THE sister of Ben Kinsella has paid tribute to a new report published by the anti-knife crime charity which set up following his murder.
Former Eastenders actress Brooke Kinsella said too many young people were carrying blades in the “blinkered belief it will make them safer”.
Brooke, whose brother Ben was stabbed to death in 2008, was responding to a major study by the Ben Kinsella Trust which took two years to compile.
The charity spoke to more than 9,500 children and teenagers, and over 240 teachers and youth workers over two years to conduct a review into the impact knives are having across our neighbourhoods.
It revealed more than a third of respondents (36%) no longer feel safe walking the streets, and that one in four (25%) feel carrying a knife makes them safer.
Alarmingly, the report also found 6% of kids aged just 10-11 years old have even considered carrying a blade.
Commenting on the report, Brooke said: “This important report is deeply shocking, and shows just how much more work we have to do.
“Since my brother’s death, the Ben Kinsella Trust has worked tirelessly to help reduce knife crime, and to educate young people about the misery blades bring to communities.
“This report underlines the fact that so many young people are fearful about knife crime. But also, that too many are also prepared to carry one in the blinkered belief they think it will make them safer.
“The number of young people, especially girls, who feel unsafe on the streets is particularly shocking as is the age at which people are thinking of arming themselves with knives.
“Change starts with education. And the Ben Kinsella Trust will continue to help schools to inform young people about the dangers of blades and shatter the myth they keep you safe. This is vital to ensure other families aren’t left devastated like we were by knife crime.”
The report also revealed how:
● Over one-third (36%) of young people no longer feel safe in their own neighbourhoods.
● Two-thirds (64%) feel anxious about knife crime in their area.
● And, notably, 43% of girls specifically mentioned feeling unsafe where they live.
● A quarter (25%) said they knew someone who had carried a knife.
The report, funded by the London Violence Reduction Unit, was based on data collected over a two year period (2022-2023) from participants who visited a Choices and Consequences Exhibition run by the unit in Islington and Barking.
The report features the views of 9,507 young people aged 10-17 and 247 teachers and youth workers. The workshops conducted at these exhibitions engage young people with real-life stories, immersive theatre and foster open discussions, promoting trauma-informed practices and positive interactions.
And the report found the exhibitions “not only positively impacted young people, but it empowered educators too.
It found teachers are more likely to integrate anti-knife crime lessons into their curriculum after participating in the program and that they felt more equipped and motivated to address this critical issue.
The report gauged beliefs before and after attendance at the exhibitions, and it found:
● The number of young people who thought a knife would protect them drops from 24% to 5%.
● 73% who had considered carrying a knife pledged never to do so following the workshop.
Be inspired by stories of collaboration, creativity and rebellion in Women in Revolt! Art and Activism in the UK 1970-1990 at Modern Two in Edinburgh.
The first of its kind, Women in Revolt! is a major survey of feminist art, celebrating the women whose radical ideas and rebellious methods changed the face of British culture. Come and discover the powerful and often provocative work of over 100 women artists and collectives, forged against the backdrop of seismic social and economic change over two decades. The exhibition will open to the public on Saturday 25 May and tickets are on sale now from the National Galleries of Scotland website.
Curated by Linsey Young, Curator of British Contemporary Art at Tate Britain, in collaboration with the National Galleries of Scotland and The Whitworth, The University of Manchester, Women in Revolt! will take over the entire Modern Two gallery in Edinburgh until 26 January 2025. Following its debut at Tate Britain in November 2023, the exhibition will bring to Edinburgh a select range of works from the London show, drawing from public and private collections across the country in what will be the only chance to see this landmark exhibition in Scotland.
Women in Revolt! spans two decades of art and activism, charting a range of themes and social issues that influenced and impacted on women artists.
Topics such as the Women’s Liberation Movement, maternal and domestic experiences, Punk and independent music, Greenham Common and the peace movement, the visibility of Black and South Asian women artists, and Section 28 and the AIDS epidemic will be explored in six thematic galleries platforming the creative contributions, ideas and activism of a diverse set of communities living and working in the UK throughout this period.
Women in Revolt! will highlight the ways in which women challenged societal norms through their creativity, both collectively and in isolation, using their lived experiences to create art and fight injustice.
Paintings, drawings, sculptures, textiles, films, photography, and documentation of performances will be shown alongside a range of archival materials, with many artworks on display for the first time since the 1970s.
Work by well-known artists including Sonia Boyce, Helen Chadwick and Linder will be displayed side by side with an array of artists who, despite their long careers, have been left out of the mainstream art historical narratives.
Featuring artists from across the UK, the powerful work and pioneering techniques of Scottish-based women artists will also be showcased. Visitors will encounter works such as Cool Bitch and Hot Dog (1978) by Edinburgh-based artist and weaverElizabeth Radcliffe.
Her sculptural three-dimensional tapestry reflectsthe artist’s desire to be a modern woman, defying the passive stereotypes of mother, caregiver, cleaner or sexual object. Glasgow-born artist Rita McGurn utilised a range of found and domestic materials to create work, using techniques such as crochet, a long-undervalued artistic medium due to its domestic associations. Several of McGurn’s characterful life-sized soft sculptures will go on display at Modern Two.
