Scotland’s culture and creative sector will be helped to flourish on the world stage with the launch of Inspiring Connections: Scotland’s International Culture Strategy 2024-30, according to Culture Secretary Angus Robertson.
The strategy sets out the value of international activity to Scotland’s culture and creative sector. It recognises the importance of international engagement to learning, innovation and to the sector’s long-term sustainability.
Mr Robertson said: “Scotland’s culture and creative sector and our historic environment are internationally renowned. Our festivals, vibrant music scene and rich cultural heritage bring people from across the world to Scotland.
“The strategy sets out our vision for international engagement to be central to the long-term development of the sector. We are starting from a strong position, but we know that recent challenges have made international cultural engagement increasingly difficult.
“Developing international cultural connections will create new opportunities, make our culture and creative sector more vibrant and diverse, and help it to reach new audiences and markets across the world.”
Julia Amour, Director, Festivals Edinburgh, said: “Edinburgh’s Festivals are a place for Scotland and the wider world to exchange creative ideas, and this new International Culture Strategy recognises the importance of such an international outlook for artists, creatives and citizens across Scotland.
“We look forward to working with colleagues and Scottish Government on these ambitions to help strengthen our nation’s cultural fabric.”
The Edinburgh International Festival unveils an expansive programme of world-leading opera, music, theatre and dance from 2-25 August 2024, when the original festival that defines Edinburgh as the world’s Festival City returns for another year.
This is the second year under the helm of Festival Director and Scottish violinist, Nicola Benedetti. ‘Rituals That Unite Us’ is the theme underpinning the 2024 Edinburgh International Festival, responding to an overwhelming desire for togetherness from artists and audiences following on from 2023’s question ‘Where Do We Go From Here?’.
From immersive beanbag concerts and virtual reality to drop-in rehearsals and a site-specific promenade opera, the 2024 programme is defined by a deepened commitment to creating a closer union between audiences and artists through innovative and informal experiences.
To reach the broadest possible audience, 50% of tickets for the 2024 International Festival will be sold at £30 or under, free tickets are available for young musicians, and £10 Affordable Tickets will be available for every performance in the 2024 programme.
Classical Music: Yuja Wang, Elim Chan, Marin Alsop, Jakub Józef Orliński, Alison Balsom, Hilary Hahn, Dame Sarah Connolly, Ian Bostridge, Steven Osborne, Nicola Benedetti, Maxim Emelyanychev, Sir Mark Elder, Sheku Kanneh-Mason, Sir Donald Runnicles, Gianandrea Noseda, Jennifer Stumm, Thierry Fischer, Philharmonia Orchestra, Bamberger Symphoniker, Ilumina, The Hallé, European Union Youth Orchestra
Opera: Malin Byström, Opéra-Comique, Komische Oper Berlin, Scottish Opera, Kirill Serebrennikov, Sir Andrew Davis, James Gaffigan, Saimir Pirgu, Golda Schultz
Theatre and Dance: Internationaal Theater Amsterdam, Jack Lowden, Crystal Pite, Grupo Corpo, Aakash Odedra, David Ireland, Vicky Featherstone, Stef Smith, 1927, Eline Arbo, Christiane Jatahy, Scott Silven, Teatro La Plaza
Contemporary Music: Cat Power, Bat for Lashes, Chilly Gonzales, Youssou N’Dour, The Magnetic Fields, The Grit Orchestra, Tirzah, Jordan Rakei, Balimaya Project, Endea Owens, Domo Branch Celtic Music: Breabach, Mànran, Ceilidh Trail, Cätlin and Marko Mägi, Finlay MacDonald and Ali Hutton, Goitse, VRï
Scottish companies and ensembles: Scottish Chamber Orchestra and Chorus, National Theatre of Scotland, Royal Lyceum Theatre Edinburgh, Scottish Opera, National Youth Choir of Scotland, Royal Scottish National Orchestra, BBC Scottish Symphony Orchestra, Edinburgh Festival Chorus, Scottish Ballet
From 2-25 August 2024, Edinburgh International Festival presents a hand-picked selection of leading international and local local artists in the world’s Festival City, with 24 days of world-class opera, dance, music and theatre.
The 2024 programme comprises 161 performances from over 2000 artists across 42 nations, all joined under the theme,‘Rituals That Unite Us’.
The theme responds to an overwhelming desire for togetherness from artists and audiences following on from 2023’s question ‘Where Do We Go From Here?’.
Reasserting the value of shared experiences, the 2024 International Festival celebrates the practices, traditions and festivities that give us meaning and connect us – as a festival, a city, and as a society.
The second year under Festival Director and Scottish violinist Nicola Benedetti, the 2024 programme offers an increased range of innovative and informal audience experiences, designed to create closer union between artists and audiences.
Audiences can enjoy a virtual reality experience filmed within an orchestra, a site-specific promenade opera and, by popular demand, an expanded programme of beanbag concerts placing the audience among performers to experience music in a unique way.
The programme also features an all-ages family concert, a participatory dance and music work outside The Scottish Parliament, and post-show talks with artists in The Hub, returning with a bigger programme as the International Festival’s home and ‘green room’. This year the venue will be open to the public for informal dining, drop-in rehearsals and Up Late performances.
