There are now just 10 stalls remaining at the Volunteer Edinburgh Recruitment Fair 2026 — and the deadline to book is fast approaching.
If your organisation is looking to recruit new volunteers, this is your last chance to be part of the event.
The Recruitment Fair brings together over 1,000 potential volunteers and more than 50 charities, community groups and voluntary organisations under one roof. It’s a fantastic opportunity to meet people face-to-face, showcase what you do and talk directly to people who are actively looking for ways to get involved.
Don’t miss the opportunity to put your organisation in front of hundreds of enthusiastic potential volunteers.
By not attending, you could be missing out on conversations, connections and potential new volunteers who could make a real difference to your organisation.
Why you should be there
Meet hundreds of people interested in volunteering
Promote your organisation and current opportunities
Have conversations with potential volunteers face-to-face
Connect with your local community
Raise awareness of the difference your organisation makes
Find new volunteers who could help your organisation thrive
Event Details
Tuesday 1 September 2026 10am – 5.30pm St Paul’s and St George’s Church, York Place, Edinburgh
Don’t Leave It Too Late
Only 10 stalls remain and bookings close on Friday 21 August.
Once those final spaces are gone, that’s it.
If you’ve been considering joining us, now is the time to book. Don’t let your organisation miss out on one of Edinburgh’s biggest opportunities to connect with potential volunteers.
We’d love to see your organisation there — but don’t miss your chance to be one of our 2026 stallholders!
Landmark report evidences the profound impacts of the Edinburgh Festivals, confirming them as one of the most remarkable demonstrations of cultural power in the world
Picture by JANE BARLOW
In the latest of a long line of internationally acclaimed impact studies, the Edinburgh Festivals have published their most recent research across a series of cultural, social and economic indicators – which shows that at a fundamental level the festivals make life better – for residents, artists, visitors, and businesses.
The research identifies the Edinburgh Festivals as a unique civic asset that enhances wellbeing through creative and community engagement, an unrivalled international springboard for Scottish artists and companies, and a major attraction for those choosing to live, work, visit and invest in Edinburgh. The findings clearly indicate that the Festivals define Scotland’s cultural identity on the global stage.
Introducing the latest Impact Study on 29 June, Professor Daisy Fancourt, Director of WHO Collaborating Centre on Arts and Health and UNESCO Chair in Arts & Global Health as well as author of Art Cure: How the Arts Can Transform Your Health and Help You Live Longer said: “The Edinburgh Festivals have long stood as one of the world’s most remarkable demonstrations of the power of arts and culture.
“Shared cultural experiences create opportunities for dialogue, build understanding and challenge ideas. They bring people together across generations, backgrounds and perspectives, helping to build trust and social cohesion. At a time when many communities are grappling with social fragmentation and unrest, cultural participation offers powerful opportunities to strengthen civic life and nurture a sense of common purpose.
“The Festivals show what is possible when culture is placed at the heart of civic life, and this report provides a powerful case for the importance ofsustaining and investing in their future for generations to come.”
The research affirms that while the individual festivals are powerful brands in their respective fields, collectively they are both a unique national asset and a global phenomenon. They are an integral part of the cultural and social fabric of the country and provide an opportunity to showcase a 21st century nation.
The headline findings in this publication show the Edinburgh Festivals as:
cultural adventurers, with 90% of audiences acclaiming the festivals as unique places of cultural discovery
civic drivers, that enhance community well-being with 79% of local audiences stating that the festivals make Edinburgh a special place to live
national investors, spending more than £10m annually with event production companies and creative talent based in Scotland
economic powerhouses, calculated to have a gross economic impact of £4.26 billion over the next five years in Scotland.
Commenting on the publication of the Impact Study, the Scottish Government’s Cabinet Secretary for Education, Culture and Gaelic, Màiri McAllan MSP said: “The Edinburgh Festivals are truly world class — and this research confirms their extraordinary cultural, social and economic value to Scotland.
“A projected national economic impact of £4.26 billion over the coming five years, 90% of audiences describing them as unique places of cultural discovery, and 79% of Edinburgh residents saying they make the city a special place to live — these are remarkable findings.