Select works from Scotland’s national collection will also go on display, including two important new acquisitions by Penny Slinger: Wedding Cake – Open Secret (1973) and Bride and Groom – Ceremonial Cutting of the Cake (1973).
Part of her Bride’s Cake series (1973), these works document a performance in which Slinger wears a handmade wedding cake costume. The artist describes the series as ‘both a parody of a wedding ritual, and recreation from a woman’s point of view’.
Further works to be seen from the Scotland’s national collection include Urania from the series Zabat (1989) by the Scottish-Ghanaian artist and writer Maud Sulter.
A significant figure in the Black Arts Movement, Sulter used her practice to challenge white supremacy and reconsider history through a personal lens as a Black woman.
The monumental Warrior Woman V: The Artist (1986), by Glasgow-based Sam Ainsley will be shown in Scotland for the first time in nearly four decades as part of this tour. Standing at over 11 feet tall and brimming with the spirit of protest, Ainsley’s work embodies the artist’s expression of feminist concerns, challenging the patriarchy and asserting female power.
The dramatic evolution of women’s relationships with work, domesticity and motherhood created an extensive source of inspiration for artists throughout this period. Frustrations fuelled by the expectations of domestic labour are palpable in a range of impactful works on display by artists such as Bobby Baker, Alexis Hunter and the See Red Women’s Workshop whose bold poster works challenge sexist stereotypes and directly reflect the demands and concerns of the Women’s Liberation Movement.
The social and political implications of women raising a family also comes into play in works such as The Hackney Flashers’ Who’s Holding the Baby (1978). The installation critiques the lack of government supported childcare and sheds light on the impossible position of being both a mother and a worker in 1970s Britain.
The riotous and expressive era of Punk and Post-Punk movements will be examined through collage, painting, film and photography by artists and musicians including Marianne Elliott-Said (A.K.A Poly Styrene), Caroline Coon, Linder and The Neo Naturists, whose ritualistic performance art of the 1980s used bold body paint to challenge the objectification of the female form.
Gina Birch, a founding member of the experimental Punk band The Raincoats, also presents her 1977 film 3 Minute Scream, where the artist can be heard screaming for the duration of a Super 8 cartridge. The film communicates a powerful statement of defiance, conveying what many young women felt but were not given the opportunity to articulate.
The art of protest and women’s role in activism will form a key element of the show, with a range of banners, posters and journals, as well as documentary photography by Format Photography Agency, and artists such as Mumtaz Karimjee, and Bhajan Hunjan telling the story of rousing, women-led protests throughout this time.
Women in Revolt! focuses on causes such as the Greenham Common Women’s Peace Camp, established in 1981 to protest the placement of nuclear weapons, as well as the Section 28 protests, fighting against laws prohibiting the promotion of homosexuality.
Materials exploring the 1984 Miners’ Strike and anti-racism campaigns are also represented, highlighting the central role women have played in activism.
Women in Revolt!will also platform the crucial contribution of Black and South Asian women artists and activists.
The exhibition will explore the impact of women involved in movements including the BLK Art Group and the advocacy group and archive Panchayat, as well as their role in the first National Black Art Convention in 1982.
Key works by artists including Sutapa Biswas, Lubaina Himid, Claudette Johnson, Joy Gregory, Pratibha Parmar and Rita Keegan will feature alongside recently conserved works such as Nina Edge’s Snakes and Ladders (1985), an installation made of batik on paper and ceramicsandexhibited as part of Women in Revolt! for the first time in three decades.
The final room brings together work created in the context of the AIDS epidemic and Section 28 in the late 1980s, with a focus on lesbian communities.
Discover the powerful work of artists including Jill Posener, Del LaGrace Volcano, Rosy Martin, Poulomi Desai and Tessa Boffin. Women in Revolt! concludes with works that reflect on the changing economic landscape and women’s place within it by Kate Walker, Franki Raffles and Roshini Kempadoo.
Women in Revolt!is a timely and urgent exhibition celebrating the women who paved the way for future generations through their creativity and activism. The power of their work continues to resonate with audiences today.
Anne Lyden, Director-General at the National Galleries of Scotlandsaid: “We are proud to platform the work of women artists who have been underrepresented throughout their careers and are grateful to Tate for bringing this important exhibition to the forefront.
“Women in Revolt! also presents a fantastic opportunity to consider the Scottish women artists who have contributed significantly not only to the world of art, but the world around us.
“We hope visitors to Modern Two will be inspired by the tenacity, creativity and strength of the remarkable women they will encounter throughout this exhibition.”
Linsey Young, Curator of British Contemporary Art at Tate Britain said: “Being from Edinburgh, I’m thrilled that Women in Revolt! is touring to the National Galleries of Scotland.
“I’m particularly excited to see it take over Modern Two where the gallery’s unique space will allow it to a develop a new character and encourage different readings of the work.
“It’s a real joy to be able to present works by local artists such as Maud Sulter, Sam Ainsley, Rita McGurn, Erica Rutherford and Elizabeth Radcliffe in the exhibition along with so many of their celebrated peers, demonstrating the importance of Scottish women’s artistic practice in the broader context of feminist art history across the UK.”
The report finds that it is clear the civil service has more to do to promote a culture supportive to whistleblowing, and calls for a cultural change to raise awareness and provide assurance on whistleblowing processes and create a ‘speak up’ environment.
