claire Bain, the artist’s daughter.
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