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Following an odyssey of awe-inspiring performances featuring acts from across the globe, 2024’s Royal Edinburgh Military Tattoo has officially come to an end.
The Edinburgh Castle’s hallowed Esplanade hosted over 800 performers, wowing packed crowds night after night, and with its increased capacity, the Tattoo hit an impressive 96% attendance cross the 26 Shows performed.
The third, and final instalment, of Creative Director Michael Brathwaite’s tenure with the Tattoo, Journeys capped off the successes of Voices and Stories. Framed by a time in which togetherness is as important as it has ever been, The Royal Edinburgh Military Tattoo, connected audiences, taking them on a voyage of shared histories and cultures from across the world.
In a dazzling display of lights, dance, music, colour and precision, the Show merged the traditional elements the Tattoo is known and loved for, with modern twists and fresh, creative elements. All brought to life by the wonderfully varied cast from the USA, India, Switzerland, Australia, Canada, and homegrown acts from around the UK.
With a host of offerings, packages, and experiences, Tattoo fans enjoyed the show in myriad ways, including the 10-year anniversary of our partnership with Contini – hosts of our Cannonball hospitality package. The Tattoo also proudly hosted Presenting Partner, Innis & Gunn and Official Vehicle Partner, John Clark Motor Group.
As one fantastic journey ends, another begins, with the Tattoo prepared to celebrate its 75th anniversary next year under the direction of new Creative Director, Alan Lane. The upcoming year promises to be filled with excitement and spectacular performances, with tickets on sale now.
Jason Barrett, Chief Operating Officer of The Royal Edinburgh Military Tattoo, said: “This year’s Tattoo had been teed up by two phenomenal performances in Voices and Stories, setting the bar exceedingly high.
“However, between the incredible cast, team and all those who came out to see the Show, Journeys exceeded all our expectations. This was a spectacle that will not just go down as a tremendous performance of the Tattoo, but truly one fitting of the title as one of the greatest shows on earth, and for that, we couldn’t be prouder.
“But as the 74th year of the Tattoo comes to a close and we say a fond farewell to our Creative Director Michael Braithwaite, we look ahead excitedly as Alan Lane takes up the role and takes us to even more dynamic and immersive levels.
“As we celebrate our 75th anniversary and a raft of exciting growth plans, it’s truly set to be a phenomenal year, and I’d urge fans to snap up tickets now to come and enjoy the magic of it all with us.”
Next year, the Tattoo Show will run from 1 -23 August 2025, with further updates to come across the Tattoo website and social channels.
Tickets are on sale now for the 2025 performance and can be purchased at edintattoo.co.uk/tickets or on the phone on 0131 225 1188.
This Halloween season, Craigies Farm is thrilled to announce its biggest and most thrilling event yet, promising to be the ultimate destination for Halloween fun in Edinburgh.
Building on last year’s success, the event is expanding to a whole new level, with an incredible 900 square metre haybale trail added to the already spectacular lineup of spooky activities.
Get ready for a spook-tacular experience as Craigies unveil their two fang-tastic events: the family friendly Craigies Pumpkin Festival by day, and Craigies Pumpkin Festival; After Dark, delivering spine-tingling adventures on the farm by night! A memory making family day out or a date night for the brave – you decide. These immersive, family-friendly experiences are sure to create unforgettable memories.
There are tricks, treats and a lineup of activities not to be missed including target paintball shooting, a haunted harvest maze, barrel ghost train and lots more.
Craigies Farm are once again partnering with Scotland’s leading event producer NL Productions to deliver Edinburgh’s best family Halloween experience. NL Productions have delivered a number of high-profile events across the UK, including Edinburgh Zoo’s Halloween Spooktacular and will this year be delivering Dundee’s Christmas Village.
New This Year:
A 900 Square Metre Haybale Trail
The centrepiece of this expanded Halloween offering is a 900 square meter haybale trail, adding even more thrills and excitement to the event. The Monster Bale Trail will provide a maze-like experience perfect for all ages. Get ready to navigate your way through twists and turns while encountering unexpected scary surprises around every corner and a spectacular sensory light experience.