“As we approach the 80th anniversary of Edinburgh’s status as a festival city, the Scottish Government is proud to champion the festivals and committed to ensuring they continue to thrive for the benefit of people across Scotland and on the global stage.”
Councillor Margaret Graham, Culture and Communities Convener at City of Edinburgh Council, said: “Edinburgh’s festivals are at the heart of what makes our city so special, bringing together residents and visitors to enjoy thousands of shows and events throughout the year.
“This research highlights that these celebrations deliver significant cultural, social, and economic benefits, supporting local communities and businesses while enhancing the city’s global reputation.
“As we approach the 80th anniversary of our festivals, we remain committed to supporting their future while balancing the needs of residents, visitors, and business, ensuring Edinburgh continues to thrive as a world-leading festival city.”
Vicki Miller, Chief Executive of VisitScotland, said: “Edinburgh’s festivals are world renowned, and a key part of what makes Scotland a must-visit destination, drawing thousands of international visitors to the country each year.
FURTHER FINDINGS INCLUDE:
The Edinburgh Festivals have seen a major expansion in their community reach
Alongside its global scale, the report identifies a major expansion in the Festivals’ community footprint. They offer residents of the city and substantial audiences of all ages throughout Scotland, opportunities that support creative expression, social connection and wellbeing, while breaking down barriers, enhancing community cohesion and civic pride.
These core principles were fundamental building blocks of the PlaCE [Partnerships for Creative Excellence] programme, a pioneering three-way partnership between Edinburgh Festivals, Scottish Government and the City of Edinburgh Council. Almost 76,000 community participants took part across the life of the programme.
Over the five years spanning 2018 to 2023, the Festivals delivered a 489% increase in engagement with community groups, a 39% increase in schools participation (from 497 to 694) and a 245% increase in partnership activity.
This growth reflects a significant development of year-round activity and more equitable access, with programmes increasingly reaching communities less likely to have engaged with the Festivals in the past.
The Edinburgh Festivals are a civic asset as well as a global platform
The report reinforces the Festivals’ role within the city itself. Edinburgh residents account for around one third of all attendances, with 79% of local audiences identifying the Festivals as central to the city’s identity and sense of place, making it a special place to live. And 89.9% of audiences say that the Festivals create a welcoming environment in the city.
This dual role – as both a global cultural gathering and a locally rooted civic asset – is identified as a defining feature of the Edinburgh Festivals.
The Edinburgh Festivals are a key investor in Scotland’s creative economy
Beyond audience impact, the Festivals continue to act as a major investor in Scotland’s cultural sector, supporting artists, production companies and creative organisations across the country.
Annual spend with Scottish-based creative talent and production companies exceeds £10 million, helping to sustain jobs, develop skills and build international connections across the sector.
The Edinburgh Festivals provide a platform for Scotland on the world stage
With participants from over 80 countries and audiences from more than 100 countries, the Festivals play a central role in projecting Scotland internationally, showcasing a 21st century nation
The report affirms the Edinburgh Festivals as a globally significant cultural marketplace, while remaining deeply embedded within Scotland’s communities and creative industries. Both a unique national asset, part of the cultural and social fabric of the country, and a global phenomenon making up part of the appeal that will drive Scotland forward.
The Edinburgh Festivals are economic powerhouses
The Edinburgh Festivals delivered an estimated £558 million in net economic impact for Edinburgh and £852 million across Scotland in 2025.
A central finding of the research is that this economic impact is driven by the quality and innovation within the Festivals’ cultural programmes which drive attendances, with 90% of audiences acclaiming the festivals as unique places of cultural discovery
The report concludes that investment in programming is the primary factor that attracts global audiences and generates wider economic activity across tourism, hospitality and the creative industries. With the right investment the future impact is expected to reach £4.26 billion over the next five years.
The findings underline the Festivals’ position as a major national asset, operating at a scale rarely seen in global cultural events. With over 4 million attendances drawn from more than 100 countries last year, Edinburgh hosts one of the largest ticketed event programmes in the world every year, on a scale equivalent with less frequent major events such as the Olympic Games and FIFA World Cup.
Cultural events like these provide authentic and immersive experiences for people across Scotland and from around the world and are vital in strengthening our international profile and supporting local businesses, artists, and performers.”