There is also a deepened commitment to reach the broadest possible audience, with 50% of tickets for the 2024 International Festival to be sold at £30 or under, thousands of free tickets available for young musicians, and £10 Affordable Ticketsavailable for every performance in the 2024 programme.
Year round, the International Festival offers three pathways for people of all ages and backgrounds to make the most of their creative potential and create a growing social impact in Scotland.
Underpinning the 2024 Festival is an ambition to deepen connections with young people, communities and the arts industry, from a youth takeover day and opportunities for emerging talent to a first-time partnership with an Edinburgh community space and pop-up performances in NHS healthcare settings.
Highlights of the programme include:
Two world premiere theatre productions from Scottish creatives: The Fifth Step, a thrilling new play written byDavid Ireland,directed by Finn den Hertogand starring BAFTA-nominated Scottish actor Jack Lowden; and the stage adaptation of Amy Liptrot’s bestselling memoir,The Outrun, brought to life by Oliver Award-winning playwright Stef Smith, director Vicky Featherstone and Edinburgh’s producing theatre, The Royal Lyceum Theatre Company.
Five extraordinary operas, of which three are staged and two are performed in concert, including Opéra Comique’s production of Bizet’s Carmen with Gaëlle Arquez in the title role; and Komische Oper Berlin’s production of Mozart’sThe Marriage of Figaro, directed by Kirill Serebrennikov. A new production of Stravinsky’sOedipus Rex by Scottish Opera takes over the National Museum of Scotland, performed in promenade with a 100-strong community chorus from across Scotland.
A two-part opening weekend exploring different ways of telling the same great story, with two distinct interpretations of the Passion: Latin American and Afro-Cuban musical styles mix with contemporary classical expressions inthe Scottish premiere of Osvaldo Golijov’sLa Pasión según San Marcos, and the BBC Scottish Symphony Orchestra, their Chief Conductor Ryan Wigglesworth and the Edinburgh Festival Chorus take on Johann Sebastian Bach’s masterpiece,the St Matthew Passion, in Mendelssohn’s 1841 version.
The return of beanbag concerts, inspired by Budapest Festival Orchestra’s founder Iván Fischer’s shows last year, with the audience seated on beanbags to experience classical music in a unique way. A variety of musical performances include family-friendly presentations from European Union Youth Orchestra with Gianandrea Noseda, and Barokksolistene’s The Alehouse Sessions, transforming the Usher Hall into a 17th-century English tavern, complete with sea shanties and folk-favourites.
The Opening Event – a large-scale outdoor opening event for 10,000 people evoking the mythology and history of Scotland’s rich heritage, in collaboration with single malt Scotch Whisky, The Macallan, with creative producer Pinwheel. Further details will be announced closer to the event.
The Philharmonia Orchestra in residency, including performances of Verdi’s Requiem (conducted by Santtu-Matias Rouvali) and the International Festival’s Closing Concert, Strauss’s Capriccio (conducted by Sir Andrew Davis), with Malin Byström. The Philharmonia also present the UK premiere of Julia Wolfe’s Fire in my Mouth, a multimedia performance conducted by Marin Alsop, with the National Youth Choir of Scotland.
A stellar dance and theatre offering full of UK, European and World Premieres with leading creatives and companies such as Internaational Theater Amsterdam, Crystal Pite, Kidd Pivot, Grupo Corpo, Aakash Odedra, National Theatre of Scotland, Jack Lowden, 1927, Teatro La Plaza, Émilie Monnet, Waira Nina, Christiane Jatahyand more.
The Bamberger Symphonikerin residence with conductor Jakub Hrůša for three performances that include works by Brahms, Dvořák and Hans Rott, and a family-friendly explainer event, Beyond the Score, taking a deep dive into Dvořák’s New World Symphony.
A final residency with Ilumina, the São Paulo-based artist collective founded by violinist Jennifer Stumm. Known for their model of 21st century creativity and artist-led advancement of diverse talent, their first visit to the International Festival sees them give two concerts with the audience seated on beanbags and two performances in The Hub.
Projects which go beyond the performances on stage with an ambition to create a growing social impact in Scotland through the performing arts, include: a first-time Community Connections Hub, inviting audiences to experience the Philharmonia Orchestra in Virtual Reality within their own community space; Culture Clubs bringing together community groups to explore ‘Rituals that Unite Us’ through a shared meal and performance; pop-up performances in NHS healthcare settings; a Youth Takeover Dayfor senior pupils in Edinburgh schools; and schools performances and workshops across music, opera, theatre and dance for secondary school pupils.
A contemporary music programme including gifted singer-songwriter Cat Power; indie-pop sensation Bat for Lashes; polymath composer and piano personality Chilly Gonzales;beloved orchestral-pop group The Magnetic Fields; one of the most famous voices in African music, Youssou N’Dour; the mighty 80-piece contemporary Scottish GRIT Orchestra; South London electronic singer-songwriter Tirzah; a blend of West African folkloric music, the sounds of Black London and the London jazz scene with Balimaya Project; and a signature mix of electronic and soul from New Zealand-born Jordan Rakei.