Craigies Pumpkin Festival
Building on the success of last year’s Spooky Days and the hugely popular PYO Pumpkins, Craigies Pumpkin Festival will offer delight and frights to families during the day. Tickets include entry to the pumpkin patch so you can get your hands on the best ones for carving (Pumpkins are purchased at an additional cost). As one of the closest pumpkin patches to Edinburgh, and with countless home-grown pumpkins of every shape and size Craigies is the perfect place to pick your own pumpkin.
Visitors can also access the Monster Bale Trail, lots of Halloween themed photo opportunities and the chance to enjoy tasty farm fresh food and drinks. It’s the perfect Halloween fun for the whole family.
Craigies Pumpkin Festival: After Dark
Building on 2023’s inaugural Haunted Tunnels, as darkness falls, the farm transforms. This scarier, nighttime experience is designed for older children and adults. As the sun sets, the fear factor heightens.
Visitors can navigate the brand-new haunted maze experience – Haunted Harvest – with spooky characters and immersive effects lurking around each corner. Visitors can also enjoy the pumpkin patch brilliantly illuminated and step foot in the Monster Bale Trail.
Book Now to Avoid Disappointment.
With the incredible new addition of the Haybale Trail and popular returning events, Craigies is set to host the biggest and best Halloween event in Edinburgh.
John Sinclair, Managing Director of Craigies commented, “At Craigies Farm, we have always prided ourselves on delivering quality events and we wanted to expand on the success of last years hugely successful Halloween event with more on offer this year.
“This is Edinburgh’s top Halloween event, and we have taken on board all feedback from 2023 to create something bigger and better that delivers high-quality immersive fun for families.”
Tickets are expected to sell out quickly, so don’t delay—book your spot today for a frightfully fun day out!
For more information and to book your tickets, visit – Buy Craigies Pumpkin Festival Tickets online – Craigies Farm (digitickets.co.uk)
LITTER PICK!
The Cramond Association is organising a Cramond, Barnton and Cammo community litter picks on 7 and 8 September!
Saturday 7 September, meet at 2pm at the Haugh Park children’s playground on Brae Park Road
Sunday 8 September, meet at 10am in the public carpark for Cramond Beach.
Everyone is welcome! Equipment provided, please wear a Hi-Vis vest if you have one.
Bring a drink for afterwards, we will provide the biscuits!
Hope to see you there!!
To whom it may concern: As the 2024 Edinburgh Festival Fringe comes to a close, an open letter from SHONA McCARTHY, Chief Executive of the Edinburgh Festival Fringe Society
As the curtain falls on the 2024 Festival Fringe, much is being discussed in the spaces, rooms, cafes, and streets of Edinburgh, on the success of this year.
Today it was announced that 2.6 million tickets were issued during the 2024 Fringe, however there is no doubt that the current environment for artists across the UK is of great concern; and the fragility of the performing arts community is palpable.
An outward veneer of success cannot mask the struggle for artists to emerge let alone thrive in the UK right now. While Fringe 2024 has been brilliant, and it is to be celebrated that artists, companies, venues, producers and promoters took huge financial risks and pieced it together and put on the show.
However, the dominant message as we close this year’s festival is that there is no Fringe without art. There is no art without artists.
The cumulative effect of the relentless rise in the cost of everything, and an unhelpful policy environment facing the arts sector has resulted in widespread concern that is keenly felt by artists.
From the availability of affordable accommodation, blunt policy changes which have consequences for major events, to continuous public sector cuts; we need to ensure that the hard won and fragile success isn’t met with complacency by those who can influence change.
It is not enough to have old stories of how important Edinburgh’s festivals were in providing healing and connection after the Second World War. They are important now, contributing hugely to health, well-being, joy and job creation.
The Edinburgh Fringe vision is to give anyone a stage and everyone a seat. That is a commitment to inclusion, to freedom of expression and to being allowed to try and to fail. It is a vision that is increasingly easier to say than it is to do.
I have worked in the arts across the UK for 35 years now, and in the last two decades there has been a journey away from elitism, monoculturalism and exclusion with inspiring developments in access to the arts for all, with still a long way to go.
