Introducing a new series of awards celebrating the best across Edinburgh’s August Festivals: The Skinny-Fest Festival Awards (for festivals) – aka The Besties (We like it when it rolls off the tongue!)
The Award is a partnership between The Skinny, Capital Theatres and Premier Scotland.
The teams behind The Skinny and Fest magazines, Capital Theatres and Premier Scotland have come together to create a new series of awards spanning all of Edinburgh’s August festivals: The Skinny-Fest Festival Awards in association with Capital Theatres, supported by Premier Scotland.
Reflecting the broad and diverse coverage both magazines produce every summer and responding to the need for a pan-festivals award, The Besties will span all the festival activity taking place in the city over the month of August, including the Edinburgh Art Festival, Edinburgh Festival Fringe, Edinburgh International Book Festival, Edinburgh International Festival and the Edinburgh International Film Festival and others, making them the only awards to celebrate the full spectrum of culture in the city.
Winners of The Besties will be chosen each week by the editorial teams of The Skinny and Fest, drawing on their cross-festival expertise to celebrate the best work happening anywhere in the festivals.
The categories will reflect the diversity of the magazines’ coverage, with an Outwith award highlighting the best international talent, while the Great Scot will honour work from closer to home among others.
As the only publications (that we know of) with a canine comedy correspondent, there will of course be an award chosen by our very own Fringe Dog, a sort of spirit of the Fringe accolade dubbed The Terrier Fringe Dog Award for Waggiest Tail.
The weekly awards ceremonies are to be produced by Premier Scotland and hosted by Capital Theatres at the Festival Theatre on Saturday mornings in the festival season, featuring entertainment and a guest host to help hand out the awards.
The Besties award is being designed by artist Camillo Feuchter who is currently finishing his degree in Interior & Environmental Design at Duncan of Jordanstone College of Art and Design in Dundee.
Passionate about craftsmanship and featuring sustainable design and recycled materials, Camillo will produce The Besties using recyclable plastics gathered at the Festival Theatre Café and leftover wood harvested from cultural venues in the city. The Besties’ eco-chic will be unveiled in due course.
Rosamund West, Editor-in-chief of Radge Media said:“We’re delighted to be working with Capital Theatres and Premier Scotland to bring a new awards series to the Edinburgh festivals.
“Through The Besties, we’re hoping to draw on our reviewing teams’ cross-cultural knowledge to present something which celebrates the incredible calibre of the work on show, while also retaining a sense of the joyful and at-times-chaotic spirit of Edinburgh in August.
“Working with Camillo Feuchter on the awards themselves is a fantastic opportunity to place sustainability at the centre of our thinking.”
Fiona Gibson, Chief Executive of Capital Theatressaid: “After a few years of the festival awards being silent, we are so excited to be bringing them back in partnership with The Skinny and Fest magazines and Premier Scotland.
“The launch of this brand-new series of awards, now known as The Besties, allows us the opportunity to host such amazing talent in our city at the Festival Theatre each week, celebrating the incredible array of creatives presenting and performing across all of the Edinburgh summer festivals this year.
“We can’t wait to welcome you, start the weekend together every Saturday in August and enjoy a bit of fun, sustenance and networking. See you there!”
Susie Gray, Executive Director of Premier Scotland said: “We are really thrilled to be part of the team bringing pan-festival awards back to Edinburgh’s amazing August celebration of culture.
“The breadth of talent in the city over the month is what makes it truly special and it feels important to mark that with the new Skinny-Fest Festival Awards – aka The Besties!
“Festival Theatre is a fantastic place to bring everyone together from comedians to world class musicians on a Saturday morning and we look forward to working with The Skinny, Fest and Capital Theatres to make this a fitting celebration.”
Software to reduce hospital waiting times and enhance operating theatre efficiency will be rolled out in NHS boards across Scotland over the next year.
Developed by clinician-led tech company Infix, the national theatre scheduling tool improved operating room efficiency by up to 25% without the need for extra medical staff or additional theatres during successful pilots across three health boards. It also enabled the completion of additional operations for patients which resulted in significant financial savings.
The platform will now support all NHS Boards to increase productivity, remove paper processes, and reduce the overall administrative burden in the creation and approval of theatre lists, which can delay patient treatment.
In a speech in Edinburgh later today, Health Secretary Neil Gray will outline the role of innovation and collaboration in the future of Scotland’s health service.
He said: “Better use of data and digital technology is critical to how we drive improvements in healthcare and is a key part of our plans to reform services.
“This technology is backed by more than five years’ worth of NHS operating times data and is just one of the initiatives that will help enable us to schedule 1.5 million procedures per year – while improving data quality to help safely increase productivity. This will help maximise capacity, build greater resilience and reduce waiting lists.
“Reducing the administrative burden on staff will give them more time to spend on patient care. This is a shining example of how we are embracing cutting edge tools to tackle the challenges facing health and social care.”