Following the PAC’s findings in 2016 of disappointing progress from Government in improving whistleblowing arrangements, Saturday’s report finds that the Cabinet Office is still missing key metrics on whistleblowing concerns across the civil service, and lacks assurance over the completeness and consistency of data being reported by departments.
As anticipation mounts for Taylor Swift’s highly anticipated summer concerts, Swifties looking for a last-minute bargain for her BT Murrayfield shows are grappling with steep increases in costs.
New data compiled by UK Debt Expert has revealed a huge increase in resale ticket prices, hotel and Airbnb rates, and car parking fees – with hotel prices in Edinburgh rising by as much as 186%.
The UK leg of the Eras tour kicks off at BT Murrayfield in Edinburgh on June 7, followed by performances at Liverpool’s Anfield Stadium and the Principality Stadium in Cardiff, culminating in eight nights at Wembley Stadium in London.
Recent reports indicate that some American fans are travelling to Europe to find cheaper ticket prices, but anyone seeking a last-minute ticket in the UK could face significant expenses.
Hotel and Airbnb prices have skyrocketed to eye watering levels, shattering previous records. Edinburgh’s hotel costs have surged from an average of £209.30 to £600.18 marking an alarming 186% increase during Taylor’s concert dates.
Similarly, Airbnb rates have surged by 69% climbing from an average of £166.60 to £281.93.
As for ticket resale costs, Edinburgh sees an average of £1,274.
When factoring in parking, hotel, and ticket expenses, the cumulative burden for those attending Edinburgh shows averages at a staggering £1,918.06
However, fans in Scotland may find the best deals on tickets, with resale prices for the Edinburgh show on June 8 averaging £1,230.
Commenting on the data, Maxine McCreadie, a personal finance expert at UK Debt Expert, said: “We know how eager some fans are to see Taylor in the UK, so it’s clear that some will incur significant expenses to do so; hotels for the Edinburgh shows are the most expensive in the UK, with an average price of £600.”
“I’d strongly advise anyone thinking about making a last-minute decision to buy tickets or book accommodation to be cautious. Consider your overall financial situation before making such a significant investment, and explore all reasonable options to reduce costs where possible.”
The law surrounding the misuse of pyrotechnics at football will be the focus of a new short-life working group set up by the Scottish Government.
The group will consider the evidence on, and possible barriers to, the use of Football Banning Orders as a penalty for pyrotechnic possession and misuse.
It is already a criminal offence to take or try to take a pyrotechnic into football matches, while carrying pyrotechnics in public without a reasonable excuse was recently made an offence through the Fireworks and Pyrotechnic Articles (Scotland) Act 2022. The Act gives police powers to stop and search someone where they have reasonable grounds to believe that the person may be in possession of a pyrotechnic in a public place.
Football Banning Orders (FBOs) can be imposed by a Court for up to ten years for violent offences at matches, which could include throwing a lit pyrotechnic as a weapon. The working group will consider if extending the scope of FBOs would be an effective way to further deter the carrying and misuse of pyrotechnics at football.
The expert working group includes representation from the Scottish Professional Football League (SPFL) and Scottish Football Association, Football Safety Officers Association, Police Scotland and the Crown Office and Procurator Fiscal Service and is expected to report next year.
Community Safety Minister Siobhian Brown said: “Everyone should be able to enjoy the excitement and atmosphere of a football match without the fear of serious injury from pyrotechnics.
“We have considerably strengthened pyrotechnic laws, and those who carry fireworks and pyrotechnics in public and into football stadia can face fines and up to six months in prison. Despite this, pyrotechnic misuse at football matches remains an issue.
“We have been working closely with football’s governing authorities and with police on what more can be done to stop this antisocial and dangerous behaviour at football matches.
“Football Banning Orders of up to 10 years, are already an effective measure courts have at their disposal to deal with violent behaviour and I have asked this working group to consider whether extending their reach would be a further deterrent to pyrotechnic possession and misuse.
“Consisting of representatives from football and the justice sector, their review will also take views from clubs, fan groups, as well as front-line services.”
Calum Beattie Chief Operating Officer of the SPFL, said: “The dangers of pyrotechnics in crowded football stadia are significant and our clubs are keen to work with the Scottish Government, police and the courts to find meaningful ways of tackling this growing problem.
“Recent surveys have also shown that most fans believe there is no place for these devices at games. We are looking forward to playing an active role in this group to examine further how football banning orders can form part of a package of deterrence for any fans tempted to smuggle these dangerous items into grounds.”
Superintendent Chris Stewart of Police Scotland said: “The public have the right to feel safe when they attend football matches and we work with a range of partners, including the clubs, to make sure these events are safe and secure.
“We will engage with the review and support partners involved.”
LAST this week (Wednesday 22 May) leading figures in agriculture, primary food production and land management in Scotland came together with MSPs at Holyrood at a parliamentary reception sponsored by Elena Whitham MSP.
The reception, attended by more than 130 guests, was hosted by the newly constituted Food and Agriculture Stakeholder Taskforce (FAST) and sponsored by Ms Whitham, MSP for Carrick, Cumnock and Doon Valley, to stimulate discussion and understanding with Members of Parliament about what is needed to promote sustainable and profitable agricultural production in Scotland.
