davepickering

Ukraine: A crossroads in history, says Starmer

The Prime Minister’s remarks at yesterday’s International Leaders summit press conference in London:

Good afternoon. the first priority of this government – of any government – is the security and safety of the British people to defend the national interest, particularly in these volatile times.

That’s why, last week I announced the biggest sustained increase in defence spending since the Cold War.

That’s also why I met President Trump last week to strengthen our relationship with America – as indispensable partners in defence and security.

And it’s why, this weekend, I have been hosting European leaders here in London to work together for the security of the United Kingdom, Ukraine and Europe as a whole.

Through my discussions over recent days we have agreed that the UK, France and others will work with Ukraine on a plan to stop the fighting, then we’ll discuss that plan with the United States and take it forward together.

The purpose of today’s meeting was to unite our partners around this effort to strengthen Ukraine and to support a just and enduring peace for the good of all of us.

Our starting point must be to put Ukraine in the strongest possible position now so that they can negotiate from a position of strength.

And we are doubling down in our support.

Yesterday evening the UK signed a £2.2 billion loan to provide more military aid to Ukraine – backed, not by the British taxpayer, but by the profits from frozen Russian assets.

And today, I am announcing a new deal which allows Ukraine to use £1.6 billion of UK Export Finance to buy more than 5,000 air defence missiles which will be made in Belfast, creating jobs in our brilliant defence sector.

This will be vital for protecting critical infrastructure now and strengthening Ukraine in securing the peace, when it comes.

Because we have to learn from the mistakes of the past. We cannot accept a weak deal like Minsk, which Russia can breach with ease. Instead, any deal must be backed by strength.

Every nation must contribute to that in the best way that it can. Bringing different capabilities and support to the table but all taking responsibility to act, all stepping up to their own share of the burden.

So we agreed some important steps today.

First, we will keep the military aid flowing and keep increasing the economic pressure on Russia to strengthen Ukraine now.

Second, we agreed that any lasting peace must ensure Ukraine’s sovereignty and security. And Ukraine must be at the table.

Third, in the event of a peace deal, we will keep boosting Ukraine’s own defensive capabilities to deter any future invasion.

Fourth, we will go further to develop a “coalition of the willing” to defend a deal in Ukraine and to guarantee the peace.

Not every nation will feel able to contribute. But that can’t mean we sit back. Instead, those willing will intensify planning now – with real urgency.

The UK is prepared to back this with boots on the ground, and planes in the air, together with others.

Europe must do the heavy lifting but to support peace on our continent. And to succeed, this effort must have strong US backing.

We’re working with the US on this point, after my meeting with President Trump last week. And let me be clear – we agree with the President on the urgent need for a durable peace. Now we need to deliver, together.

Finally, we agreed that leaders will meet again very soon to keep the pace behind these actions and to keep working towards this shared plan.

We are at a crossroads in history today. This is not a moment for more talk – it is time to act. Time to step up and lead and to unite around a new plan for a just and enduring peace.

Thank you.

The Prime Minister will give more details to parliament this afternoon.

Carers in education urged not to miss out on extra money

Financial support for student carers

This National Student Money Week (3 – 7 March 2025), unpaid carers in education are being encouraged to check if they are entitled to financial help from Social Security Scotland.

It is estimated that there are around 35,000 unpaid carers attending college or university in Scotland. The type of help they provide includes emotional, mental or physical support for a family member, friend or neighbour. But many don’t recognise themselves as a carer, which could mean they are missing out on extra money.

There are three payments delivered by Social Security Scotland that could help student carers during their studies:

Carer Support Payment replaces Carer’s Allowance in Scotland. Unlike Carer’s Allowance, it is available to more carers in education.

Young Carer Grant and Carer’s Allowance Supplement are only available in Scotland.

Louise Reid, Student Support Adviser at the University of the West of Scotland (UWS) and Financial Capability Champion on the National Association of Student Money Advisors (NASMA) Board, explains the importance of this type of help.

“Students, alongside wider society, are consistently pushed to the limit financially from sources outside their control. The cost of housing, energy and food have all been consistently high and this hits student carers particularly hard.

“As caring responsibilities can limit or completely reduce any capacity for part time work to top up existing student funding, additional financial resources are vital.