Lori Anderson, Director of Festivals Edinburgh stated:
‘We are facing challenging times which call for boldness, direction, and vision – and the Edinburgh Festivals, through their pioneering collaborative work, focused strategic thinking, and hugely praised programmes, have these qualities in abundance. They have a powerful role to play in increasing the creative capacity, economic strength, and international reputation of Scotland. Ahead of the 80th anniversary of the birth of our world leading festival city, now is the time to champion and invest in the Festivals’ success.’
Further findings in the Impact Study include:
The Edinburgh Festivals have seen a major expansion in their community reach
Alongside its global scale, the report identifies a major expansion in the Festivals’ community footprint. They offer residents of the city and substantial audiences of all ages throughout Scotland, opportunities that support creative expression, social connection and wellbeing, while breaking down barriers, enhancing community cohesion and civic pride.
These core principles were fundamental building blocks of the PlaCE [Partnerships for Creative Excellence] programme, a pioneering three-way partnership between Edinburgh Festivals, Scottish Government and the City of Edinburgh Council. Almost 76,000 community participants took part across the life of the programme.
Over the five years spanning 2018 to 2023, the Festivals delivered a 489% increase in engagement with community groups, a 39% increase in schools participation (from 497 to 694) anda 245% increase in partnership activity.
This growth reflects a significant development of year-round activity and more equitable access, with programmes increasingly reaching communities less likely to have engaged with the Festivals in the past.
The Edinburgh Festivals are a civic asset as well as a global platform
The report reinforces the Festivals’ role within the city itself. Edinburgh residents account for around one third of all attendances, with 79% of local audiences identifying the Festivals as central to the city’s identity and sense of place, making it a special place to live. And 89.9% of audiences say that the Festivals create a welcoming environment in the city.
This dual role – as both a global cultural gathering and a locally rooted civic asset – is identified as a defining feature of the Edinburgh Festivals.
The Edinburgh Festivals are a key investor in Scotland’s creative economy
Beyond audience impact, the Festivals continue to act as a major investor in Scotland’s cultural sector, supporting artists, production companies and creative organisations across the country.
Annual spend with Scottish-based creative talent and production companies exceeds £10 million, helping to sustain jobs, develop skills and build international connections across the sector.
The Edinburgh Festivals provide a platform for Scotland on the world stage
With participants from over80 countries and audiences from more than 100 countries, the Festivals play a central role in projecting Scotland internationally, showcasing a 21st century nation.
The report affirms the Edinburgh Festivals as a globally significant cultural marketplace, while remaining deeply embedded within Scotland’s communities and creative industries. Both a unique national asset, part of the cultural and social fabric of the country, and a global phenomenon making up part of the appeal that will drive Scotland forward.
The Edinburgh Festivals are economic powerhouses
The Edinburgh Festivals delivered an estimated £558 million in net economic impact for Edinburgh and £852 million across Scotland in 2025.
A central finding of the research is that this economic impact is driven by the quality and innovation within the Festivals’ cultural programmes which drive attendances. 90% of audiences acclaimed the festivals as unique places of cultural discovery.
The report concludes that investment in programming is the primary factor that attracts global audiences and generates wider economic activity across tourism, hospitality and the creative industries. With the right investment the future impact is expected to reach £4.26 billion over the next five years.
The findings underline the Festivals’ position as a major national asset, operating at a scale rarely seen in global cultural events. With over 4 million attendances drawn from more than 100 countries last year, Edinburgh hosts one of the largest ticketed event programmes in the world every year, on a scale equivalent with less frequent major events such as the Olympic Games and FIFA World Cup.
Council Leader Jane Meagher has met with business representatives, heritage organisations, community groups and Councillors to provide an update on efforts to reopen Princes Street.
The meeting also discussed the Council’s wider response to the disruption.
Cllr Meagher hosted the summit in the City Chambers on Wednesday evening, at which council officers set out in detail the complexity of making the former Debenhams building safe to allow the thoroughfare to reopen.
Initial proposals for a communications campaign to promote those businesses and communities most affected by the disruption were also presented and discussed. This will also include resident and visitor spend incentives, events and other promotions.