Next generation farmers Nicola Wordie from Aberdeenshire and Cameron Wilson from Ayrshire were the main speakers, detailing what they want to see for the future of the sector and what those in the room can do to help them and the wider industry achieve this. The guests were invited to sign a pledge board to champion the industry in the future (see below).
During the evening, FAST Chair Neil Wilson emphasised the significance of the multi-faceted agricultural and primary food production supply chain to Scotland’s economy and the importance of pragmatic policy for its sustainable future:
“Agriculture generates more than £3.3 billion for Scotland’s economy and there are some pivotal decisions being made in parliament in coming weeks that will impact the future economic success, or otherwise, of the nation’s agriculture and sustainable food production.
“At a time when food security, cost of living and environmental pressures put the industry at the heart of matters, last night at Holyrood was an excellent platform to launch FAST as a formalised group and to have direct conversations with those who will be influencing future policy developments.”
Jim Fairlie, Minister for Agriculture and Connectivity also gave an address highlighting the important UK Government deliverable of Scotland retaining at least 17% of the total farm budget going forward.
Mr Wilson, who is also Executive Director of the Institute of Auctioneers and Appraisers in Scotland (IAAS), welcomed the recognition from Parliamentarians of the sector coming together to clarify and constructively address key areas of concern: “FAST is strongly supportive of the principles of co-design and collaboration, and we want to work constructively with government, politicians and other stakeholders to ensure a resilient and thriving farming and primary food production sector in Scotland.
“We know parliamentarians value the support from FAST members who have done a lot to help them understand the complex nuances and interdependencies within Scotland’s farming businesses and how policy changes might impact them.
“The reception gave FAST the stage to remind policymakers of the extensive and varied expertise within the organisation and how easily they can access people to sense check sectoral implications of agricultural policy changes via one body. Since its formation, FAST has aimed to be included at the sharp end of forming policy and how to best support Scotland’s rural economy and people to thrive.”
FAST first met in September 2022 and was recently formalised to speak collaboratively as one voice on common objectives. The aim is to identify the most effective proactive and reactive action for the industry in response to opportunities and threats affecting Scottish food production and farming through changing policy.
FAST has been providing information to MSPs ahead of the amendments being considered at Stage 2 of the Bill in the Scottish Parliament during May. This reflects the group’s desire for policy that supports agricultural businesses and communities and ensuring a robust level of expert scrutiny from the sector.
The 16 founding organisations of FAST are: Agricultural Industries Confederation (AIC), Institute of Auctioneers and Appraisers in Scotland (IAAS), National Beef Association (NBA), National Sheep Association Scotland (NSA Scotland), NFU Scotland (NFUS), Quality Meat Scotland (QMS), Royal Scottish Agricultural Benevolent Institution (RSABI), Scottish Agricultural Organisation Society Ltd (SAOS), Scottish Association of Meat Wholesalers (SAMW), Scottish Association of Young Farmers Clubs (SAYFC), Scottish Beef Association (SBA), Scottish Craft Butchers, Scottish Land & Estates (SLE), Scottish Pig Producers (SPP), Scottish Quality Crops (SQC), Scottish Tenant Farmers Association (STFA)
A paramedic in the Scottish Ambulance Service’s Special Operation Response Team (SORT) has become the first female trumpeter of His Majesty’s State Trumpeters of Scotland.
A paramedic in the Scottish Ambulance Service’s Special Operation Response Team (SORT) has become the first female trumpeter of His Majesty’s State Trumpeters of Scotland.
Gerry Goodall, who works out of SORT’s Newbridge base, joined the Service 14 years ago after serving in the army for nine years.
In March she was invited to attend an interview by the country’s Lead State Trumpeter, Stewart Malcolm.
Successful at the interview, her first assignment was the General Assembly for the Church of Scotland in Edinburgh, attended by Prince Edward, on Saturday (18 May).
Alongside three other State Trumpeters, she welcomed and farewelled the Duke of Edinburgh. She was also recognised at the first female State Trumpeter for Scotland and received an official decree.
The mum of two girls said: “It was an honour and a privilege to be asked. I was really happy and felt quite a sense of achievement as well.
“Having my career as a paramedic, I almost left that world so it’s quite nice to be back involved again in ceremonial events. The kids and family are also chuffed. They are proud, my work colleagues are really proud, and everyone is really supportive.”
Having played the trumpet since she was seven, she went on to study at the Royal Military School of Music before she served in the army as a musician.
After leaving the army, she joined the Service, starting out in patient transport in Galashiels, before she completed her technician course working out of Dalkeith. She joined SORT two years ago, now working out of ECHO team.
SAS Chief Executive Michael Dickson said: “This is an amazing achievement from Gerry and on behalf of everyone at the Scottish Ambulance Service we congratulate her on becoming the first female State Trumpeter for Scotland.”
Business software experts join efforts to restore an iconic coastline
THE UK’s leading finance software implementation specialists have taken to the beach to help a conservation charity restore an historic Scottish coastline.
A team of 30 employees from Eureka Solutions descended upon the Cramond Foreshore and assisted The Conservation Volunteers (TCV) charity in restoring the coastal habitats and dune systems in the area.