Leading soloists include Dame Sarah Connolly, Yuja Wang, Golda Schultz, Alison Balsom, Hilary Hahn, Jakub Józef Orliński, Sheku Kanneh-Mason, Ian Bostridge, Steven Osborne and more.
The Hub, the International Festival’s HQ on the Royal Mile, is once again home to the most intimate performances and discussions from virtuosic musicians sharing their respective culture, traditions and rituals through music and instrumentation. A programme of leading Celtic musicians includes Irish quintet Goitse, an International Festival debut from Welsh folk band VRï and the 25th anniversary of Fèis Rois’ Ceilidh Trail. Further across the globe, innovative musicians from Brazil, China, America, Egypt, Kyrgyzstan, Indonesia, West Africa and India come to Edinburgh in a truly international programme.
As part of the International Festival’s ongoing commitment to accessibility, the 2024 programme includes 25 accessible performances, including ten audio described performances, five BSL interpreted performances, and nine captioned performances.
The concession ticket for D/deaf, disabled and neurodivergent people is increased from 30% to 50% off all full price tickets, with options for a free essential companion ticket still available where required.
The types of accessible seating options held for members of the free Access Pass initiative has also been expanded to include aisle seats and seats with additional leg room, across all Festival venues.
General booking for the 2024 International Festival opens on Thursday 21 March, with tickets currently on-sale to Members and supporters.
Nicola Benedetti, Festival Director, Edinburgh International Festivalsaid: “As we join forces with the world’s greatest artists and bring them here to Edinburgh, we do so with a deeper dedication to our audience.
“This year the Edinburgh International Festival inaugurates new and reimagined rituals, honouring tradition and innovation, to bind us closer together. We invite you to seek and gather with us this August – there is always something new to discover.”
Culture and Communities Convener, Councillor Val Walkersaid: “It’s fantastic to see the 2024 programme for the Edinburgh International Festival. This promises to be a unique and exciting chapter in the Festival’s rich history with over 2000 of the world’s extraordinary artists performing here this August.”
“It’s particularly encouraging to see initiatives such as making free tickets available for young musicians, and £10 Tickets available for all performances.
“Given we are in the midst of a challenging cost of living crisis and our festivals have a key role in providing us all with opportunities to enjoy exceptional and entertaining experiences, these will hopefully contribute towards the goal of choice and access for everyone in our city.
“The International Festival is an integral part of the Capital’s cultural calendar and as a Council we’re proud to support it.”
Kaukab Stewart, Scottish Government Minister for Culture and International Development, said: “As we raise the curtain on another Edinburgh International Festival, we’re reminded of the power of art to unite and inspire us all.
“More than 2,000 artists from 42 countries will exhibit their talents, and these extraordinary performances from a diverse range of cultures and traditions reaffirms Scotland’s place as the perfect stage to host major events.
“As the new Minister for Culture, I’m proud to welcome the world to Scotland for the International Festival, and I’m looking forward to enjoying an abundance of exceptional entertainment taking place on our doorstep.”
Arts and Heritage Minister Lord Parkinson said: “For more than three quarters of a century, the Edinburgh International Festival has provided a platform for the world-class music and performing arts we are so proud to have in this country, as well as for brilliant artists and musicians from across the globe.
“The millions of people who flock to Edinburgh to enjoy and take part in it each year enrich our lives and fuel our shared economy. That’s why the UK Government is so proud to support it.
“The arts have a unique power to bring us together, and to help us see the world through others’ eyes. I’m delighted that, this year, the International Festival will focus on the rituals that unite us – and look forward to seeing the diverse and dynamic work that theme inspires.”
Iain Munro, Chief Executive, Creative Scotlandsaid: “Nicola Benedetti continues to drive the Edinburgh International Festival programme forward in her second year as Director with another inspired artistic offering.
“This year’s thematic focus on unity and togetherness provides opportunities to blur the lines between artist and audience, promoting connection and communal experience in our increasingly divided world.
“The International Festival continues to earn its reputation as a shining light in the global cultural calendar by uniting people through great art.”
Further programme information by genre:
Classical Music
Edinburgh International Festival welcomes the world’s top orchestras and musicians for 22 spectacular symphonic concerts at Usher Hall and 19 intimate morning recitals at The Queen’s Hall. The symphonic concert series revolves around residencies from three outstanding orchestras and ensembles.
Offering unique perspectives on how we experience a contemporary symphony orchestra, these residencies allow for a more profound engagement with Edinburgh communities, from primary school pupils to emerging artists, extending the orchestra’s presence beyond Usher Hall.
This approach also lowers the environmental footprint for each performance by the visiting artists.
The culture and creative sectors of an independent Scotland would be enhanced by the establishment of a new Scottish public service broadcaster reflecting the needs and values of Scottish audiences, according to the latest Building a New Scotland paper published by Culture Secretary Angus Robertson.
