Scotland’s referendum consultations farce

Petty tribalism has ruined two potentially useful consultations on the independence referendum.

A row was provoked last week when it emerged that the Scottish government’s public consultation on the forthcoming independence referendum was open to anonymous contributions. This prompted Anas Sarwar, deputy leader of the Scottish Labour Party, to suggest that the whole process had been “designed for abuse”, in that it allowed individuals to submit multiple responses, presumably with the aim of distorting the outcome.

In its defence, the Scottish government pointed out, correctly, that previous public consultations - including a recent one on same-sex marriage which received as many as 50,000 submissions - had been conducted according to similar guidelines and no-one had questioned their legitimacy. But Labour insisted, also correctly, that anonymous submissions should be discounted from the final official tally of total contributions. Eventually, the Scottish government relented and agreed to consider as valid only those submissions whose authors could be identified.

At this point, rather than fizzle out, the row intensified with the publication of the findings of the UK government’s own referendum consultation. Initially, they were seized on by Scotland Secretary Michael Moore as evidence of widespread support for the coalition’s position on the timing and format of the ballot (70 per cent of respondents said they wanted the vote to be held next year instead of in 2014, while 75 per cent said they wanted a single Yes/No question). However, it soon became clear that these figures were not a reliable sample of Scottish public opinion. This is because a quarter (740 of approximately 3000) of all the Westminster consultation responses were identical. That is, they had been copied word for word from a “standard text” response available on the Scottish Labour website.

The SNP immediately claimed that this discredited the UK consultation, with Alex Salmond expressing concern that it had been “flooded” by made-to-order Labour submissions. But the First Minister failed to mention that the SNP also provided a “standard text” response blueprint for the Scottish government’s consultation on its website. We won’t know what percentage of the total submissions to the Holyrood consultation (so far there have been around 12,000) are based on the SNP’s template until they are published in May.

Two things should be taken from this rather farcical episode. The first is that, under current conditions, government consultations in Scotland are not accurate barometers of the public mood and in fact invite party political manipulation, particularly when they are concerned with issues as deeply polarised as that of the constitution. The second is that Scottish politicians are apparently incapable of resisting the temptation to score cheap points off one another, even if it means engaging in embarrassing retreats later on.

It should also be said that instead of having a UK government consultation and a Scottish government consultation - both of which, if conducted properly, could have been helpful in bringing the Scottish constitutional impasse to some sort of resolution - Scotland now has a unionist one, tailored to unionist preferences, and a nationalist one, tailored to nationalist preferences. Even Salmond, Sarwar and Moore would have to concede this renders the whole exercise of “consulting the public” more or less futile.

Scottish First Minister and SNP leader Alex Salmond. Photograph: Getty Images.

James Maxwell is a Scottish political journalist. He is based between Scotland and London.

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Young people want big ideas – that's why I refuse to dumb down Radio 4

My week, from finding a way through the fog to getting the quarterly audience figures.

I walk to work through Regent’s Park, when possible accompanied by my dogs, which my husband then collects on his bike ride and takes home. If there is time we have coffee together in the small hut just before the inner circle. This is a good way to listen to the Today programme, I find, as I can keep one ear in, achieve a rational, critical detachment and still enjoy the birds, and then add the other ear if a strong interview demands immersion, or take both out altogether when despair creeps up. On the subject of Today, I hope to have some fun with Sarah Sands, whom we have just appointed as the programme’s new editor; it’s good to see an experienced woman brought in at a senior level to the BBC.

 

A winter’s tale

The park through the seasons has become something of an addiction, measured out by inspired planting of appropriate annuals, the names of which I note and discuss with the gardeners when I dare interrupt them.

Memorable events occur quite frequently during this walk: I once stumbled upon a proposal of marriage involving a beautiful young woman who once had worked for me; an elderly Chinese gentleman practises t’ai chi regularly at a certain spot and I imagine talking to him about the changes he has seen in his lifetime back home. I have seen a rare green woodpecker on the grass pecking boldly in plain sight, and hopeless ducks, silent, puffed up, marooned in the fountains, unable to find their way back to the ponds, so close by.