“Carer Support Payment is an invaluable financial resource that can make the difference between continuing with studies or not. Being able to claim this benefit, whilst studying really makes such a difference to students who provide care.” 

To find out more about all Social Security Scotland payments for carers, visit mygov.scot/carers or call free on 0800 182 2222. 

Carer Support Payment is a payment of £81.90 a week and is available to carers who are aged 16 or over and who provide unpaid care for 35 hours or more a week to someone who receives a qualifying disability benefit.  They need to earn £151 a week or less after tax, National Insurance and expenses.
Carers in education who may be eligible includes:    
Part time students – those who spend less than 21 hours a week in class or doing coursework for any course   
Students aged 20 and over and who study full time for any course   
Students aged 16-19, who study full time in advanced education at university or for a college course such as a Higher National Certificate and Higher National Diploma  
There are also some circumstances where students aged 16-19 studying over 21 hours a week in non-advanced education, such as studying for National Certificates and Scottish Highers, who may also be eligible if they meet certain criteria. Find out more at   If you study – mygov.scot
Carer’s Allowance Supplement is an extra payment for eligible unpaid carers who are getting Carer Support Payment or Carer’s Allowance on the qualifying date. The payment is made twice a year and is unique to Scotland. Each payment of Carer’s Allowance Supplement is currently £288.60.  It is paid automatically without the need to apply.  
Young Carer Grant is available for carers aged 16, 17 or 18 who provide support for an average of 16 hours a week to someone receiving a qualifying disability benefit. It is a yearly payment of £383.75 and the money can be spent on whatever the young person wants.  
Information on other support for carers, such as financial support, wellbeing support and short breaks from caring, can be found at Help if you’re a carer – mygov.scot 
National Student Money Week March 2025 National Student Money Week 2025 – NASMA
Carers Trust Scotland estimates there are around 30,000 – 35,000 unpaid carers at college or university in Scotland. Carers at College & University | Carers Trust Scotland
If you are an organisation that supports student carers in Scotland, there are shareable resources, many of which are available in different languages, via our resources pages on our website:

Social Security Scotland – Carer Support Payment Resources 
Social Security Scotland – Young Carer Grant Resources 

Scottish Opera’s first ever animated opera JOSEFINE comes to Edinburgh

Scottish Opera’s award-winning animated short film Josefine will screen at The Scotsman Picturehouse in Edinburgh on 25 March, with showings at 4.30pm and 6.30pm.

The 14-minute film, Scottish Opera’s first venture into animation, brings Franz Kafka’s last short story ‘Josefine the Singer’ to life through a unique blend of operatic performance and contemporary animation.

Set in a striking desert landscape, the story follows a mysterious creature whose ethereal voice captures an audience of sprites, exploring themes of artistry, crisis and hope.

After watching the film (produced in partnership with Maestro Broadcasting), audiences will hear director Antonia Bain, Scottish Opera’s resident filmmaker, composer Samuel Bordoli, andconductor Susannah Wapshott, in conversation with The Scotsman’s classical music critic, Ken Walton, about how the animation came together.

Josefine’s soundtrack features 2022/23 Emerging Artist soprano Zoe Drummond, a chorus, and The Orchestra of Scottish Opera. It was animated by a team headed by Sophie Bird.

At last year’sMessina Film Festival – Cinema & Opera, Josefine was chosen from 1400 entries to receive the Emi Mammoliti Award for best short film. This award adds to the growing list of laurels for Josefine which was named Best Animation at this year’s Cannes Arts Film Fest, Mannheim Arts and Film Festival Winner for Best Family and Children Friendly, and received an Honourable Mention in Animation. It has been screened at festivals all over the world, including Vienna’s Rathausplatz and the Venice Biennale.

Alex Reedijk, Scottish Opera General Director said: ‘We’re delighted to present Josefine, Scottish Opera’s first ever opera animation, at The Scotsman Picturehouse, in partnership with The Scotsman.

“This film represents our commitment to pushing creative boundaries and finding new ways to present opera, and it will be wonderful to see it in this special Edinburgh venue.

“There’s also the added bonus of listening to Ken Walton, with his wealth of classical music knowledge, speak to the creative team behind this animation. We look forward to welcoming you to this unique event.’

