Nominations close at 4pm on Thursday 17 April 2025.
If you work with networks, groups, or community organisations in any of these areas we would be most grateful if could pass on this information.
Anyone who wishes to stand should complete a nomination form signed in ink, and return it to the Governance Team at Waverley Court, 4 East Market Street, Edinburgh, EH8 8BG by the closing date at 4pm on Thursday 17 April 2025. Alternatively, a mobile phone picture or scan of the nomination form can be returned by email tocommunity.councils@edinburgh.gov.uk by the same deadline.
Friday 25 April at 18:30 – Scottish Storytelling Centre
The opening night of this year’s Pomegranates Festival of international traditional dance (25 – 30 April), kicks off with a packed programme of ten short films celebrating traditional dance on screen.
Traditional dance is rarely presented through the genre of screen dance, and this exclusively curated programme aims to fill in this gap. It honours multiple types of trad dance styles and diverse cultural heritage traditions, including Scottish Step and Highland, Indian Classical, East African, Chinese, Hip Hop, and Breakdance.
The programme includes three diverse films directed by award-winning Canadian dance filmmaker Marlene Millar, Firstly, To Begin the Dance Once More – the newly revisedTraditional Dance Forum of Scotland’s first-ever screen dance production exploring Scottish and Egyptian stories of motherhood, featuring choreography by Vincent Hantam, andset to the new epic poem about Beira and Bride (the Queen of Winter and the Goddess of Spring) by Scottish storyteller Donald Smith.
Secondly, Offering – inspired by traditional dance processions from the Quebec-based Migration Dance Film collective, world-renowned for their innovative use of vocals and body percussive movement. Offering is directed by Marlene Millar in collaboration with choreographer Sandy Silva with the guest appearance of street dance sensation Omari Motion Carter. And thirdly, Bhairavafilmed on the ancient site of Hampi in India, directed by Marlene Millar and Philip Szporer (Mouvement Perpétuel, Montréal) with cinematography by Kes Tagney.
Kes Tagney’s recent short Homefeaturing Scottish step dancer Sophie Stephenson accompanied by musician Ronan Martin is also featured in the programme.
The Bright Fabric of Life directed by Mare Tralla
Other highlights include The Bright Fabric of Life directed by celebrated Estonian artist and filmmaker Mare Tralla; Deer Dancer which was first released as a major commission at the Edinburgh Art Festival in 2019 and features three dances, including Highland Fling, by Hanna Tuulikki exploring male masculinity in dance; two breakdance shorts Autocorrectcommissioned by Sadler’s Wells and directed by this year’s choreographer-in-residence MC, hip hop dance artist Jonzi D; and Second Guessing by Glasgow Bgirl Emma Ready which explores the harm experienced by coercive control.
HOME directed by Kes Tagney
Two other rarely screened films include Chinese short Crowned by Flame directed and performed by Lyuxian Yu; and Echoes of a Taiko Drum which was produced by Billingham Festival Director Olga Maloney, and features a unique fusion of Taiko Drums, Georgian, Irish and Indian Kathak Dance.
This 80-minute shorts film programme will be followed by a Q&A with featured creatives, including Scottish Bgirl Emma Ready, Estonian filmmaker Mare Tralla and Canadian filmmaker Kes Tagney.
Iliyana Nedkova,who together with Wendy Timmons is co-founder and curator of the Pomegranates Festival said: “I am very pleased that this year’s Pomegranates Festival’s opening evening show is all about world traditional dance and music specifically devised for the camera, not for the stage.
“I believe that magic happens where cinematography meets choreography. Following years of curating, judging and producing short dance films and screen dance festivals, I always wondered why we don’t have a dedicated platform for trad dance on screen.
“Well, while waiting for the dance film festival circuit to create such a platform, we decided to launch our own global programme and perhaps sow the (pomegranate) seeds of world trad dance on screen by selecting some of the best and rarest examples in this emerging new genre.”
Mare Tralla, the Estonian-born and Edinburgh-based artist, as one of the creatives featured in the programme said: ‘I can’t wait for the launch on the big screen of the latest Traditional Dance Forum of Scotland’s screen dance production The Bright Fabric of Life at the opening night of the Pomegranates Festival.
“I designed the set and costumes, shot and edited this new film in the summer 2024 with a great team of creatives using the body language of traditional African dance choreographed specifically for the camera by the esteemed Vincent Hantam.
“The film tells stories of motherhood and kinship, love and loss from Sub-Saharan Africa and Scotland. Also on the night we will celebrate the paperback release of Mhairi Collie’s book which inspired our film.
“The book, just like the film, explores the dramatic life story of Sylvie, an Ethiopian patient and Juliet – a Scottish surgeon.’