This activity will be paid for from the Scottish Government funding announced last week and would continue beyond the reopening of Princes Street and into next year.
Key points from the on-site progress update:
Five weeks on from the fire, work on site continues to progress well. The focus continues to be on making the building safe – allowing Princes Street to reopen – while aiming to retain as many of its historic features as possible.
This is complex and challenging work which is carried out from cranes by a team of highly skilled engineers.
The eastern gable of the building has been secured and made safe. This involved reducing it in height by approximately two metres and supporting it with scaffolding.
The front façade of the building is now being stabilised with steel beams – more than 40% of these are now in place internally and externally to support the western end of the Princes Street façade – with work ongoing on the remainder of the upper floors.
Several tonnes of bricks and unsafe stonework – some weighing as much as 850kg – from the upper levels of the façade have been carefully removed and carefully stored on site for reuse.
Debris and dangerous materials continue to be removed from inside the building – with several tonnes already removed.
Subject to favourable weather conditions (this restricts when this can be done safely) the hope is that work carried out will allow Princes Street to reopen by the end of August.
Council Leader Jane Meagher said:“We’ve been working tirelessly to make sure Princes Street can fully reopen and I’m reassured by the progress being made. It goes without saying that we want to do this as soon as possible – but only when it is safe to do so.
“I want to reiterate just how complicated, hazardous and challenging this work is – and it was helpful to be able to share more of this detail during, what was, a very positive and constructive meeting with local business and community representatives last night.
“I was extremely grateful to all those who attended and gave us their feedback – which I committed to taking on board, either immediately or as part of our lessons learned exercise that will follow. I also welcomed the views of Edinburgh World Heritage and the Scottish Architectural Society who spoke in praise of the steps we’re taking to preserve an important part of our city’s heritage.
“Clearly, the resulting disruption continues to have a significant effect on businesses, particularly on the north end of the tram route, and last night we outlined our plans for a communications campaign to promote Leith, the Shore and Newhaven – and everything all they have to offer for our residents and visitors.
“This is being developed very much in partnership with the businesses and communities themselves – and we hope it will encourage people to visit businesses in the area well into the future.
“What also came across strongly last night was the effect this is having on our residents who are struggling to get to work, meet commitments or make appointments. I want to put on record again my thanks for your patience and understanding and to reiterate my determination to bring this disruption to an end as soon as it is safe to do so.
“In the meantime, I want to give special thanks to Lothian Buses, particularly their drivers, for their support in keeping the city moving.”
EdFest has opened a box office on the Mound, beside the Assembly Hall.
Above the cabin, a 4x2m screen displays a constantly-updating feed of ticket offers from across EdFest’s seven venues, pulled live from Edfest.com/offers , where participating companies can claim their show and run their own marketing offers. The box office also serves normal sales for the Assembly Hall. Edinburgh,
With Fringe well under way after a bumper first weekend, Edfest.com the shared ticketing, marketing and discovery platform uniting Assembly, C ARTS, Gilded Balloon, Just the Tonic, Pleasance, Underbelly and ZOO — has taken its offers on to the street.
A new box office on the Mound, next to the Assembly Hall, is now selling tickets in person for Assembly Hall shows, while a 4x2m screen mounted above the counter runs a live rota of daily offers from companies across all seven EdFest venues.
The screen draws directly from edfest.com/offers, the same feed available to audiences online, so any deal a company sets up, a percentage off, a fixed ticket price, or a 2-for-1, appears on the Mound within minutes.
Companies playing in any of the seven EdFest venues can claim their show on edfest.com, set their own offers, and add further content such as media reviews, giving them a direct, self-managed route to passing Fringe footfall as well as to edfest.com‘s online audience.
The launch comes as ticket sales across edfest.com and Love the Fringe run 50% ahead of the same point last year. For the seven EdFest venues, which together account for around 70% of all Fringe ticket sales, shows can be added to a single basket and bought in one transaction directly on edfest.com, at 0% box office commission, with booking fees capped at £5 per transaction.
Beyond the Fringe, edfest.com also brings together listings for Edinburgh’s other festivals year- round, including the Edinburgh International Festival, the International Book Festival, the Film Festival and the Royal Edinburgh Military Tattoo, with booking handled directly through each festival’s own site.