Director Antonia Bain said: ‘Josefine was born as a response to arts place in a time of crisis. It’s also a story about parenthood, a child discovering their talent, nurturing creativity, how to search for hope within when there seems to be only darkness outside, and most importantly the beauty of the voice and the overwhelming power of music to nourish the human soul.

‘Loosely inspired by Franz Kafka’s last short story ‘Josefine the Singer’, which looks at the relationship a singer has with her impoverished audience who find solace in her singing but have no time for her creative demands, was first introduced to me by my friend and collaborator, the composer and librettist Samuel Bordoli.

‘Creating Josefine has been a dream come true for our whole team and we all fell in love with this beautiful little character. It has been amazing to see her sing in cinema’s across the world, from New York to Venice, to a packed audience on an outdoor screen in Vienna and then winning the best short film award at the Messina Opera and Cinema festival in Sicily.

‘I’m absolutely thrilled then, that Josefine is coming home to Scotland and I can’t wait to watch the film together with all of the creative team, my friends and family and Scottish audiences for the first time.’

Josefine is also showing at Northampton Film Festival on 8 March, and at Glasgow Short Film Festival on 21 March, so this is another brilliant opportunity to see the UK’s first newly commissioned opera made specifically for animation, on the big screen.

Tickets for Josefine at The Scotsman Picturehouse are available from:

www.scottishopera.org.uk/shows/josefine/

100 years of royal portrait photographs and behind-the-scenes materials go on show in Edinburgh

A portrait of Queen Elizabeth II standing against the dramatic Highlands landscape of Balmoral will be among almost 100 rarely seen photographs, negatives, and archival materials from the last 100 years now on display at The King’s Gallery in Edinburgh.

Royal Portraits: A Century of Photography will chart the evolution of royal portrait photography from the 1920s to the present day, unveiling the stories behind the creation of some of the most iconic images of the Royal Family.

The exhibition brings together little-seen vintage prints (the original works produced by the photographer, or under their direct supervision), contact sheets and proofs from the Royal Collection,alongside documents including letters and memorandums held in the Royal Archives.

It is the first time many of the works have been shown in Scotland, following the exhibition’s successful run in London.

Alessandro Nasini, curator of the exhibition, said: ‘Portrait photography is a creative process, and it has been fascinating to discover the careful decisions that were made to achieve such unforgettable portraits of the Royal Family, taken by some of the most celebrated photographers of the past century – from Dorothy Wilding and Cecil Beaton to David Bailey and Glasgow-born Rankin.

‘Although we may be used to seeing photographs on screens, the opportunity to see the original prints up close is rare, as they can’t often be on display for conservation reasons. With archival material providing context into how these photographs were made and used, I hope visitors will enjoy going behind the scenes into the process of creating royal portraits.’

A star work of the exhibition will be a striking photograph of Queen Elizabeth II by Julian Calder, taken on the Highlands landscape of the Balmoral Estate in 2010 (top).

Beneath an unpredictable sky and cloaked in the mantle of the Order of the Thistle, the late monarch braved the threat of rain and midges to achieve Calder’s vision, inspired by 19th-century paintings of Clan chiefs – as seen in a behind-the-scenes photograph reproduced on a panel within the exhibition.

In contrast, for her 2007 portrait of the sovereign, Annie Leibovitz – the first American to receive an official commission to photograph Queen Elizabeth II – used digital editing to superimpose the figure against a stormy sky.

The past century was an exciting time for portrait photography; techniques evolved rapidly, and the transition from a manual craft to an increasingly digital process is a key theme of the exhibition.

One of the earliest photographs shows the royal family – including the young Princesses Elizabeth and Margaret – smiling in soft-focus and framed by an oval vignette, typical of its time in 1934.

To achieve this effect, society photographer Marcus Adams had to adjust the lens of an enlarger, a device for producing a photographic print from the original negative, which will also be on show.

Later photographs will show how portraits became bigger and ever more colourful over the course of the century. The impact of Nadav Kander’s bold, 1.6m-tall headshot of King Charles III when Prince of Wales, taken at Birkhall for a 2013 cover of Time magazine,or Hugo Burnand’s jewel-hued official Coronation portraits in 2023, was possible thanks to advances in printing technology.