The tenth paper in the series outlines how the Scottish Government would have the power to determine the list of events that should be available to broadcast free-to-air to reflect the interests of Scottish audiences, including some major sporting events.
It also sets out how re-joining the EU would help mitigate the impact of Brexit on the culture and creative sector’s ability to reach new audiences and generate income in a key export market.
The paper outlines how an independent Scottish Government could further protect, support and enhance Scotland’s culture and creative sectors by:
becoming members of multilateral conventions and agreements, organisations like Creative Europe and UNESCO
providing greater support to promote the creative sectors on the world stage and collaborating and cooperating on cultural initiatives with other nations
using its network of new embassies to promote Scottish culture globally. This would build on the current ‘Scotland House’ model, which fosters connectivity with international partners
building on the success of the festivals, ensuring they remain diverse, vibrant and international through supporting touring from international artists and creative professionals
Mr Robertson said: “Our culture and creative sectors, such as music, video games and the screen sector, are a key part of Scotland’s economy, not just in their own right but also as a driver of other sectors such as tourism and hospitality.
“Our creative industries already make an important contribution to our economy but as an independent country, Scotland’s rich and diverse culture would help our economy to thrive.
“Independence means that broadcasting decisions that impact Scottish audiences and our creative industries would be determined by the Scottish public through the Scottish Parliament. For example, decisions about what large-scale sporting events should be made available to broadcast free-to-air, such as international football qualifiers.
“A new public service broadcaster would prioritise content and services that are more representative of diverse audiences in Scotland, enhancing local voices and coverage of community issues.
“Brexit and the removal of free movement has had a major impact on Scotland’s cultural and creative sectors by limiting access to the people, talent and skills the sector needs.
“The increased costs and administrative burdens have also meant that working in the EU is now beyond the reach of many of Scotland’s artists, damaging their ability to reach new audiences and generate income.
“Independence and Scotland becoming a full member state within the EU is the only way for artists and creatives to regain the vast benefits of EU membership, including freedom of movement.”
Foysol Choudhury, MSP for Lothian, raised concerns about maintaining pressure in this area following an event at the Hunterian Museum in Glasgow earlier this week, which marked the Scottish Government’s response to the recommendations made in the report by the Empire, Slavery & Scotland’s Museums Steering Group.
The Scottish Government accepted the six recommendations from the group, which include amongst others that ‘Museums should ensure anti-racism is embedded in their workplaces and public spaces’ and that the ‘Scottish Government should demonstrate their support for restitution and repatriation of looted or unethically acquired items in Scottish collections’.
Mr Choudhury said the move is most welcome, but added that the acceptance of the recommendations should only be the beginning and that the hard work to implement the recommendations is still to come.
Following the event, which was held on Monday (22nd January ), Mr Choudhury said: “I am glad that the Scottish Government has accepted the recommendations and I congratulate the Steering Group and Sir Geoff Palmer for leading the important work.
“However, the Scottish Government should act on their words and, to facilitate these recommendations, they must ensure sustained funding and a focus on anti-racist education and culture.”
Professor Sir Geoff Palmer OBE, who Chaired the Steering Group which provided the recommendations, said: “I am delighted that the Scottish Government initiated this project and has accepted the recommendations.
“Museums and education go together and the recommendations are based on the education and actions required to improve inclusion and equality in our diverse society.”
After the event, Mr Choudhury visited Kelvingrove Museum and Art Gallery, facilitated by Museums Galleries Scotland, to see a brand-new exhibit from Curator Nelson Cummins entitled Glasgow: City of Empire.
Mr Choudhury, Scottish Labour’s Spokesperson for Culture, said that this exhibition is a great example of how museums could, in practice, implement the recommendations of the Steering Group.
Mr Choudhury said: “One of the recommendations of the Steering Group, which the Scottish Government accepted earlier that day, was to ‘research, interpret, and share the histories of Scotland’s links to empire, colonialism, and historic slavery’, with another recommendation being to ‘involve the people of Scotland in shaping their work through co-production, to promote cultural democracy and participation for all’.
“This exhibition at Kelvingrove is an excellent example of how this can work in practice-it has been developed alongside local communities and youth to tell the stories of empire, and uses interactive education as a way to address the effects of this past, such as racism in Scotland today.
“This should be used as an example of what Museums across Scotland could achieve, highlighting the importance of sustained funding from the Scottish Government so that the Steering Group’s recommendations could be put into practice.”
Mr Choudhury said that he will continue to work alongside the cultural groups and campaigners who work towards implementing these recommendations, to share their work at Holyrood and hopefully help to facilitate partnerships which Mr Choudhury hopes will see more Museums around Scotland adopt exhibitions in line with the recommendations.
Public encouraged to propose festive traditions, such as Christmas pantomime and Hogmanay, for formal recognition alongside other mainstays of UK culture
Communities across Scotland will be able to nominate their most cherished traditions to be included in a new register of cultural heritage in the UK.
Festive favourites, such as pantomime, Hogmanay and pagan Yuletide traditions could all be formally recognised.
Seasonal celebrations taking place at St Andrew’s Day, Burns Night, Edinburgh Fringe Festival and Up Helly Aa in the Shetlands could also be included.