At the start of winter, while walking home one day, I got stuck in the park, with a group of other stragglers, as the gates locked with the onset of darkness. Rather than retreating the way I had come, I accepted the offer (from a rather good-looking stranger) of a lift down from the top of the gate. The atmosphere then was alive, exhilarating, with crowds heading for the Frieze Masters marquee. How different it all is now, in 2017. There’s a new mood, a new American president, a new era.

 

Musical interlude

Recently, Roger Vignoles – the glorious pianist and a close friend – was playing, as he often does, in a lunchtime concert recorded for Radio 3 around the corner from Broadcasting House at the Wigmore Hall, with the baritone Roddy Williams. French songs: Fauré, Poulenc, Honegger, with a handful from Caplet (the latter quite new to me). All thoughts of politics fled, giving way to “L’adieu en barque”, set late one summer’s day on the river, a moment to clear the fog, both within and enveloping us that day in London.

I left an hour later in clear sunshine, feeling smug because we have commissioned Roddy’s Choral ­History of Britain for Radio 4 later this year.

 

Power trip

Waiting for coffee to brew, I was discussing Book of the Week with Gill Carter, commissioning assistant on this slot, when my drama commissioner, Jeremy Howe, put his head round the door. “Clarke Peters (yes, the one from The Wire) is here reading The Underground Railroad for Book at Bedtime.” Assured, deep tones rang out from a tiny studio on the third floor. “I have to keep stopping,” he said, as I thanked him.

Who could not be overcome by this story of slavery and bravery at this moment in American history? I am so glad to bring it to listeners this month. “Can you help?” the producer pleaded as we left. “We’re about to be thrown out of the studio.” That’s real power, I thought, as ten minutes later Jeremy had conjured up the extra time.

Clarke Peters will be back in the autumn with a series about the real history of black music in the UK which, he says, is little understood.

 

Culture and anarchy

This is the time of year when we launch the commissioning round calling for big ideas for next year. It’s a humbling thing to stand in our beloved art-deco Radio Theatre in front of hundreds of programme-makers, hoping that they will be inspired to bring “the best which has been thought and said in the world” (my guiding principle from Matthew Arnold).

I try on these occasions to lay out a little of how I see the shape of the world in the commissioning period ahead. This year the Loneliness of the Long-Distance Runner overcame me. Better perhaps simply to outline the way we commissioned the first week of 2017 to catch the mood. T S Eliot, more or less all New Year’s Day, read by the formidable Jeremy Irons, raised an echo of the Thirties, then a factual series of considerable documentaries across the week described The New World, followed by writers around the globe Imagining the New Truth.

Finally, inspired by Twelfth Night and the spirit of misrule, the comedy writer John Finnemore, one of our favourites, took over as the Lord of Misrule himself.

The imaginative world and writers have never been more needed. Whether it is truth or post-truth, I suspect that dramatic, imagined and creative truth when properly achieved is probably the nearest we can ever get to truth itself.

 

Tuning in

It’s the week of Rajar. These are quarterly audience figures for radio. In the past few months, they tell us, over 11 million people have listened each week to BBC Radio 4, setting new records. Just under half are below our average age of 56 and 1.5 million are under 35. At the moment we seem to have over two million weekly visitors to the website and roughly 20 million monthly global downloads.

Who says young people don’t want intelligent content? Who says that dumbing down is the only way to attract big audiences? We at Radio 4 try to be all about smartening up. We mark Rajar Day (whether the numbers are up or down) with cake, so I make my way to Paul for two tarts, pear and blueberry this time.

Gwyneth Williams is the controller of BBC Radio 4

This article first appeared in the 16 February 2017 issue of the New Statesman, The New Times