If the UK continues on an upward trajectory of cuts to arts education, and Scotland continues to decimate investment in the sector, breaking promises of support; then we are on a direct course to job losses, exclusion and boring art that is only the privilege of those who can afford to be part of it, as performers or as audiences.
Here at the Fringe and across the UK, the pipeline of creative potential is under threat. Artistic risk and ambition is hamstrung by an operating context that squeezes out emerging artists that have made the Fringe globally renowned, unique and joyful.
How can the Edinburgh Fringe remain exemplary, exciting, experimental; the only place in the world to be every August? As the most influential arts marketplace in the world, this year over 1,800 arts industry accredited with the Fringe Society, and came to Edinburgh to seek new work for onward touring and broadcast opportunities. Nearly 900 accredited media reviewed shows, interviewed artists and worked tirelessly to support the 3,746 shows that took place this year.
There is no future for the Fringe without art. There is no art without artists. Artists and the venues who host them are at the heart of this event, and there would be no Fringe without them.
They take the risk of bringing work to the festival every year, and while the arts landscape is at a crossroads, we need to ensure that the Fringe, one of the greatest celebrations of arts and culture in the world, is protected for the future.
As we celebrate the hundreds of thousands of people who have been moved, delighted, awed, shocked and entertained by the stories artists present across Fringe stages, it feels that now, more than ever, we must not take artists for granted; we would do so at our peril.
SHONA McCARTHY,
Chief Executive of the Edinburgh Festival Fringe Society
Wide regional discrepancies in the speed with which elderly patients declared medically fit to leave hospital are discharged are exposed in ground-breaking new research by the UK’s largest and most comprehensive later-life care directory, Autumna.
The survey of more than 500 care homes and home care agencies has revealed the best and worst performing regions for speed of discharge from hospital, as well as communication between hospital discharge teams and social care providers, with nine in ten providers calling for reform of the system.
100% of care providers questioned in Scotland want the government to reform the hospital discharge process, regardless of whether or not they receive referrals from it. This reflects that the system is among the worst performing in the country.
42.9% of respondents say they don’t have a positive relationship with hospital discharge teams (34% nationally). Only one in five providers receive referrals at least weekly, suggesting a lack of effective communication which may also contribute to slow patient admission: 50% of providers say discharge from hospital takes more than a week (24.3% nationally), with 14.3% saying it takes three weeks or more (nearly twice the national average).
93% of care providers nationally would like to see government reform of the hospital discharge process, with the figure ranging from 85.7% in the North East to 100% of providers in Scotland. Nationally, 85% of care providers who have a positive relationship with their local hospital discharge teams still want the process reformed.
Full national and regional findings: www.autumna.co.uk/hospital-discharge-report-2024/
“Our survey, which is the first to probe the experiences of social care providers of the hospital discharge system, shows a system that is failing due to poor relationships caused by poor communication,” warns Debbie Harris, the founder and Managing Director of Autumna, which has developed a digital solution to speed up hospital discharge*.
“Our findings are a wake-up call to Kier Starmer and Wes Streeting that the system is broken and urgently needs reforming. The pressures are only going to get worse as our population gets older, so we need to fix the system now, before it completely breaks down,” she adds.
Delayed hospital discharge costs the NHS around £4.8 million a day1. It also results in: worse health outcomes for elderly patients; other patients not being able to access hospital services; and increased pressure on local authorities, as elderly patients who are stuck in hospital end up with greater care needs.
“Autumna’s Hospital Discharge Report: Care Providers’ Perspectives clearly outlines a system that is failing and will only get worse unless remedial action is taken,” comments Professor Martin Green OBE, Chief Executive of Care England.
“However, this report also highlights the fact that there are solutions, and if people worked effectively with the social care sector and gave it the needed resources, the solutions would be easily and readily available.”
Autumna’s research shows that four in ten social care providers do not receive referrals from hospital discharge teams.
“We have elderly patients stuck in hospital when there is sufficient care to support their discharge, either in a care home or with support at home,” comments Harris. “Hospital discharge teams do not have effective tools to identify available, appropriate care quickly and are overly reliant on some providers, meaning elderly patients are denied access to the full range of appropriate support available to get them out of hospital.”