Traditions that are central to Scottish culture, identity and communities, from Highland dancing to bagpipe playing, cèilidhs and commons riding are expected to also be put forward for a UK-wide official inventory.
Artisanal crafts such as kilt-making, tweed-weaving and the art of making the perfect haggis, together with the practitioners of these traditions, will also be considered.
The selected Scottish traditions will sit alongside valued traditions from across the rest of the UK, from the male voice choirs of the Welsh Valleys to cheese-rolling and the art of basket-weaving.
It comes as the UK Government has confirmed its intention to ratify the 2003 UNESCO Convention for Safeguarding of the Intangible Cultural Heritage, which seeks to protect the crafts, practices, and traditions which are recognised as being key part of national life and providing a sense of identity to communities.
These practices are often also referred to as ‘intangible cultural heritage’ or ‘living heritage’ and are inherited from our ancestors and passed on to our descendants.
Arts and Heritage Minister Lord Parkinson of Whitley Bay said: “The UK is rich in traditions which have been passed down from generation to generation, and so many of those which are best known around the world – from bagpipe-playing to the Highland games – are Scottish.
“These crafts, customs, and celebrations have helped to shape our communities and bring people together, who continue to shape them in turn.
“By ratifying this Convention, we will be able to celebrate treasured traditions from every corner of the country, support the people who practise them, and ensure that they are passed down for future generations to enjoy.”
By ratifying the Convention, the UK Government will be able to recognise Scotland’s most important crafts and traditions in the same way as we have considered physical heritage sites such as New Lanark, Edinburgh Old Town, and the Heart of Neolithic Orkney.
UK Government minister for Scotland, John Lamont, said: “Hogmanay, Burns Night and ceilidh dancing are Scottish traditions celebrated across the world and now we will be able to give them recognition alongside those from around the UK as part of this international convention.
“I encourage communities across the country to nominate their local traditions that will be ratified and help to preserve them for generations to come.”
As intangible cultural heritage can only be considered as such when it is recognised by the communities, groups or individuals that create, maintain and share it, it will be these groups and people from across Scotland who will be able to nominate the UK’s favourite traditions to be formally recognised.
A public consultation launched today will seek the public’s views on the UK Government’s proposed approach to implementing the Convention across the UK to safeguard valued traditions. This will include the approach to how people will be able to nominate traditions, how they will be adjudicated, and any criteria that the nominated practices will need to meet before they are considered.
The UK Government has been working closely with the Devolved Administrations, the Crown Dependencies and Overseas Territories in the run up to this decision and will continue to do so in order to implement the Convention and collate the UK-wide inventory, which is expected to launch for nominations next year.
ELREC are organising a very exciting workshop in partnership with Heriot-Watt University exploring people’s perception of their language and how it can be reflected in a form of art.
Join us for this very creative course. Attendance at all the sessions is not necessary, you can come along to as many sessions as you wish. All materials and food are provided
DEMO – TODAY – Tuesday 3 October at 12.00 Assemble – outside Scottish Parliament building
After abandoning plans for swingeing cuts to Scotland’s arts & culture industries in February this year, Culture Secretary Angus Robertson has suddenly announced the Scottish Government will reimpose a 10% funding cut just weeks before the next round of funding awards.
The Scottish Government is putting thousands of jobs at risk with this cut of millions of pounds into the sector.
Fair work in the culture sector will be impossible in the face of this cut, and it is trade union members who will suffer the consequences of job losses, lower pay, and precarious work.
Join our demo to demand Deputy First Minister Shona Robison and Culture Secretary Angus Robertson reverse these cuts immediately.
In that submission, we stated the following regarding our Grant in Aid budget from the Scottish Government for 2023/24:
“While we welcomed the Scottish Government’s decision in February 2023 to reverse the 10% cut to our Grant in Aid Budget which was originally announced in December 2022, it should be noted that the £6.6m this cut related to has not yet been confirmed in Creative Scotland’s budget.”
We are extremely disappointed to report that the £6.6m budget has not been included in the Autumn Budget Revisions.
This has been confirmed in writing by the Cabinet Secretary for Culture, Angus Robertson, in a letter to our Chief Executive, Iain Munro on 20 September.
This relates to Grant-in Aid funding that we receive from the Scottish Government and that we use to support 119 cultural organisations across Scotland through Regular Funding.
Given the extensive messaging and advocacy regarding the pressures on culture budgets and risks to the culture sector that we, and many others have been making, this is a concerning development.
To address this reduction, the Creative Scotland Board agreed on 27 September, to use £6.6m of our National Lottery reserves to prevent us having to pass it on to the Regularly Funded Organisations, especially given the next payments are due in 2 weeks’ time.
Whilst the unprecedented pressures on public finances are understood, we are disappointed that the Scottish Government has taken this decision. However, Creative Scotland is acting swiftly and pragmatically to help stabilise the situation in the short term.
This step of using our National Lottery reserves in this way will only happen once. The budget for 2024/25 will not be decided by the Scottish Government for some months yet but should the Scottish Government choose to sustain this reduction, we will require to pass it on to the sector.
