Brave art: Scottish identity and stand-up comedy

Stand-up comedy remains a prevalent form of entertainment in Scotland, with comedians drawing sell-out crowds, and comedy making up the biggest section of the Edinburgh Fringe Festival programme. Moreover, stand-up comedy is recognised by many academics as a form of social commentary that can affirm or subvert cultural norms, or at the very least, provide a social thermometer that tells us what is going on in society. Research on Scottish stand-up comedy can therefore shed a light on how contemporary Scottish identity is constructed and understood. Yet, despite its popularity and potential social significance, few studies have focused on Scottish comedy to date, and none have chosen to analyse Scottish stand-up comedy specifically. The present research addresses this gap and uses discourse analysis to understand how Scottish stand-up comedy articulates representations of contemporary Scottish and British identities. The data for this study includes live comedy performances at the Edinburgh Fringe as well as interviews with stand-up comedians to gain a deeper insight. The findings show that Scotland is largely framed as a postcolonial nation with distinct values (inclusive, left-wing, egalitarian), particularly in comparison to ‘Brexit’ England. Despite this emphasis on civic nationalism, there are intersectional differences in how people experience Scottish identity, particularly for Scots positioned outside traditional white, heterosexual masculinity, who have to work harder to belong. The Edinburgh Fringe brings to the fore questions of belonging and exclusion as Scots make up a relatively small proportion of the comedy offering. Yet, the Fringe is also identified as a carnivalesque space with subversive potential. By disrupting the taken for granted, and highlighting possibilities for change, Scottish stand-up comedians at the Fringe engage in the political work of (de-)constructing the boundaries of identity and belonging.