The close relationships between photographers and royal sitters will reveal themselves over the course of the exhibition, as seen in the intimate portraits of Princess Margaret taken by Lord Snowdon, born Antony Armstrong-Jones, before and after they marriedin 1960.

Further highlights include 19 portraits taken by Cecil Beaton, who enjoyed a long-standing relationship with the Royal Family. Beaton came to prominence photographing stylish society figures in 1920s London and was seen as a surprising and avant-garde choice when Queen Elizabeth The Queen Mother selected him for the now-famous shoot in the Buckingham Palace Gardens in 1939.

Visitors will also see photographs from their last sitting together in 1970 after more than three decades of collaboration, with the photographs later released to mark The Queen Mother’s 70th birthday. Referring to their unique relationship, The Queen Mother wrote to him saying, ‘we must be deeply grateful to you for producing us, as really quite nice & real people!’

Visitors will discover the multitude of purposes royal portraits have served, from reputation-making portraits of a young Queen Elizabeth II for use on currency and stamps by Yousuf Karsh, to birthday portraits of Princess Anne by Norman Parkinson.

A handwritten memorandum from Queen Elizabeth II’s Assistant Private Secretary in 1953 reveals her suggestions for which Coronation portraits should be sent to Commonwealth representatives, used to thank Maids of Honour, and given as family mementos.

More recently, a photograph of Her Majesty Queen Camilla by Jamie Hawkesworth commissioned by Vogue shows The Queen with a book in her lap to represent Her Majesty’s passion for literature.

Following a successful launch in 2024, The King’s Gallery will continue to offer £1 tickets to this exhibition for visitors receiving Universal Credit and other named benefits. Further concessionary rates are available, including discounted tickets for young people, half-price entry for children (with under-fives free), and the option to convert standard tickets bought directly from Royal Collection Trust into a 1-Year Pass for unlimited re-entry for 12 months.

An accompanying programme of events will include:

Snapshots: Gallery Short Talks: A series of regular short talks taking an in-depth look at a different photograph each week and the story of its creation (6 March – 4 September).
Student Sessions: Curation and Conservation: An exciting opportunity for students in arts, heritage, and culture to hear from curator Alessandro Nasini, Senior Curator of Photographs, and Ashleigh Brown, Paper and Photographic Conservator, about what goes into an exhibition through interactive talks, workshops, and group discussion (27 March).
Curator’s Introduction: Alessandro Nasini, exhibition curator, will discuss the development of the exhibition and his personal highlights (11 April and 15 August).
Royal Portraits in the Press: In thisin-personlecture, Helen Lewandowski, Assistant Curator of Photographs, will discuss how iconic royal images have been shared in the media, from the printed press to social media (2 May).
Rankin: In Conversation: An exclusive digital event with exhibition curator Alessandro Nasini in discussion with renowned photographer Rankin, covering his techniques, work, and experience working with the late Queen (6 June).

Corstorphine Community Centre: Make a change in your community

Do you want to make a change in your community? Age 12-18 or a parent or carer?

Come join our LGBT+ Charter Champions group, helping us form our LGBT+ Charter and making our centre open and welcoming to everyone!

Contact Alison on community@ccchub.online or text 07340 554839 if you are interested!

The Scottish Colourists: Radical Perspectives

The creation of a new language of colour in European art

Dovecot Studios, 10 Infirmary Street, Edinburgh, EH1 1LT

Friday 7^thFebruary – Saturday 28^thJune 2025

In this breakthrough exhibition, Edinburgh’s Dovecot Studios, in partnership with the Fleming Collection, will for the first time place the Scottish Colourists in the context of their European and UK contemporaries, interrogating how this international generation of radical painters forged a new language of colour in Paris in the early 20^thCentury.

The Scottish Colourists – SJ Peploe (1871-1935), JD Fergusson (1874-1961), GL Hunter (1877- 1931) and FCB Cadell (1883-1937) – are widely recognised as Scotland’s most talented, experimental and distinctive artists of the early 20^thCentury.

Often exhibited as a quartet, in isolation from their contemporaries, their work will now be shown alongside Fauve painters, such as Matisse and Derain, who sparked the colour revolution, spotlighted in the exhibition by Derain’s renowned Fauvist work, Pool of London, lent by Tate.