The dance films featured in the World Trad Dance on Screen programme at the Pomegranates Festival are:
AUTOCORRECT (2022, Dir. Jonzi D) Commissioned by Sadler’s Wells and directed and performed by Jonzi D, AUTOCORRECT features three male hip hop dancers from New York, London and Kampala. The short film takes inspiration from the cerebral poetry of Saul Williams, supported by Soweto Kinch’s textured soundscape.
Bhairava (2017, Dir. Marlene Millar and Philip Szporer) This short evokes facets of Shiva, the Lord of Dance, as both the destroyer of evil and the guardian of time. Carried by a strong and deeply evocative musical score and by the singular energy of the ancient site of Hampi, dancer and choreographer Shantala Shivalingappa embodies the presence and distinctive qualities of Bhairava. With her technical mastery and refined expressivity, she alternates between moments of precise symbolic gestures and more abstract body language surging from the powerful and omnipresent persona of Bhairava, creating a vivid incarnation of the deity.
Crowned by Flame (2024, Dir. Lyuxian Yu) In this work, the artist uses cigarette boxes (the world’s smallest drum), fire, and the traditional Ji Guan Headpiece (Cockscomb Headpiece)—key symbols of the Chinese ethnic minority Yi culture—to tell a powerful story about navigating cultural heritage and personal freedom. The performance contrasts black modern props with vibrant, traditional ethnic objects, creating a striking collision between cultural pride and the push for liberation.
Deer Dancer (2019, Dir. Hanna Tuulikki) A cross-artform project that grew out of research into the Deer Dance of the indigenous Yaqui of Sonora, Mexico, and their Pascua Yaqui descendants in Arizona, USA; the Highland Fling of the Scottish Highlands; and the Abbots Bromley Horn Dance of Staffordshire, England. The piece was further informed by experiential research into hunting practices and by direct observation of deer in their habitat and explores the mimesis of male deer behaviours, from the capering fawn, to the rutting stag, and how they can inform a ‘performance’ of masculinity by male dancers, and the implications of these gendered performances in society today.
Echoes of a Taiko Drum (2022, Dir. Olga Maloney)A new short screen dance and music film, produced by Billingham Festival Director Olga Maloney, featuring a unique fusion of Taiko Drums, Georgian, Irish and Indian Kathak Dance.Winner of the Best Audience Award at the European Short Film Festival in Berlin in 2022.
HOME (2024, Dir. Kes Tagney)
Shot in Scotland and Cornwall, HOME premiered last year at the Inverness Film Festival. It features Scottish step dancer Sophie Stephenson accompanied by musician Ronan Martin. Inspired by Stepheson’s love for Scotland, at its heart is a real sense of belonging and feeling of deep connection with the place you call Home.
Offering (2023, Dir. Marlene Millar) Using the traditional dance procession choreography, Offering creates a meaningful and joyful conversation between the body percussion artists featured in all Migration Dance Film Projects to date and new emerging artists from street, hip hop and gigue dance and circus arts. Special guest appearance by the British hip hop artist OmariMotion Carter.
Second Guessing (2023, Dir. Emma Ready and Therese Lynch ) Second Guessing investigates coercive control from the victim’s perspective. Emma Ready is a Bgirl, choreographer, and creative educator. During her 25 years of breaking, Emma has established an international reputation as an inspirational, and empathetic motivator.
The Bright Fabric of Life (2024, Dir, Mare Tralla)Using the body language of traditional African dance choreographed specifically for the camera, The Bright Fabric of Life tells stories of motherhood and kinship, and love and loss from Scotland and Sub-Saharan Africa. It captures the poignant story of Sylvie – a beautiful Ethiopian girl, whose dreams are destroyed when a disastrous childbirth leaves her broken both emotionally and physically, facing rejection and isolation.
To Begin the Dance Once More(2023, Dir, Marlene Millar) Four international dancers based in Scotland and Egypt reimagine the mythological world inhabited by the Celtic and Egyptian mothers of Earth. A beautifully compelling and vital piece of storytelling and movement for the screen. Featuring choreography by former Scottish Ballet Principal Dancer Vincent Hantam, and set to a new epic poem about Beira and Bride (the Queen of Winter and the Goddess of Spring) by Scottish storyteller Donald Smith.
The Pomegranates Festival (25 – 30 Apr) is the annual platform for the diverse 250+ individual and organisational members of the Traditional Dance Forum of Scotland to teach, learn and perform in new dance theatre and screen dance shows, as well as new productions and residencies. This is the fourth edition of Scotland’s annual festival of international traditional dance, initiated, curated and produced by the Traditional DanceForum of Scotland. It is presented in partnership with TRACS (Traditional Arts and Culture Scotland), Moray House School of Education and Sport, University of Edinburgh, Edinburgh Central Library, Dance Base and the Scottish Storytelling Centre.