The Mound box office sits alongside Love the Fringe, EdFest’s audience membership programme, now in its third year and grown from 500+ members in 2024 to 1,000+ in 2025.
Membership, from £30, gives access to free tickets, venue and bar discounts, and curated daily review digests across the festival.
William Burdett-Coutts, said: “This is a great step forward for the Fringe. Our drive is to try and reduce costs for performers and find ways of making the festival more efficient.
“With Edfest we have already reduced box office commission for companies to zero provided they put 4% of their tickets into Love the Fringe.
“A win win for the audience and shows alike. Which is why a physical, live-updating box office on the Mound matters during peak Fringe footfall, and how it gives companies a direct way to reach passing audiences.
!Audiences can also save up to £1.50 on booking fees probably making this the cheapest box office service in the city.”
EdFest and Love the Fringe are live now at edfest.com.
Community groups and organisations from across the city are being invited to register by Saturday 15 August to take part in the 2026 Edinburgh People’s Procession.
The People’s Procession takes place on Sunday 13 September 2026 and forms part of the spectacular Edinburgh Riding of the Marches, an annual event celebrating Edinburgh’s heritage while showcasing the city’s vibrant communities, culture and future. The procession gives local organisations the opportunity to raise awareness of their work and celebrate their contribution to life in the capital.
Organised by Edinburgh March Riding Association, with support from the City of Edinburgh Council, the procession will bring together more than 600 participants representing groups and organisations from across the city.
Participants will travel from Holyrood, near the Scottish Parliament and Palace of Holyroodhouse, along the Royal Mile to St Giles’ Cathedral ahead of the arrival of the Riding of the Marches cavalcade later that afternoon.
The Riding of the Marches will once again be joined by the Lord Provost Rt Hon Cllr Robert Aldridge, alongside the Edinburgh Captain and Lass, who will lead the cavalcade of 280 horses and riders up the Royal Mile watched by an audience of thousands.
City of Edinburgh Lord Provost Robert Aldridge said: “I’m delighted to see the return of the People’s Procession for 2026. The enthusiastic response to last year’s inaugural procession demonstrated the pride, diversity and community spirit that make Edinburgh such a special city.
“The procession is a fantastic opportunity for local groups and organisations to come together to celebrate the invaluable work they do and be part of one of Edinburgh’s most unique and historic events.
“I look forward to seeing even more community groups represented this year as the People’s procession continues to grow and become an established part of Edinburgh’s Riding of the Marches.”
Further information on the event including expected timings and the registration form is available via the events Eventbrite page.
Following the success of a 2025’s tour of Tweedy’s Massive Circus, Scottish clown Tweedy is back with a brand new solo show at the iconic purple cow. The show has just received a Gold Festivals Award EFFTA from the Fringe Theatre Awards.
This year, Tweedy’s Massive Solo Show finds Tweedy battling mischievous props in a series of increasingly absurd situations. The props have lives of their own, his limbs rebel against him and a sentient Siri starts playing up. No matter the mess he gets into, he can always find a creative way to get out.
Renowned for his warmth, ingenuity and impeccable comic timing, Tweedy the Clown is a household name in the southwest of England, where he regularly performs with Giffords Circus. Tweedy is also the recipient of a British Empire Medal and an Honorary Fellowship Award from the University of Gloucestershire.
Audiences from one to a hundred and one alike will delight in Tweedy’s repertoire of comedic talents, which have made him one of the most respected and popular clowns the country currently has to offer.
Tweedy’s Massive Solo Show
Dates: 6 – 30 Aug (except 17 and 24)
Times: 10:15 am
Venue: Underbelly’s George Square Gardens (Udderbelly)
For the first time ever under 18’s can explore the National Galleries of Scotland’s blockbuster summer exhibition at the Royal Scottish Academy building – completely free!
Opening this weekend (Saturday 8 August), discover powerful photographic portraits by groundbreaking American artist Catherine Opie in this showstopping exhibition. Curated in collaboration with the artist, Catherine Opie: To Be Seen is Opie’s first ever solo exhibition in Scotland.