The team’s efforts were part of the Sage Foundation’s initiative to support UK charities by providing volunteers to help achieve tasks relatively quickly that would otherwise take months to complete.
The volunteering work centred around removing invasive non-native plant species like Japanese Rose and suckering ash and sycamore to allow native plants to re-establish.
Volunteers also helped sow a special ‘Edinburgh coastline’ wildflower seed mix to create new pollinator corridors and extended protective fencing to prevent further degradation of sensitive grassland spots.
David Lindores, CEO at Eureka Solutions, said: “Our team was proud to roll up their sleeves and make a tangible difference in restoring such a unique and ecologically important area.
“We had a great day working alongside colleagues from TCV as well as volunteers from Modulr – it was wonderful to see different organisations coming together for a common cause.
“The Sage Foundation contacted us and asked if we could lend a hand to the vital conservation work happening along the Cramond coastline, and we couldn’t be happier to get involved. As an established business of twenty years, we feel it’s important to support community and environmental initiatives like this.”
Cramond Foreshore is a designated Site of Special Scientific Importance (SSSI) and holds historical significance as the location of the “Dragon’s Teeth” anti-tank defences, Cramond Island and Lauriston Castle.
The extensive coastal path stretches from the mouth of the River Almond in the west, past the historic Roman village of Cramond, across the tidal causeway to Cramond Island, and continues eastward towards Granton Harbour.
The volunteering day was organised through the Sage Foundation, which facilitates charitable donations and volunteering opportunities for Sage employees and partners worldwide.
Eureka Solutions also has a long-term charity partnership with the Ayrshire Cancer Trust in which it raises funds through team events and initiatives throughout the year.
The East Kilbride firm specialises in implementing business software solutions and is one of the UK’s leading experts in Oracle NetSuite, iplicit and Sage 200, as well as producing its own complementary software solutions including the integration application, Besyncly.
With over 20 years of expertise, the firm works with hundreds of clients across multiple sectors providing consultancy, implementation, training and technical support.
• The Cultural Protection Fund has announced 22 new projects, across 10 countries, with a funding total of over £2 million
• The projects will protect cultural heritage at risk from the effects of conflict and/or climate change
• In addition to the Middle East, North and East Africa, the fund will be working in Pakistan and Nepal for the first time, as part of a South Asia pilot programme
The Laetoli footprint site in Tanzania, the oldest unequivocal evidence of human ancestors walking on two feet, is currently at risk of being lost forever due to erosion caused by increasing storms and rainfall.
A new Cultural Protection Fund project led by the University of St. Andrews will address the threats facing the footprint sites through digital documentation, training and community engagement. It will also capture local stories, myths, dance and rituals which are linked to the footprint sites, ensuring that the heritage is permanently preserved and available to future generations.
The Laetoli project is just one of 22 pieces of cultural heritage that will be safeguarded thanks to newly supported projects announced today by the Cultural Protection Fund.
Funding of over £2 million will go towards protecting cultural heritage in Syria, Iraq, Kenya, Sudan, Ethiopia, Occupied Palestinian Territories, Uganda, Tanzania and for the first time, Pakistan and Nepal.
Led by the British Council in partnership with the Department of Culture, Media and Sport, the Cultural Protection Fund is the UK’s main response to international cultural heritage protection.
In addition to working with organisations and communities across 17 countries to protect tangible heritage – such as buildings and archaeological sites – the fund also preserves intangible heritage including music, traditional crafts and languages.
Stephanie Grant, Director of the Cultural Protection Fund at the British Council said: “Since 2016, the Cultural Protection Fund has given grants of over £50 million to 159 projects to protect cultural heritage in 19 countries, but the need for our work has never been greater.
“Last year alone we received funding requests of almost 20 times the budget for our entire current programme. We’re incredibly proud and excited to support new organisations and communities, adding 22 brilliant projects to our portfolio and expanding our work into South Asia.
“These projects will research, document and restore a wide range of valuable cultural heritage and bring together thousands of people to explore and celebrate their cultural identities.
“This is a crucial time for the Cultural Protection Fund as we are in the final year of our current three-year programme. We’re looking forward to sharing the successes and stories of our projects to make a strong case for the future of the fund.”
View of houseboat from the back
Arts and Heritage Minister Lord Parkinson of Whitley Bay said:“We know that people, wherever they live, take immense pride in their cultural heritage. It is a fundamental part of who we are, which is why it must always be protected so that it can be enjoyed by future generations.
“This year’s successful projects will not only help to protect tangible heritage sites from the effects of conflict, instability and climate change, but also intangible heritage, such as the crafts and customs that are at the beating heart of communities around the world.
“It’s great to see the work of this fund expanding yet again this year, and I look forward to hearing more about the difference it makes to our shared heritage across the globe.”
Newly funded Cultural Protection Fund projects announced today include:
• Mitigation of Present and Future Climate Change Impact on the 3.6 million-years Laetoli Footprint Site and Winde Slaves’ Warehouse along the Tanzanian Coast
The Laetoli footprint site is currently at risk due to erosion caused by increasing storms and rainfall. In Winde, a 19th Century slave warehouse complex faces similar erosion caused by rising sea levels. Both sites will be documented in a project led by the University of St. Andrews.