Other major institutional loans include key works by Bloomsbury Group innovators Vanessa Bell and Duncan Grant, as well as major examples from Walter Sickert’s more nuanced Camden Town Group.

The exhibition will also investigate a possible ‘Celtic’ connection in the primal response to colour by Welsh artists, Augustus John and James Dickson Innes, and Ireland’s Roderick O’Conor, suggesting a continuity between the approach taken by these artists and that of the Scots.

This exciting exhibition will offer an unparalleled opportunity to challenge conventions around who, among the avant-garde pack of UK artists inspired by French innovation, should be considered the leading radical painters from 1905 to the outbreak of war in 1914.

The exhibition’s timeline will also cover the impact of Cubism and Vorticism on this group of artists immediately before and after the outbreak of war.

The culmination of the show will celebrate the coming together of the Scottish Colourists as a distinct group in the 1920s and 1930s, marked out by the continuing influence of both French colour and Scottish light upon their work as painters of landscape, still life, and interiors.

Appropriately, their dedicated group show was held in Paris in 1924, followed by a 1925 London show, making Dovecot’s 2025 exhibition a most timely centenary celebration.

James Knox, Curator of the Fleming Collection, says: “This momentous exhibition will, for the very first time, shine the spotlight on the radical Scots and their contemporaries, allowing us to truly assess their achievements and place in the history of early European modernism.

“I am immensely grateful to the national institutions and private collectors who have enabled this story to be told alongside the Fleming Collection’s outstanding Scottish Colourists.”

Celia Joicey, Director of Dovecot Studios says: “Presenting the Scottish Colourists at the vanguard of the creative avant-garde in the UK is an opportunity to recast Scotland’s pivotal role in the history of early 20th century art.

“As a tapestry studio founded in 1912, it is exciting for Dovecot to show these important paintings which set our work and world-class reputation in a compelling new context.”

The exhibition will be supported from March 2025 by a series of displays on the Dovecot Balcony Gallery of contemporary Scottish artists working with colour in creative and challenging ways in media including watercolour, acrylic, oil, wood and textile.

Edinburgh Remakery looking for volunteer quilters

CALL FOR VOLUNTEERS

We are calling on volunteers to help create stunning quilts that will be showcased at the National Museum of Scotland.

This special project aims to raise awareness about climate change through art, and we need your help to bring it to life.

Sessions at Edinburgh Remakery: March 4th, 5th, 6th, 11th, 12th, 13th, 20th
10am-5pm (half-day options: 10am-1pm or 2pm-5pm)

A basic level of hand sewing is required, so make sure you are comfortable with needle and thread

Interested? Contact katie.mcghee@edinburghremakery.org.uk for more details

Lothian named Large Business of the Year at Chamber of Commerce Awards

Lothian was named ‘Large Business of the Year’ at the Edinburgh Chamber of Commerce Business Awards on Thursday.

The award, which was open to all Edinburgh businesses that employ over 100 people, celebrates the strong performance of Lothian in the city over the last 12 months.

Sarah Boyd, Managing Director at Lothian said: “I am absolutely delighted that Lothian has been recognised as the Large Business of the Year at the Edinburgh Chamber of Commerce Business Awards.

“To be recognised in this way by the Edinburgh business community is testament to the hard work and devotion of our 2,600+ strong workforce who deliver for our customers every day across Edinburgh and the Lothians.

“From our colleagues on the frontline to those who work behind the scenes, Lothian is built on its people. This award is for them, and I would like to take this opportunity to say a massive thank you to each and every one of them for their continued loyalty and dedication to Lothian.”

Throughout 2024, Lothian delivered reliable and accessible public transport across Edinburgh and the Lothians for 116 million customers, representing an increase of 5% on 2023. The company also scooped the award for UK Bus Operator of the Year at the National Transport Awards in London last October.

The Edinburgh Chamber of Commerce judging panel commented: “The winner has shown an outstanding commitment to both its people and business growth, playing a vital role in the communities it serves.

“Their dedication to employee engagement has been nationally acknowledged, reflecting a strong and positive workplace culture.