Creative Scotland appeared before the Culture Committee at the Scottish Parliament on yesterday (Thursday 28 September) to give evidence as part of the Committee’s ongoing inquiry into culture budgets in Scotland.
David Watt, chief executive of Culture & Business Scotland, said: “At a time when Scottish Government ministers repeatedly speak about the importance and value of culture to our society and economy, the reinstatement of the £6.6M cut to Creative Scotland’s annual budget for the current year is unfathomable.
““Just yesterday (Thursday September 28), I, alongside other cultural representatives, gave budget evidence to the Constitution, Europe, External Affairs and Culture Committee to hopefully ensure that this shortsighted budget decision does not extend into the 2024-25 budget for culture settlement.
“Investment in culture is essential for society, local communities, tourism, the economy and Scotland’s international reputation. The ongoing challenges of the legacy impact of Covid, Brexit and the cost-of-living crisis, are very real, with many arts and culture organisations operating on a knifes edge.
“These issues are exacerbated as the majority have a lack of unrestricted reserves and continue to struggle to build these up due to slow growth in ticket sales and increased overheads due to high energy prices.
“A reduction in public funding will rapidly increase the firefighting our culture organisations and venues are facing against challenge after challenge. If this budget pattern continues, with little opportunity to ensure future sustainability, there will be an inevitable shrinkage of the culture sector, and the economic and social impact of this will be significant for us all.”
As part of the Autumn budget review, the Scottish Government has re-instated a 10% cut to Creative Scotland’s 2023-24 annual budget (totaling approximately £6.6m), which following mass campaigning from the cultural sector, was overturned earlier this year (writes SMIA Interim CEO and Creative Director ROBIN KILPATRICK).
As the organisation which exists to strengthen, empower and unite Scotland’s music industry – representing a diverse membership of over 4,000 people working across all music genres and industry subsectors – we’re compelled to highlight the devastating impact of this decision; not just to music and culture, but to Scottish society at large.
The cut directly relates to the funding allocated to support Creative Scotland’s Regular Funding Network, comprising 119 cross-artform organisations (RFOs) that are structurally integral to both supporting and delivering Scotland’s cultural output. The SMIA is one of them.
In the short-term (for the rest of this financial year), Creative Scotland has had to divert to utilising National Lottery reserves to plug the gap and prevent the cuts from being passed on to members of the RFO network.
If this hadn’t been the case, in two weeks’ time when the next RFO funding payments are due, each of the 119 organisations would, in effect, have received a ~40% cut to projected funding.
In the SMIA’s case, this would have been two weeks ahead of the Scottish Album of the Year (SAY) Award Ceremony, and would have put the delivery of Scotland’s national music prize at significant risk.
The cut would have again been replicated in January at the next (and final) RFO payment for this financial year, which in the case of many organisations, would have meant the end. Whilst immediate disaster has been avoided, the use of Creative Scotland reserves at this stage means that they are now significantly depleted for what was their intended purpose.
Last month, Creative Scotland highlighted that over 500 cultural organisations stated their intention to apply for Multi-year funding; a new funding scheme that will replace the current Regular Funding one. From the intentions to apply, the indicative annual request was in excess of £113m – far exceeding what Creative Scotland expects to have available.
Inevitably, this means that Creative Scotland will not be able to support as many organisations on a multi-year basis as they currently do, and the application process will be highly competitive. Causalities are expected and imminent. Cultural organisations across all art forms are worried about their future, and the reserves that Creative Scotland has had to use now means that there’s far less available transitional funding for unsuccessful applicants.
Whilst the future for Scottish culture was looking bleak, there was at least some hope that organisations that are unsuccessful in securing Multi-year Funding would have some time to remain operational, pivot their business model and potentially find an alternative way forward. With Creative Scotland’s reserves now depleted, many unsuccessful organisations will soon vanish from the fabric of our cultural landscape, and with them, many creative opportunities and a significant part of our cultural identity as we know it today.
RFOs have been on stand-still funding since 2018. In the face of high inflation, rising interest rates, cost of living challenges, issues around staff retention and recruitment, the impact of Brexit, the legacy of Covid and a whole myriad of broader problems currently facing our sector, for Creative Scotland’s budget cut to have been re-instated, the future of music and culture in Scotland is now at significant and immediate risk. The foundations upon which it supported are being eroded at an increasingly alarming rate, and unless intervention is made by the Scottish Government, it will have impacts for decades to come.
Outwith the significant economic contribution that music makes to Scotland’s economy (£581m through music tourism alone in 2022, as noted in UK Music’s ‘Here, There And Everywhere’ report – and this is only based on events with 1500+ capacity), it’s important to remember that the value generated by the sector far extends an economic one.
With the Scottish Government has stated that they’re committed to building a well-being economy – which serves and prioritises the collective well-being of current and future generations – it’s fundamental to highlight just how intrinsic music and culture are to achieving that vision.
Culture is our identity; it’s how we see ourselves, how we see our place in the world and how we relate to others. It’s the stories of life in Scotland, and it underpins mental well-being – both collectively and individually – in many different ways. The silences that echoed across 2020 as live music vanished from our lives serve as a firm reminder of this. Unless intervention is made now, we’ll be lucky if there are whispers in the years to come.