• The traditional tattoos of Babylon, Iraq: documenting and preserving a threatened heritage
Deg is an endangered custom of tattooing, often used as a way to remember important people and events. As the practice of traditional tattooing declines, this project led by The American Academic Institute in Iraq (TAARI), will document the knowledge of Deg held by its elderly practitioners, to enable greater understanding of the roots of this tradition and its significance and role in local society. The project will focus on the ancient province of Babylon, collecting and documenting images of the tattoos and the stories of the women who wear them, which will be shared in an exhibition in the Museum of Babylon.
• Storytelling as Safeguarding: Protecting South Sudanese Women’s Cultural Heritage in Refugee Settings in Uganda and Kenya
In Uganda and Kenya, South Sudanese women in refugee settings will document folk songs that have been passed down through generations, thanks to a project being led by the Likikiri Collective. These songs document the robust heritage of South Sudanese communities who have migrated to neighbouring countries due to fluctuating conflicts in their region.
• Mosul Maqam
Maqam is an Arabic musical tradition with a highly structured system of melody, poetry and vocal technique that is currently at risk of total loss due to conflict and instability. In a project led by the University of Exeter, this historic art form will be preserved and rejuvenated. It will focus on the musical and lyrical heritage of the city of Mosul, where Maqam is uniquely precious to the local population in the form of folk tales, love stories and spiritual ceremonies. The project will collate, document and digitise records of authentic Maqam practices, inspiring the creation of new musical and visual artworks which will connect future generations in and beyond Mosul with this significant element of Iraq’s cultural heritage.
• Syria Cassette Archives: Three New Collections
Recorded in Syria between the 1950s and 2010s, audio recordings including a wide range of Syrian music-related heritage are currently stored in privately owned archives across the country. Featuring raw folk recordings, live wedding concerts, studio albums, soloists, classical and children’s music, the audio represents decades of Syrian intangible heritage and reflects the lived experience of large numbers of Syrian people.The material is currently at risk due to the effects of conflict in Syria, worsening the physical deterioration of the cassettes as well as causing the displacement of collectors and distributors of the music. As part of this project, the music will be documented, digitalised, recorded and safeguarded for future generations.
• Restoration and Conservation of Ge’ez Manuscripts in War Affected North Gondor and North and South Wollo Zonal Districts
Gospels, hymns, civil law, patristic literature, medicine, magic, astronomy and bibles are just some of the contents of manuscripts written in Ge’ez, a language only fluently used by a small number of priests in some war-affected parts of Ethiopia. The project team from Bahir Dar University will work on conserving manuscript preparation knowledge through providing intergenerational training and workshops in conservation and restoration for the local community.
• #NBOLibraries: New Futures for Kenya’s Archives The McMillan Memorial Library is the oldest library in Nairobi and the second oldest in Kenya. Its contents span Kenya’s colonial and post-colonial history and are of significant value to the country’s culture, heritage and identity. A project led by Book Bunk Trust will build on existing work to preserve and digitise additional endangered collections which include paper, glass film slides, photographs and film reels, while also increasing public engagement by making the library more accessible.
• Protection and Participation: IAAS Archive of Sudanese Intangible Cultural Heritage Over 6000 hours’ worth of historic material is held by the Institute of African and Asian Studies (IAAS) Archive of Sudanese Intangible Cultural Heritage. Much of the material is irreplaceable and, in some cases, it documents intangible cultural heritage that is no longer practised. The collection has been damaged in past conflicts and the current conflict continues to threaten its security. This project led by TransforMedia hopes to conduct remote digitisation to permanently preserve the collection and make it more widely accessible.
• The Khalidi Library
Khalidi Waqf will lead a project to support the preservation of, and efforts to increase public access to East Jerusalem’s written and archaeological heritage, which is at risk due to conflict and instability and climate related changes. The creation of a comprehensive architectural and archaeological study will inform planned future physical interventions to rehabilitate an important cultural centre. A separate intensive programme in the emergency preservation of ancient manuscripts will allow trainees to develop theoretical and practical skills, before applying this learning to safeguarding endangered collections.
• The Protection of Sakiya’s Cultural Heritage Site
Tangible and intangible cultural heritage at a site in the Occupied Palestinian Territories is at risk of loss due to ongoing conflict and instability. Led by Sakiya – Research and Experimental Development, this project will support the ongoing rehabilitation and preservation of the site, through research, documentation and restoration of its ancient Ayyubid architectural features and the mythologies, rituals and practices associated with it. An established education and cultural programme will give the local community opportunities to participate in the creation of visual and performance pieces and to learn new skills in traditional building methods, heritage management and protection.
• Tell Baya’a Mission House Rehabilitation, as a community centre and archaeological site of Tuttul protection
In northern Syria, several structures at the remains of an ancient city in one of the oldest archaeological sites have been severely impacted by the effects of conflict. Damage assessment and consolidation will be carried out by project lead Asociacion RehabiMed on these structures and highly significant artefacts and archaeological materials at risk of being looted will be documented and stored.
Local architects and archaeologists will also be trained in assessment, monitoring and preservation techniques. A number of people living around the site will be trained in traditional building skills before assisting in the rehabilitation of an on-site complex. Upon completion this will provide an invaluable community and civil society resource.