Specially adapted for the Royal Scottish Academy building in Edinburgh, To Be Seen presents a unique experience of the people, communities and stories in the art of Catherine Opie. The exhibition comes to Edinburgh from the National Portrait Gallery in London, having already received rave reviews from The Guardian and the Independent, with Time Out calling it ‘something worth celebrating’.
Explore nearly 80 vibrant portraits by Opie alongside her selection of works from Scotland’s national art collection. Displayed across seven rooms in the Royal Scottish Academy building, come face to face with Opie’s mentors and collaborators, Queer communities, children, surfers, high school footballers and political crowds as well as self-portraits of the artist.
See Opie’s work alongside a selection of 13 paintings from the national collection in arrangements prompting new narratives around ideas of identity. Join Opie as she questions ‘what is identity right now, and how do we look at it? Where and how do we belong’.
Documenting people brought together by common experiences or a shared sense of identity, Opie celebrates these communities by making them visible and offers us a platform to recognise ourselves in her exquisite and colourful images.
Thought-provoking and visually powerful, her striking work challenges who is represented in art and who remains unseen. Depicting a world made meaningful through connection, the artist says: ‘If you can walk away having a little better understanding about being human, that’s what I care about the most.’
One of the most influential artists of our time, Opie’s work is driven by the urgency to examine the ebb and flow of human culture and communities. Journey through 35 years of the artist’s work as she questions representations of home, intimacy and family, and explores politics, identity and power structures.
At the basis of her practice is her ongoing questioning of evolving ideas of community, identity and belonging. For Opie, portraiture is a radical act of representation – a desire to make the invisible visible and a gesture of belonging and resistance. Opie’s art attests to a great sense of humanity and care.
Whether as a university professor, a mother, a member of the Queer community, an American, or a world citizen, her portraits of fellow artists, friends, children and protestors draw attention to the power of visibility.
From photographs covering Barack Obama’s presidential inauguration, Tea Party rallies, and LGBTQ+ rights protests, to tender family moments and vulnerable self-portraits, Opie’s photographs collapse divisions between the personal and the political.
Experience Opie’s portraits alongside works such as Benedetto Gennari’s Elizabeth Murray, Duchess of Lauderdale and Pablo Picasso’s Mère et enfant and consider how history is recorded through portraiture.
Opie says, ‘What first drew me to photography was the idea that history was being made and language was being made through images.’ The artist has long been influenced by historic portraits, taking early inspiration from Hans Holbein the Younger. Inspired by Holbein’s precise renderings of nobility, Opie sought to give stature to her friends and challenge notions of ‘normality’.
Opie’s first major work, Being and Having (1991) is her own representation of identity challenging gender norms. Comprised of 13 closely cropped portraits of Opie and her friends enacting their masculine personas, Opie considers these her ‘own royal portraits,’ and affirms that ‘without representation, there is no visibility’.
To Be Seen will span the artist’s most famous works, with Opie’s own identity also threaded through the exhibition. Works range from ennobling portraits of the artist’s LGBTQ+ friends, Baroque inspired portraits of artists, images chronicling the likes of 1990s West-Coast leather dyke scene alongside her own experiences of family life and community.
Opie says, ‘I like to think that portraiture literally creates a history of one’s community’. The exhibition’s wide-ranging portraits span intimate studio shots capturing moments of vulnerability, pride and resilience to socially engaged documentary narratives.
Born 1961 in Sandusky, Ohio – the American Midwest – Opie got her first Kodak camera at the age of 9 and remembers, ‘I photographed everything around me’. Her fascination with photography continued throughout her childhood after she moved to California at the age of 13. She fashioned her teenage years, through friendships forged by taking photographs of school plays.
Opie was later encouraged to study photography at the San Francisco Art Institute. Moving to the city she worked and lodged at the Kenmore Residence Club, coming out as a lesbian and having her first significant relationship.
Later, Opie studied for a master’s at the California Institute of the Arts, where she developed her critical approach and secured her technical knowledge. Rising to prominence in the early 1990s,
Opie has since been at the cutting edge of documentary and portrait photography. She taught at UCLA for 25 years and was the Endowed Chair, Department of Art at UCLA (2021–23), retiring in 2023. Opie currently lives and works in Los Angeles.