In 2025 the Pomegranates Festival is funded by Creative Scotland Multi-Year Funding through TRACS (Traditional Arts and Culture Scotland); the City of Edinburgh Council and University of Edinburgh through the Edinburgh Local Community Fund.
Established in 2008, Leith-based charity Strange Town was set up to ensure that everyone, no matter their experience or their background, gets the opportunity to access life-changing activities in the arts.
Founded by local Directors Steve Small and Ruth Hollyman, the organisation has expanded across the last 15 years and now reaches 2,000 local young people every year through youth theatre classes, holiday programmes, a touring company and agency support for young actors helping to develop the careers of some of Scotland’s best-known local talent including Tallulah Greive and Lewis Gribben.
Across all the charity’s activities, Strange Town creates high quality work that is daring and entertaining, tackling subjects of importance to young people’s lives, such as consent, knife crime and climate change anxiety.
The organisation tours local schools with educational performances that spark discussion, debate and often provides local young people with their first experience of a theatrical performance.
This week the charity’s Young Company (18-25) returns to the Scottish Storytelling Centre after their sold out shows there last year. ‘The Dark Up Close’ by local writer Jack MacGregor has been specially commissioned for Strange Town’s Young Company.
Open to everyone age 12+ the play will run for two nights Wednesday 26th and Thursday 27th March.
‘Two teenagers digging graves, an island full of conscripts and puffins, the guns are silent on the eve of World War III.
‘These are scenes from a near future Britain, a country in crisis, with national service reinstated for all young people. The old world is dying, and the new world has been delayed indefinitely.’
Venue: The Scottish Storytelling Centre, 43-45 High Street, EH1 1SR
Arts activities enrich lives, but organisations such as Strange Town are seriously under-funded, and the future is uncertain. Strange Town relies on its fundraising activities to deliver fully accessible activities for local young people.
Funders include the Backstage Trust, the Garfield Weston Foundation, the Cordis Trust, Crerar Trust and others.
The charity also runs the 15for15 fundraising initiative where local people can donate monthly to support their life-changing work.
Exclusive new Contagion & Carnage: The Plague Tour at The Real Mary King’s Close brings to life one of Edinburgh’s darkest chapters
The Real Mary King’s Close is offering an uncompromising look into one of the most devastating chapters of Edinburgh’s history: the Plague.
Recently revealed as the UK’s favourite tourist attraction and 11th best visitor attraction in Europe in this year’s Tripadvisor® Travellers’ Choice® Awards – Best of the Best for 2024, this limited-time event promises a compelling insight into the people who lived—and died—through Edinburgh’s darkest days.
The immersive ‘Contagion & Carnage: The Plague Tour’will take place every Friday and Saturday throughout April 2025, within the atmospheric underground streets of The Real Mary King’s Close. Guests will be transported back to the 17th century during the tour with stories on how the Black Death ravaged the city, as streets were overcrowded and unsanitary.
During the tour, which is not for the faint hearted, guests will learn about figures such as Dr. John Paulitious, Edinburgh’s first official plague doctor, and Lang Meg, a rare female leader of the city’s Foul Clengers—the team tasked with cleaning infected homes and disposing of the dead.
Through storytelling, visitors will witness the impact of the bubonic plague and learn about the desperate measures taken to contain its spread.
Guests will explore the once cramped 17th-century homes, where entire families suffered through illness with little hope of survival. The tour also delves into the gruesome medical practices of the time, from the use of red-hot pokers to treat buboes to the introduction of the now-iconic plague doctor’s beaked mask, an early form of protective clothing.
Paul Nixon, General Manager at The Real Mary King’s Close, said:“The Real Mary King’s Close is a place filled with excitement and mystery, as guests explore what the city was once like.
“The streets encountered some of Edinburgh’s darkest days, and the plague was one of the most devastating events to hit the city as it ravaged the overcrowded streets. We are proud to be able to tell the story of what happened with our new immersive Plague Tour that will not only bring to life what happened but show how it impacted us all today helping shape modern pandemic responses.”
The experience draws striking parallels between past and present, highlighting the evolution of disease control and the eerie similarities between historic quarantines and modern pandemic responses. This gripping exploration of Edinburgh’s plague-ridden past is both educational and thought-provoking, shedding light on a chapter of history that shaped the city’s future.
The Real Mary King’s Close stands as an important part of Edinburgh’s history. It teaches the following generations about the incredible struggles people faced during the plague, the extreme living conditions, and the punishing impact of social hierarchy.
The tours will be running four times per day every Friday and Saturday throughout April 2025. Tickets for the Plague Tour are priced at £30 per person, with availability limited due to the intimate nature of the tour. Given the expected demand, early booking is highly recommended.