We urge the Scottish Government to recognise the desperate situation of a vitally important sector; economically, socially and culturally. It’s essential that Creative Scotland has the resources to both support and preserve it.
Robert Kilpatrick – Interim CEO and Creative Director, Scottish Music Industry Association (SMIA)
CAMPAIGN FOR THE ARTS
The Scottish Government is breaking its promise on arts funding.
In February, thousands joined our campaign against plans for a £6.6 million cut to Creative Scotland, the public body responsible for investing in Scottish arts and culture. Ministers responded by abandoning the cut and instead heralded a “£6.6 million uplift … supporting the arts and cultural sector at this challenging time”.
But seven months on, the £6.6 million pledged to Creative Scotland hasn’t been delivered. And now the Culture Secretary Angus Robertson has told them that it won’t be.
This extraordinary short-changing of Scottish culture midway through the year has forced Creative Scotland to raid its limited reserves as a one-off, emergency measure. Otherwise, regularly funded arts organisations in Scotland would have seen their funding cut by as much as 40% as soon as next month.
This is absolutely no way to treat Scotland’s arts and culture, let alone in a perfect storm of economic pressures and post-pandemic challenges. This ‘U-turn on a U-turn’ puts treasured venues and companies, thousands of jobs and access to Scottish culture at risk.
We urge the Culture Secretary Angus Robertson to:
Honour the Scottish Government’s commitment in February to provide “an uplift of £6.6 million for Creative Scotland for 2023-24″.
Scrap any proposal to cut Creative Scotland funding from the 2023-24 Autumn Budget Revision.
Commit to maintaining and increasing investment in arts and culture from 2024-5, for the benefit of everybody in Scotland.
The SNP’s 2021 manifesto said “culture is central to who we are as a nation”, and that “the pandemic has demonstrated more than ever how vital it is to our wellbeing, mental health and sense of belonging”.5
But Scotland’s cultural sector has not fully recovered from the pandemic, during which it was one of the hardest-hit sectors. For many, incomes have fallen and reserves have dried up. Now, in the middle of a cost-of-living crisis, costs are rising and uncertainty is rife. This is not the time to cut vital, core funding on which artists and organisations depend.
Economic pressures have already led to the permanent closure of the Filmhouse cinemas in Edinburgh and Aberdeen, the Blue Arrow Jazz Club in Glasgow and the Nevis Ensemble, which worked across the country. We cannot afford to lose any more arts organisations – or the benefits they bring to our lives, communities and society
Creative Scotland’s 120 Regularly Funded Organisations (RFOs) directly employ 5,000 workers, support 25,500 individual artists and provide millions of opportunities for people across Scotland to engage with the arts and culture.
Of these, Edinburgh-based arts organisations include:
(Organisation – Art form– Average annual grant)
Arika – Multi – £200,000
Arts and Business Scotland – Creative Industries – £200,000
The Lammermuir Festival 2023 came to a close this week while urgently working to secure its future.
Nicola Benedetti and Sir James MacMillan add their support for Lammermuir Festival.
Open Letter to Creative Scotland signed by 362 musicians, composers, educationalists, politicians, participants, supporters, audience members and local businesses.
The Lammermuir Festival closed its 14th festival earlier this week, one of its most successful yet. The programme was met with great acclaim cited by some music critics as the best programme presented.
Audiences flocked with over 80% of tickets sold, over 30% of which were to new customers. Initial analysis indicates that a little over half of those audiences were local with the remaining travelling to East Lothian to enjoy one of the UK’s best loved classical music events.
This successful edition was set against the backdrop of the festival finding out just days before it opened that Creative Scotland was not supporting its 14th festival, having invested in the event for thirteen years.
Losing the cultural funder’s support this year leaves the festival in an urgent financial position, working hard to find a secure future.
Many of Scotland’s leading musicians have lent their support to the festival’s campaign, most recently Nicola Benedetti and Sir James MacMillan.
Nicola Benedetti said: “Being able to share the best, world-class music making with audiences not residing in our cities but in rural areas is a really important part of our nation’s cultural fabric.
“An aspect we must support and nurture. The Lammermuir Festival has done this brilliantly over the last 14 festivals creating acclaimed events that also enable young artists to develop in the industry, and engage young people in the region to give them deep and extraordinary experiences.
“It would be tragic for Scotland’s music scene if this festival wasn’t supported to continue this work which benefits so many.”
An Open Letter to Creative Scotland has been signed by 362 musicians, composers, education workers, participants, supporters, audience members and local businesses including Steven Obsorne, Andrea Baker, Sean Shibe, Stuart MacRae, Dinis Sousa, Ryan Corbett, Sue Baxendale, Craig Hoy MSP, Douglas Alexander, Martin Brabbins, Sian Edwards, Ruth Ellis, Monica Wilkinson and Alfonso Leal del Ojo.