“Innovation has also been at the heart of their success, with continuous improvements in digital services and a strong focus on sustainability. Their investment in maintaining an award winning, world-class, future-focused offering truly sets them apart.”

In addition, the business trained over 450 drivers at their dedicated training school with a pass rate of 94.6%, compared to the industry average of 61.5%. At the UK Bus Driver of the Year Finals in Blackpool, Lothian was a delighted that one of its drivers, Thomas Gilhooley, won first place.

March at Out of the Blue

We’ve got a busy programme of events coming up at the Drill Hall this month!

There’s something for everyone, from exhibitions and film screenings, to workshops and classes, and of course our monthly Flea Market.

Want to find out more? Just visit our website for the full programme.

https://org.pulse.ly/2wjhti8jyk

Poster design and printing: Out of the Blueprint

Edinburgh Flea Market

Minister backs Sight Scotland’s push to break down accessibility barriers in Scottish venues

Equalities Minister Kaukab Stewart recently met with Sight Scotland’s Policy Group to discuss the importance of improving access and inclusion in Scotland’s venues. She stressed that everyone should have the freedom to enjoy life and visit places of their choice, such as theatres, cinemas, concert halls, galleries and attractions, without facing accessibility barriers.

Sight Scotland’s Policy Group, made up of blind and partially sighted members, released the ‘Enhancing Accessibility: Venues and Visual Impairment’ report last year. It highlights major accessibility issues in Scottish venues and calls for improvements to ensure equal access for all.

Using real experiences, the report identifies common barriers, including poor communication, inaccessible booking systems, lack of audio descriptions or touch tours, untrained staff, and design flaws like low colour contrast, missing tactile elements, and unclear signage. It also shares best practices to inspire venues to improve accessibility for visually impaired visitors.

Equalities Minister Kaukab Stewart said: “I was delighted to discuss what actions we can take to strengthen accessibility standards for visual impairment with members of the Sight Scotland team and their policy group.

“Although it’s clear that many barriers remain, I was inspired to hear how blind and partially sighted people are working closely with Sight Scotland and range of other partners to deliver best practice building on the Accessible Venues Campaign and Report.

“Across government we’re working to embed equality and inclusion across all areas of life, including the arts and culture. One way we’re doing this is through All In – a new access scheme for creative and culture in the UK and Ireland.

“It’s being developed as a partnership between Creative Scotland and the arts councils of England, Ireland, Northern Ireland and Wales to improve access and remove barriers for deaf, disabled, neurodivergent and visually impaired people in creative and culture spaces.

“Although our power to legislate on equality is limited, we’re working to drive positive change for disabled people in Scotland including investing an additional £2 million to enhance our Disability Equality Plan.”

Sight Scotland Policy Group member, Amanda Whitfield, from Edinburgh, who was diagnosed with Stargardt disease in 2016, comments: “It was wonderful to welcome the Equalities Minister to our policy group and discuss with her the accessibility challenges that blind and partially sighted people face when trying to access venues.

“I absolutely love music and going to concerts, but booking tickets feels like an impossible task. Sight loss is an invisible disability, and it often feels like I’m being excluded from enjoying live music like everyone else.

“Everything is done online or digitally – from booking your ticket to even ordering drinks on the night. You can’t just speak to someone and explain your needs.

“Instead, you’re stuck in long virtual queues, forced to choose a seat from a visual plan, and often left to struggle with inaccessible websites that don’t support zooming or screen readers.

“It’s frustrating, disheartening, and it shouldn’t be this hard for people with vision impairment to enjoy live events.”

Craig Spalding, Chief Executive of Sight Scotland and Sight Scotland Veterans, said: “We’re grateful to the Minister for meeting with our Policy Group and helping to highlight the daily accessibility challenges faced by people with vision impairment.

“Inaccessible venues exclude those with sight loss from arts and cultural events, increasing isolation and loneliness.

“Our Accessible Venues Report outlines key issues and calls for improvements such as a standardised booking system for accessible seats, audio descriptions, touch tours for all performances, and mandatory visual impairment awareness and sighted guide training for staff.

“Small changes can make a big difference to inclusivity.”

Download the Enhancing Accessibility: Venues and Visual Impairment report here:

https://sightscotland.org.uk/accessible-venues#AccessibleVenuesReportDownload