The details of the newly announced Cultural Protection Fund projects in Pakistan are as follows:
• Community-Based Conservation of Silk Route Heritage
Severe weather events caused by climate change are putting the unique architectural features of the 18th century Kharmang Palace and the 600-year-old Gholbasher House in the Yasin Valley at risk. We are supporting Laajverd and partners to work closely with the local communities at both sites to digitally document and repair elements of each building and hold a design residency for Shu craftspeople to help revitalise the practice.
• Preservation of the Late Buddhist rock heritage of Swat – digitization and preventive conservation Seasonal drought and heavy rainfall which cause increased instances of landslides, flash floods and rapid erosion, are endangering the Buddhist rock reliefs and inscriptions of the Swat Valley. The fund is supporting Essanoor Associates to lead a project to include community-based climate change adaptation training for local people to better care for the sites as well as digital documentation of the reliefs and conservation of 30 reliefs requiring urgent intervention.
• The Reading Room – Karachi The Khalikdina Hall and Library is one of only two remaining Reading Rooms in Karachi. Conflict-related instability has led to the building and its collections lacking appropriate management and care. This new round of grants will support Numaish-Karachi to revitalise the space through improved access to the newly conserved and digitised literary assets. They will also provide a range of cultural activities for local communities.
• Digital Heritage Trails Project (DHTP) In the Indus Delta region of Sindh, five endangered maritime archaeological sites are at risk of rising sea levels and erosion as a result of climate change. The Cultural Protection Fund is supporting MartimEA Research to lead a project to document the five sites and develop a digital trail of them across the Delta. Community engagement will capture local knowledge and folklore about the sites and the project will raise awareness of the archaeology locally through outreach activities for schools and museums.
• Preserving & Promoting the Hazara Heritage In Balochistan, where the Hazara community’s intangible cultural heritage is at risk due to the effects of conflict, Faiz Foundation Trust will protect elements of this heritage by documenting it through film and photography. The Trust will also offer capacity building for local artisans in skills associated with the promotion and protection of making kilim (a flat-woven rug or mat), Sawatkari (handmade silver jewellery) and embroidery, while the importance of the heritage will be highlighted through an advocacy and awareness raising programme.
• Manchar Lake Mohanas – Safeguarding the last surviving houseboat village from extinction The living heritage of the Mohana people who live around Manchar Lake, Sindh, is currently at risk due to increasingly severe seasonal drought and flooding brought about by climate change. In this round of grants, the NED University of Engineering and Technology will work with the community to restore all 35 of the remaining Mohana houseboats and will train young volunteers in restoration techniques to keep the way of life of the Mohana alive.
In Nepal, the Cultural Protection Fund projects which are receiving support as part of the South Asia pilot programme are as follows:
• Preservation of Indigenous Food Heritage in Nepal National Indigenous Women’s Federation will deliver this project, which focuses on diverse culinary practices in the highland regions of Nepal. Food heritage, foraging and associated cultural practices are intrinsically connected to the environment; changes in weather patterns including increased drought, heavy rain, and flooding as a result of climate change is severely impacting availability of resources vital to the continuation of this practice. To protect this heritage the project will document and record the indigenous food heritage and practices of communities across several provinces in Nepal. Women are the main carriers of this heritage and will have a leading role in identifying recipes and documenting activities.
• Safeguarding the Kusunda (The Ban Rajas) Language and Culture for Future Generations The Kusunda Language is a distinct and critically endangered language spoken fluently by just a small number of remaining individuals in Bagmati Province, Nepal. The language represents a link to the past for the remaining Kusunda people and has unusual characteristics, including the absence of words for ‘yes’ or ‘no’. The language is therefore irreplaceable if it is lost. The language is at risk of dying out as more Kusunda people move away from the area and lose connection to this important piece of their heritage due to the impact of climate change on their livelihoods and way of life. Through courses for students at local secondary schools and the development of an online learning programme, Archive Nepal and partners hope to increase the speakership of this language and will promote the language further through the production of dual language Nepali and Kusunda books for children.
• Towards Protecting the Cultural Heritage in the High Himalayas of the Shey Phoksundo National Park of Dolpo In the Upper Dolpo region, one of the most remote areas of Nepal, monastic sites, historic settlements, and monuments are at risk of deterioration due to conflict related instability, which impacted traditional management systems to maintain and protect these sites.
• Sampada Samrakshyan Samaj Nepal (ICOMOS Nepal) will work with local government and members of the community to document and improve capacity to care for built heritage that remains an important part of socio-cultural life for the Dolpo community. A training programme in the documentation and condition mapping of built heritage, will address the existing lack of records and support the development of guidance and procedures for the continuation of this work beyond the project end, further supported through series of workshops and discussions on community-led heritage protection.
• Preservation and revival of Maithil women’s wall painting and sculpting arts The project focuses on Maithil women’s paintings and mud art heritage, which is a form of earthen architecture used to decorate mud houses with symbolic imagery that represents religious tradition of the Maithil community. Maithil women have great pride in their traditions, as this skill was traditionally passed down from mothers to daughters, upheld by women for centuries through art on walls of their mud houses. The drought has led to limited sources of income, and women’s role in society has been limited to taking care of their households while men seek employment abroad, which has led to their artistic skills and heritage to be unpractised and forgotten. Training local women in Maithil painting and mud work will ensure local people have developed skills to protect the heritage and practice the unique craft of Maithil tradition. The interviews with elderly Maithil artisans will allow local communities to better understand and value their cultural heritage. By decorating the houses in Kuwa village, using the acquired Maithil artwork tradition, local communities will play an active role in protecting their cultural heritage through training and practice – and the local area is enhanced for the benefit of communities and visitors.