48.7% of care providers do not feel the hospital discharge teams understand the care they offer. A third of providers (33.4%) say they can’t talk to discharge teams when they need to. Of the care providers who do receive referrals from hospital discharge teams, a similar number (34.0%) say they don’t have a positive relationship with them.
17.0% of care providers questioned say the average length of time for discharge into their care after a patient has been declared fit to leave hospital is one to two weeks, while 7.3% say the average length of time is three or more weeks.
The top reasons for delays in patient transfer to social care providers are because the funding is not agreed, there is insufficient information and lack of communication. 45.5% of care providers say information provided by hospital discharge teams is not accurate. 44.6% of care providers think the information provided by hospital discharge teams is insufficient to make an initial assessment on admission suitability.
“The care sector has the capacity, the expertise and the enthusiasm to be part of the solution,” advises Harris. “What’s more, speeding up hospital discharge will help the commercial viability of providers who face increasingly squeezed margins; 518 care homes closed in 20232, with a loss of 14,169 beds2.
More than 15 million people are projected to be over the pensionable age by 20453, with the number aged 85 and over expected to increase by 1 million to 2.6 million over the same period4.
“With an ever-ageing population, continuing to fail to find a solution to speedy, efficient and appropriate hospital discharges is unsustainable – for the NHS, for local authorities, for the taxpayer, and – most importantly – for our elderly,” urges Harris. “We challenge the government, health and social care leaders to think imaginatively to rise to the challenge.”
For a summary of regional discrepancies, see page 4. For full national and regional results, incl. quotes from local care providers, download the full report: www.autumna.co.uk/hospital-discharge-report-2024/
Edinburgh Art Festival (EAF24) closed on Sunday, with record numbers of attendees and of participating artists.
For the 2024 programme, which marked 20 years of the festival, EAF invited audiences to join them in a moment to collectively pause and reflect upon the conditions under which we live, work, gather and resist with a festival hub at City Art Centre.
The programme, the biggest yet for EAF, spanned the work of more than 200 artists in more than 30 venues, across 55 projects and with over 130,000 visitors across all venues, including 21,000 visitors across the EAF commissioned programme.
Kim McAleese, EAF Festival Director, said: “We wanted to create a festival that felt rooted here in Edinburgh and connected to people local to the city but which was also balanced with a critical and nuanced global dialogue.
“We are delighted that audiences, collaborators and artists were so generous with their engagement, criticality and time for EAF24. At the core of our programme this year was over 200 artists who brought work to the city.
“Without them we would not be able to do what we do and we must continue to support those artists who share their ideas and knowledge with us year on year, especially in the face of devastating, life changing cuts to public funding such as those announced this week here in Scotland.”
The festival programme spanned from the city centre, with large scale works by Ghanaian artist El Antsui and flags by Rosie’s Disobedient Press visible for those in the city to see from the streets, to the glowing light of Prem Sahib’s nocturnal work at Bard, in Leith to the outer limits of the capital both East and West.
A festival within a festival took place at Jupiter Artland, with the theme of a ‘queer fete’ and Más Arte Más Acción (MAMA) were invited to present an artistic public intervention at the Royal Botanic Gardens Edinburgh, in the form of a large table around a tree, to discuss the interconnections between humans and plants in times of rapid biodiversity loss and which now travels to COP30 in Brasil.
Performances peppered the EAF24 programme including the highly acclaimed opening performance by Mele Broomes and Prem Sahib’s Alleus, which took place in a stairwell of Castle Terrace Car Park.
Four of Scotland’s emerging artists showcased work that surmised their current concerns to critical acclaim in the City Art Centre, and recent and current socio-political history were explored in new ways at Women in Revolt! at the National Galleries of Scotland in a survey of feminist art that celebrates the women who challenged and changed the face of British culture which was reimagined for Edinburgh to include new Scottish women artists.
Film fans can get their big screen fix at Vue for just £4 this Saturday (31 August) as part of National Cinema Day.
All films, all day are just £4 when purchased in person (with a 90p booking fee for tickets booked online) to mark the annual event designed to bring people together in celebration of the way films should be seen – on the big screen.
