The Glasgow 2014 XX Commonwealth Games and Scottish Independence: “Political Truce” or Political Truth(s)?

This paper explores the political reaction to Lord McConnell’s appeal for a political ‘truce’ in the form of a temporary halt to campaigning by all political parties and organisations involved in the debate regarding the Scottish independence referendum during the Glasgow 2014 Commonwealth Games (BBC, 2014; McConnell, 2014). Urging both sides of the debate to cease campaigning for the two-week period of the Glasgow 2014 games, the current Labour peer and past First Minister of the Scottish Parliament cited concerns that there are “genuine concerns that the Games, and the image of Scotland, could be damaged by attempts by either side – for and against – to use the Games to promote their cause, or to use the venues for campaigning” (McConnell, 2014). Drawing upon the principles of both a critical discourse and a narrative analysis methodological approach, this paper will scrutinise the nature of the political reactions to McConnell’s proposal from a variety of perspectives on both sides of the independence referendum debate. In particular, the emphasis in the responses from both sides of the debate regarding the apolitical nature of the 2014 Games will be critiqued, drawing upon the arguments of past analyses of sporting mega-events which highlight the potential for political exploitation of such events by the host nations (e.g. Horne, 2007; Grix, 2012; Houlihan and Giulianotti, 2012; Roche, 2006). Furthermore, the findings of academic research on the political implications of hosting the Commonwealth Games will be considered (e.g. Majumdar and Mehta, 2010; Van Der Westhuizen, 2004; Macintosh and Greenhorn, 1992; Majumdar, 2011; Lockstone and Baum, 2010; Macfarlane and Herd, 1986), highlighting a number of precedents which demonstrate the numerous challenges faced in any attempts to the keep the 2014 Games free from political influence.

Theatre History and Historiography Ethics, Evidence and Truth

This collection of essays is the first time a group of theatre historians have come together to consider the challenge of applying ethical thinking to attempts to truthfully represent the past. Topics include the life of the celebrated Restoration actor Thomas Betterton, the little-known records of hitherto forgotten women involved in Victorian theatre, amateur theatricals enjoyed by the British army in colonial India, the loss of a pioneering arts centre for African and Caribbean culture, performance art in Wales and present-day community arts in Northern Ireland. While confronting such difficult issues as the instability of evidence and the unreliability of memory, the contributors offer fresh perspectives and innovative strategies for fulfilling their ethical responsibility to the lived experience of the past.