James Waters, Chief Executive and Joint Artistic Director of the Lammermuir Festival said: “The support and affection for Lammermuir Festival that we have seen pouring in from musicians, education providers, local businesses, supporters and audiences across Scotland and beyond has been incredible.
“We have never been more proud of the festival and what it brings to so many and we will continue to do everything we can to secure its future.”
Letter from supporters of Lammermuir Festival
To Iain Munro, Chief Executive of Creative Scotland and its Chair, Robert Wilson,
We the undersigned appeal to you to save what one audience member has described as a ‘precious jewel of originality and joy’.
According to the panels judging Open Fund applications at Creative Scotland, Lammermuir Festival does not sufficiently align to your priorities.
This is despite having the full support of the Music Officers at Creative Scotland who approved its application and strongly recommended funding without conditions.
This is one of the most acclaimed classical music festivals in the UK, recipient of an RPS award, the highest accolade in its field, and giving work to 350 musicians a year, many of them Scottish. It has a proven record of achievement, appeals to ever-growing audiences and supports performers at all stages in their careers.
It is also a festival which returns £750,000 in economic benefits for East Lothian, on top of its social and cultural benefits, bringing visitors to a region which is underserved for arts, offering audiences international quality music performances and participation opportunities.
If the festival were to not exist, neither would its work with McOpera which engaged 1,700 children, young people and adults as participants and audience through their outreach strand over the last two years. This proved a formative part of so many young musicians’ lives in East Lothian.
This strand of the festival’s work reached out to multiple and diverse local community groups, nurturing children and young people from across 31 different schools, supporting the growth of an Instrumental Music Service and creative organisations (such as Dunbar Voices), bringing to the region international conductors and Scottish creatives, composers, singers and instrumentalists.
It has also regularly provided career placements to students from Edinburgh College, Queen Margaret University, Edinburgh and Edinburgh Napier Universities, National Youth Orchestra of Scotland and the Royal Conservatoire of Scotland.
This decision by Creative Scotland flies in the face of the expressions of support for culture in Scotland, and in particular for festivals, that the First Minister Humza Yousaf, Cabinet Secretary for Wellbeing Economy, Fair Work and Energy Neil Gray, and Cabinet Secretary for the Constitution, External Affairs and Culture Angus Robertson have made in recent days.
The Open Fund process appears to have no strategic overview of provision, and no clear artistic, quality or geographic priorities.
Your process places huge pressure on organisations. Lammermuir Festival was invited to make multiple applications for the same activity with funding decisions taking their nerves to the wire – in this case Creative Scotland passed their verdict on a third application just 16 days before the festival started.
The system needs to change. As it stands it places Scotland’s cultural ecology on a downward trajectory.
Without Creative Scotland’s support the Lammermuir Festival’s future is under threat. Your decision not to fund the 2023 festival, destabilises the organisation and undermines the festival’s ability to plan for or run a festival in 2024 and beyond. In order to secure the future of this festival beyond 2023, urgent support is needed.
As musicians, educators, audience members, supporters, participants, businesses in East Lothian, and community leaders we are utterly appalled at your decision and urgently appeal to Creative Scotland to reverse it in order to save this cultural gem.
This festival cannot be allowed to disappear.
362 signatures which can be viewed on the Lammermuir Festival website:
British Council Scotland has announced the appointment of Peter Brown as its new Director. Peter will lead global education and arts programmes and will sustain and grow the British Council’s current network of relationships across Scotland.
He will support engagement around culture, education, and cultural relations with a network of over 100 international offices, taking the best of Scotland to the world and vice versa.
Peter will join the team in Edinburgh, moving from Serbia where he has been Director for the Western Balkans for the past three years.
In Belgrade, Peter led the British Council’s work across the Arts, English, and Education – most recently on the UK government funded 21st Century Schools programme, reaching 1 million 10-15 year old children in 4000 schools between 2019 and 2022.
Peter is excited to return home to Scotland and says about the new role: “I’m absolutely thrilled to join the team in Edinburgh and to head up the British Council in Scotland. I’ve been with the British Council for over 30 years and have worked around the world making global connections and building relationships with the UK. I’m looking forward to carrying on this work in, and for Scotland”.
“The British Council has brilliant and well-established arts and education programmes connecting across the country and I’m excited to help create more opportunities for Scottish creatives, students, and organisations to build worldwide connections.
“More broadly, I will look at how we help amplify the cultural assets of Scotland such as its leadership in creative showcasing and education partnerships.
“We’re working with the Scottish Graduate School for Arts and Humanities to offer the global EARTH Scholarship programme focused on creative approaches to the climate crisis.
Peter brings with him a wealth of international experience, having led policy and education work across the Western Balkans and has held Country Director roles in Mozambique, Venezuela, Uganda and Ethiopia.
Welcoming Peter into the Director role, Seona Reid, Chair of the British Council Scotland advisory committee, said:“We are delighted to welcome Peter into this important role. Peter has longstanding connections with Scotland and has a reputation for delivering work internationally and creating lasting value.
“I have no doubt he will make a very significant contribution to the internationalisation of education and arts in Scotland in the coming years, working alongside valued partners including the Scottish Government.”