There’s an abundance of titles to enjoy on the day, including summer smash hits Alien: Romulus, It Ends with Us and Deadpool & Wolverine, with familiar faces for families to enjoy in Inside Out 2 and Despicable Me 4.
For those wanting to enjoy a classic, as part of Vue’s ongoing Back on the Big Screen collection National Cinema Day customers can revisit 80s sci-fi with The Terminator and get lost in magical worlds with Harry Potter and the Prisoner of Azkaban.
To coincide with the celebration film fans will also have a chance to try Coca Cola’s Freestyle beverage, The Fan Favourite, a delicious combo of cherry and vanilla – available for one week only at selected venues.
Robert Smith, General Manager of Vue Edinburgh Omni, said: “Nothing compares to the experience of seeing a film the way it should be seen – on the big screen.
“That’s why we’re encouraging as many people as possible to head down to Vue in Edinburgh this Saturday.”
To find out what’s playing at Vue sites across Edinburgh, visit:
Over 100k visits were made to Edinburgh International Book Festival’s new home at the newly opened Edinburgh Futures Institute from 10-25 August 2024, with ticket and book sales significantly up on previous years, and thousands of curious passers-by exploring and enjoying the new site, amongst the heart of Edinburgh’s festival action.
Future Tense, the first Book Festival programme to unfold under new Director Jenny Niven, tackled topics of global importance ranging from AI to the climate crisis, capitalism to the war in the Middle East, migration to inheritance, and more besides.
Legendary authors, writers, poets, thinkers and entertainers including Margaret Atwood and Salman Rushdie (who joined down the line), Richard Osman, Dolly Alderton, Alan Cumming & Forbes Masson, Phillipa Gregory, Jackie Kay, James O’Brien, Lemn Sissay, Elif Shafak, Louise Welsh, Raja Shehadeh, Marian Keyes, Roger McGough appeared on stage, alongside RF Kuang, Blindboy, Esmie Jikiemi-Pearson, Evie Wyld, Julius Roberts, and Samantha Shannon.
As well as greats from the literary sector, stars of music and film (Stuart Brathwaite of Mogwai, Esther Swift, Evelynn Glennie, Stuart Murdoch, Steven Moffat, Anjoa Andoh), theatre makers (including Grid Iron’s Ben Harrison), producers, publishers (many appearing as part of the Business of Books strand aimed at those in the industry, and artists (Ruth Millington, Kate Leiper) and actors also featured, bringing the multi disciplinary magic of the Edinburgh Festivals to life, right at the heart of the city.
This year saw a number of brand new types of events unfold, many celebrating cross-discipline collaboration, including the ambitious digital experience, Perambulations of a Justified Sinner and the intimate Have Lunch With… series at Elliott’s Studio, featuring chef-writers (Asma Khan, Sami Tamimi and Rachel Roddy). Clean Money: Can Fundraising Ever Be Ethical brought in audience members with a variety of views to discuss the detail and nuance of modern arts funding in a safe and supported space, and events including ThinkTanks offered audiences unparalleled access to world-class minds including Harold Hongju Koh, Ingrid Robeyns, Joseph Stiglitz and Ken Costa.
Voices from across the political spectrum also joined the conversation, with appearances from John Swinney, Jess Phillips, Caroline Lucas, Andy Burnham and Sadiq Khan.
Jenny Niven, Director of the Edinburgh International Book Festival, said: “We are absolutely thrilled with the success of the Book Festival this year. Audiences have voted with their feet and we’ve seen full houses and brilliant, engaged crowds.
“Debate and discussion has been relished by audiences and authors alike proving the Festival is a truly important space for people to be inspired and come together.
“Edinburgh Futures Institute as a Book Festival venue has been terrific and we’re already looking at the ways we can build on what we’ve created for next year.
“We’re looking forward to beginning conversations in the Autumn with everyone who will be part of our story in our next glorious edition.”
1500 folk signed already! “We are the people of Scotland. We live and work here. We value the arts and the artists who make it.”