Catherine Opie said: ‘After my first visit to Edinburgh it is a deep privilege and honour in bringing To Be Seen to a place that immediately felt like home.
“I’m looking forward to getting to know Scotland in the exchange of ideas and humanity.’
Anne Lyden, Director General of National Galleries of Scotland, said: ‘One of the most significant artists of our time, Catherine Opie is really not to be missed this summer!
“We are so excited to be working with the National Portrait Gallery, London, to host the artist’s first ever solo exhibition in Scotland. We cannot wait to share these incredibly powerful and human portraits with the people of Edinburgh and beyond.
“Opie’s life’s work resonates with our values to offer our audiences a feeling of community, connection and fun! We hope that our visitors find these moments while they explore this wonderful exhibition by a truly groundbreaking artist.’
Catherine Opie: To Be Seen is a National Galleries Scotland exhibition taking place in the Royal Scottish Academy building, opening on 8 August 2026.
Tickets on sale now! The exhibition also forms part of the Edinburgh Art Festival, the UK’s largest annual festival of visual art, from 14 – 30 August, presenting alternative perspectives across the breadth of the city.
Catherine Opie: To Be Seen is kindly supported by the players of Postcode Lottery and Friends of the National Galleries of Scotland.
Award-winning Japanese shadow puppet company Mochinosha/Book of Shadowz return to Edinburgh to unleash their latest creation upon the Fringe with the premiere of their brand new show, Book of Shadows – a hilarious occult mystery for grown-ups.
Teenage sceptic Vi is forced to live with her grandmother, who claims to be the 200-year-old mystic and spiritual guru Madam Blavatsky. When Vi’s friends begin to disappear, she reluctantly teams up with Granny to uncover a conspiracy of séances, unhinged cultists and suspiciously interested government agents.
A visually stunning dark comedy based on a possibly true story, Book of Shadows dives into the mysterious world of the occult and mysticism where audiences can draw their own conclusions as to what to believe.
Mochinosha / Book of Shadowz was founded in 2012 by Canadian artist Daniel Wishes and Japanese artist Seri Yanai and are known for their use of colourful hand-crafted shadow puppets to create live analogue shadow animation.
The company has been recognised with awards from festivals around the world, including Critic’s Choice (Orlando Fringe, USA), Outstanding Production (Suginami Theatre Festival, Japan), and The Spookies Jury’s Choice Award (Edinburgh Fringe, UK).
Written by Daniel Wishes and performed together with Seri Yanai, Book of Shadows is a prelude to a larger tale exploring the occult and esoteric. The first chapter premieres at the Edinburgh Fringe 2026, told through Mochinosha / Book of Shadowz’ signature shadow animation and puppetry, with a pitch-black sense of humour that will appeal to those of a weird and surrealist disposition.
Book of Shadows premieres at the Edinburgh Fringe, 18:30 at Underbelly Cowgate’s Big Belly, 05 – 30 August 2026 (no show 19-Aug).
The City of Edinburgh’s Lord Provost marked a special milestone this evening as he took on the prestigious role of Salute Taker at The Royal Edinburgh Military Tattoo opening night, celebrating his final Tattoo in office as Lord Provost.
Taking his place on the Castle Esplanade, the Lord Provost watched this year’s spectacular show, A Call to Gather, joining thousands of audience members as performers from around the world came together in a celebration of music, military tradition and culture.
The evening offered a fitting final Tattoo in office for the Lord Provost, whose role has seen him champion Edinburgh on the global stage and celebrate the city’s rich cultural heritage.
Running from 7 to 29 August, A Call to Gather features more than 800 performers from the UK, Germany, New Zealand, Qatar, the USA and beyond, bringing cultures together on one of the world’s most iconic stages.
Meet hundreds of people interested in volunteering
Promote your organisation and current opportunities
Have conversations with potential volunteers face-to-face
Connect with your local community
Raise awareness of the difference your organisation makes
Find new volunteers who could help your organisation thrive
Tuesday 1 September 2026
10am – 5.30pm
St Paul’s and St George’s Church, York Place, Edinburgh
Bring your own device and get one-to-one help with:
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