Scotland’s capital hosted the first visit to the nation by Cunard’s newest ship Queen Anne.
Queen Anne made a spectacular transit of the Firth of Forth before dropping anchor at South Queensferry for Edinburgh on the first port of call of its British Isles Festival Voyage – a celebratory ‘lap of honour’ circumnavigation of the British Isles.
Her arrival beneath the famous Forth Railway Bridge attracted significant interest as the 249th ship to fly under the Cunard flag made her maiden call.
A traditional piper played on the pier as Queen Anne sailed into port, with spectators also treated to a tug water cannon display during her arrival.
Queen Anne arrived early yesterday morning and later departed bound for Kirkwall, Orkney Islands.
Her passage then takes in scenic coastal cruising as well further calls at Invergordon and Greenock where Cunard’s long and historic association with the Clyde will be recorded.
This historic visit was marked by a short Plaque Ceremony during which the ship and the port exchanged specially commissioned commemorative plaques. The port plaque will be displayed on board Queen Anne and the ship’s memento will be displayed by the Port.
Cunard guests sailing on board had a range of shore excursion opportunities to enjoy, including the chance to savour a unique visit to Summerhall Distillery – partners of the luxury cruise line – with a Cunard 4 Queens gin tasting, an exclusive Queen Anne shore experience.
The British Isles Festival Voyage
The 14-night British Isles Festival Voyage departed Southampton on 24 May and includes a spectacular Naming Ceremony for the ship in Cunard’s spiritual home at Liverpool on 3 June.
Katie McAlister, President of Cunard, said: “Queen Anne’s British Isles Festival Voyage is celebrating the very best of Great Britain and Ireland and we are delighted that our guests on board can visit Scotland, starting in the nation’s capital Edinburgh.
“Queen Anne’s maiden voyage around these shores is a truly historic sailing for Cunard.”
Queen Anne
Whatever your dream destination, discover it with Queen Anne. As the newest addition to the Cunard fleet, her design concepts have been founded on heritage, craftmanship, style, storytelling, and innovation, and the 113,000-ton, 3,000-guest ship, which spans 14 decks, will offer travellers several breath-taking experiences, and more choices of entertainment, dining, and bars than ever before.
She will also boast the widest selection of fitness, beauty, thermal and spa facilities so far seen on a Cunard ship, with her reimagined Mareel Wellness & Beauty proposition heralding a new era of wellbeing at sea.
Throughout her maiden season, Queen Anne will sail from Southampton on itineraries to the Mediterranean, Scandinavia, the Canary Islands, and the Norwegian Fjords, visiting over 60 unique destinations in 16 countries – taking in several of Europe’s most enchanting ancient cities.
M&S café has unveiled its latest seasonal menu and it’s not one to miss!
Topping hot weather wish-lists will be the new range of iced drinks, including a Rhubarb & Raspberry Frappe and a Watermelon Lemonade with juicy watermelon garnish. M&S café baristas will also be blending up Tiramisu Iced Lattes, full of the famous creamy coffee flavours of one of the nation’s favourite puds!
And that’s not all … Enjoy a taste of summer with the new range of salads, including the Chicken and Basil Pesto and the Moroccan inspired Feta and Fruity Couscous salad that’s full of colourful grains, feta and a mint and beetroot dip.
This will be the 39th annual showcase for the renowned institution with expectations high for an extraordinary display of fine furniture crafted by this year’s graduating cohort of talented makers.
From Thursday 13 June to Saturday 15 June 2024, visitors will have the exclusive opportunity to witness an array of exceptional pieces meticulously crafted by those on the intensive 30-Week Professional Course.
Known for its international reputation for kickstarting the careers of skilled woodworkers, the Chippendale School’s Professional Course equips aspiring furniture makers with the essential skills and knowledge needed to thrive in the industry, covering everything from design techniques to marketing strategies.
The 2023/24 course cohort boasts 30 exceptionally talented students hailing from all over the world, from the Dominican Republic to Germany, Holland, France, Canada and the USA.
Among the spotlighted makers is Kevin Tronel from France whose matching pair of mid-century easy chairs and vinyl record cabinet, both made from Oak, are a perfect example of the joy in putting a contemporary twist on a traditional style.
Also gracing the exhibition is Maria Hensley from the UK, presenting her hallway bench in Oak and Danish woven cord. Attendees can also marvel at the striking fluted column cabinet in Sycamore made by Chlomo Hutcheson from Edinburgh.
Tom Fraser, Principal, commented: “Our annual Graduate Exhibition is a testament to the dedication and talent of our Professional Course students.
“Year after year, we are inspired by the creativity and ingenuity displayed in their final designs.
“This event offers a unique opportunity for visitors to witness the finest emerging global furniture design talent and even take home a piece that captivates them.”
Pizza and coffee on the day will be provided by local Edinburgh and North Berwick businesses Pizza Geeks and Steampunk Coffee. Admission to the exhibition is free, with advance booking of time slots required.
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.”