Please sign and share if you live in Scotland and value the arts:
Independent producer Mairi Robinson’s letter reads:
Open Letter to Scottish Government, on the closing of Creative Scotland’s Open Fund for Individuals
Listen to this letter here: https://on.soundcloud.com/3zuSaySKzEnftzJL8
We, the undersigned, are artists, arts workers, and/or audience members from across Scotland. We are the people of Scotland. We live and work here. We value the arts and the artists who make it.
We are writing to you about the closure of Creative Scotland’s Open Fund for Individuals, due to the Scottish Government being unable to confirm the release of £6.6 million of funding from the Grant-in-Aid budget. This decision shocks and deeply concerns us, and places the future of the arts in Scotland at risk.
The Open Fund for Individuals is the cornerstone of the arts in Scotland. It is the only fund of its kind to support artists to lead projects, develop their practice, support their professional development and collaborate with other artists and/or communities.
One grant awarded to an individual provides meaningful employment, creative development, allows space for artistic risk and experimentation. Many of these grants support multiple artists and arts workers through paid job opportunities. Grants for individuals can also support organisations through the filling of theatres, galleries and music festivals.
One grant can kickstart or extend a career, allow an artist to present their work to the public, develop a new stream of income, develop their entrepreneurial and business skills. Take artworks to market and present for Scottish audiences, leading to international tours and commercial successes. They provide a training ground for the arts leaders of tomorrow, allowing artists to skill up through experience of running their own projects and developing new networks.
One grant can place artists in schools, in care homes, working 1-to-1 with folk who do not like a crowd, or with whole communities at a time, and bring a multitude of positive personal, social and wellbeing benefits. It can reduce isolation and bring people together. It can inspire and delight. It can help people find their voice, and see their experiences and stories represented.
The Open Fund for Individuals has an enormous impact. It is a lifeline for artists and arts workers. Beyond the individual grants and their benefits, its existence also means an enormous amount to people across Scotland, because it supports people who are not independently wealthy to be artists. It tells us that we have a right to creativity and the arts, a right to joy and wellbeing, and a right to emotion and expression.
Without the fund, the future is bleak, and bleakest for those who are isolated and marginalised by income, geography, race, class, age, faith, caring responsibilities, gender, sex, sexuality, or disability. Those who do not have savings to fall back on, family support to sustain them, or who have to work harder to bring their work to audiences are at risk of being unable to sustain a career in the arts. The loss of these talents and perspectives in the arts leaves us all poorer.
The arts in Scotland contribute £5bn annually to the economy but they are now at breaking point. We cannot continue without direct support for our artists, arts workers & self employed people. The damage to the arts caused by the closure of the fund is immediate and long lasting. Cut it now, and it could take a generation to build back.
We urge you to fund the reopening of the Open Fund for Individuals as a matter of urgency. We ask that you provide clear guidance on the in-year and future annual budgets so that the arts in Scotland can begin to plan, develop ideas, build upon past successes and deliver a vibrant future for us all.
[Please sign with your first name, last name and postcode at the bottom of the document]
[If you’re having trouble accessing this document, please email mharirobinson@gmail.com with your name and post code and I will add you in]
YOU CAN ADD YOUR NAME TO THE PETITION HERE:
The Scottish theatre community is in need of support more than ever in light of the cuts to arts funding. Gareth Nicholls, Artistic Director of the Traverse, said last night:
“We at the Traverse wanted to use our platform to the world on the final day of the festival to make you aware of this, and of the significant impact funding cuts are having on our nation’s artists and theatres.
“New work in Scotland doesn’t come from nothing. And one of the key ways this has been achieved is through an open fund where an individual artist can ask for money when their idea is but a seed.
“The open fund is the incubator for Scottish work, but Creative Scotland has been forced to close the fund at 2pm on Friday. It will be closed indefinitely, due to the Scottish Government being unable to confirm funding for its delivery.
“Many on our stages, and whose work you’ve enjoyed at the festivals, have been dependent upon it, alongside wider arts subsidy. It is a fund that helps build careers and craft to get an idea off the ground, and which helps places like the Traverse keep our theatres alive with bold new ideas.
“If you enjoy seeing Scottish work right here in Scotland, then please continue to support the artists who make the powerful work that appears our stages.”
Further information can be found at www.campaignforthearts.org