Euan Kemp, 17-year-old Saxophonist from East Dunbartonshire, wins prestigious nation-wide competition, Scottish Young Musicians Solo Performer of the Year 2024.
Magnus Shanks (aged 16) from Aberdeenshire and Jake Johnstone (aged 15) from South Lanarkshire share second place.
31 of the best Young Musicians from across Scotland gathered in Glasgow on Sunday 26 May to compete in the third ever Solo Performer of the Year Final at the Royal Conservatoire of Scotland.
Expertly compered by singer and broadcaster Jamie MacDougall, the third ever Solo Performer of the Year competition saw incredible performances from Scotland’s young musicians wow an audience of hundreds at the Royal Conservatoire of Scotland yesterday.
17-year-old Euan Kemp, an S6 pupil from The Music School of Douglas Academy, has been playing Saxophone since he was 11 years old. He impressed the judges with his rendition of Improvisation No.1 by Ryo Noda and Fantaisie-Impromptu by André Jolivet, leading to him being crowned the third ever winner of the prestigious competition, which this year involved local authorities covering 99% of Scotland’s population.
Euan Kemp, winner of Scottish Young Musicians Solo Performer of the Year 2024, said: “I feel amazing having won this competition and honoured to have represented East Dunbartonshire and Douglas Academy.
“I’ve been making music in East Dunbartonshire for the whole of my musical career, starting with the children’s chorus in P2 and then growing through playing in orchestras and ensembles both in school and the wider Local Authority. It’s such a nurturing, supportive and enjoyable environment to be a part of and I’m proud to bring this trophy home to them.”
Euan receives £1,000 to spend on furthering his musical career and the Maid of Morven trophy made by the Kings’s Sculptor in Ordinary in Scotland Alexander Stoddart FRSE.
Euan also receives a package of opportunities provided by the Royal Conservatoire of Scotland including a coaching session, participation in a masterclass and a studio recording session.
Jake Johnstone, who left audiences enthralled with his accordion pieces which were accompanied by his younger sister on the piano, and Magnus Shanks, who wowed with his piano performance, both receive £250 to spend on musical activities and a coaching session and masterclass slot at the Royal Conservatoire of Scotland.
For the first time this year the winner of each of the other categories was announced live at the end of the final. Hannah Pringle from Stirling won the strings category, Thomas Lamb from Clackmannanshire won in brass, Amelia Leishman representing Edinburgh won for percussion, and East Ayrshire’s Aimee Sharp was announced as the winner of the vocal category. They will each be awarded career-enhancing experiences thanks to the generosity of some of the UK’s top music organisations.
The panel of judges was led by trumpeter John Wallace CBE, former Principal of the Royal Conservatoire of Scotland. He was joined by soprano Jane Irwin, violinist Greg Lawon, clarinettist Adam Lee and pianist Sinae Lee. They had the difficult job of selecting the winner and two runners up from performances on a range of instruments including saxophone, clarsach, accordion, guitar, pipes, trumpet and more.
The day culminated in performances by the winning Scottish Young Musicians Brass Ensemble of the Year Campbeltown Brass Ensemble and Ensemble of the Year, Belmont Academy Woodwind Ensemble from South Ayrshire.
Alan Kerr, Chair of Scottish Young Musicians, said: “Today we’ve seen 31 incredibly affecting performances from young people representing 99% of Scotland’s school-aged population.
“The standard of performances has been extraordinarily high and we’ve seen some very emotional playing that has left our audience, and adjudicators, absolutely enthralled.
“The final is the culmination of individual school and local authority competitions. While today we witnessed some of our most gifted musicians, the festival’s aim is to encourage the broadest participation of all talents through all communities.
“Credit goes to the enthusiasm of teachers who’ve embraced SYM, our incredible hard-working team that has made it happen, and the generosity of our supporters who have provided funds, prizes and assistance.
“We are again indebted to have the support of the Royal Conservatoire of Scotland, ranked as one of the leading conservatoires in the world, and doubtless a destination for many on the stage today.”
John Wallace, Head Adjudicator of the competition, said: “You could put today’s winner and runners up on any stage anywhere in the world and they would do the whole of Scotland proud.
“We have been completely blown away by the how standards continue to rise year on year and how these young people are keeping certain genres alive. It’s been absolutely staggering to behold and we hope to broaden the competition to include even more genres and categories next year.”
Jamie MacDougall, who hosted the final, said: “The standard this year has exceeded all expectations, with really mature performances that were really well presented. There was no sign of fear or nerves which was undoubtably helped by the supportive atmosphere backstage, and the day really felt as though it flew past.
“The way the different Local Authorities have embraced this competition and recognised it across the country has helped to give it the status and importance it deserves. For young musicians to have an opportunity to perform and be heard we must provide appropriate resources to schools and those who work with young people in music – without that there is no future of music in Scotland.”
The Scotland-wide competition is run by The Music Education Partnership Group who work with every school and local authority to support music education and opportunities.