A first opportunity to hear Councillor Stephen Jenkinson, the Council’s new Transport Convener, speak on the role of cycling as part of Edinburgh City Council’s transport policy.
Cllr Jenkinson will be accompanied by Deborah Paton, Head of Transport, Strategy and Partnership at the Council. Deborah has considerable previous transport and active travel policy experience, including at Glasgow and West Lothian Councils.
At the start of his convenership, Cllr Jenkinson said there has been a great deal of consultation and policy development in the last few years, resulting in the Mobility Plan and other excellent policies under Future Streets … and that his priority would now be delivery.
This is a chance to hear what is happening, and to put forward your priorities, ideas and concerns in the QA.
Doors open 6.45 for coffee, stalls and chat, including Spokes Maps at special stall prices, and a stall to join Spokes or renew membership
Questions Questions for the panel, can be emailed to spokes@spokes.org.uk, at least a day in advance. However, questions in person from audience members are likely to have greatest priority on the night
Online We hope to live broadcast on our youtube channel – confirmation nearer the time – and make the recording available soon after
John’s Coffee House and Tavern reopens after 200 years!
After 200 years, John’s Coffee House and Tavern is returning to Edinburgh’s historic Royal Mile following a £500,000 investment from CoDE Concepts.
Once a renowned gathering place for Scotland’s legal minds, writers, and thinkers, the revived John’s Coffee House and Tavern honours its rich past while celebrating the best of local Scottish produce.
Following a complete refurbishment, the new space allows the original assets of the coffee house to stand out thanks to Edinburgh-based interior designers, Morgan Architects. Working to accentuate the historic details of the coffee house, the brand-new, warm and inviting space welcomes guests to enjoy everything from breakfast in the morning to drinks later at night, staying true to Edinburgh’s 17th century coffee house and taverns.
Founded in 1688 in Parliament Square, John’s Coffee House and Tavern was a lively hub of intellectual discussion and social debate. At the time, there was little distinction between coffee houses and taverns – both served coffee, ale, wine and food making them central to Edinburgh’s bustling social and political scene. John’s Coffee House was no exception, drawing in a diverse crowd of legal minds, writers and merchants.
Frequented by notable figures such as Adam Smith and David Hume, it is said that some of the most influential ideas of the Enlightenment were born here, with a coffee or ale in hand. Judges and advocates famously gathered for their midday “meridians”, a stiff drink before heading back to court. Though the original establishment was tragically lost in the Great Fire of Edinburgh in 1824, its legacy lives on.
Goods of all kinds once passed through John’s Coffee House, from coffee, fine wines, to land, ships and even stocks of the Royal Bank of Scotland. Now, two centuries later, this historic establishment is reopening offering a menu that blends tradition with contemporary Scottish flavours.
Signature drinks include the historic ‘Cauld Cock & Feather’, a glass of brandy with raisins, once a favourite of 18th-century patrons, and ‘The Enlightened Irish Coffee,’ featuring Highland Nectar Scotch Whisky Liqueur, freshly brewed coffee, maple syrup, and a topping of whipped cream. Guests can also enjoy sharing boards featuring Scottish cheeses, charcuterie, and artisanal chutneys from Arran.
Sourcing ingredients from the local suppliers, the coffee house and tavern will feature tea and coffee from Edinburgh Tea Company and Common Coffee, haggis from Hall’s of Scotland, and baked goods from Le Petit Français and The Edinburgh Scone Company. Drinks include craft beers from Bellfield Brewery and cider from Edinburgh Cider Co.
Andrew Landsburgh, Director and Founder of CoDE Concepts shared:“This is one of Edinburgh’s most fascinating and storied buildings. Walking through the old cells and courtrooms back in 2019, when opening the CoDE The Court, was eerie, yet inspiring. Our vision was to modernise the space while paying homage to its extraordinary history.
“Coffee was at the heart of John’s Coffee House and Tavern for over a century, fuelling debates, shaping ideas and bringing people together. Now 200 years later, we’re proud to continue this tradition, serving exceptional coffee and drinks in a space where history is written on the walls.”
Located in a Category A-listed building within Edinburgh’s Old Town Conservation Area and World Heritage Site, the new John’s Coffee House and Tavern invites visitors to step into history while enjoying the best of Scotland’s culinary offerings.
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 – fromDorothy WildingandCecil 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).
Explore the hidden streets of Edinburgh like never before with The Real Mary King’s Close ‘Underground Unlocked’ experience
The streets beneath Edinburgh’s Royal Mile which were home to real residents, will come alive once again.
For one evening only on Thursday, 13th March, The Real Mary King’s Close is inviting guests to a truly unique event that will cast The Close in an entirely new light. Unlike the usual guided experiences, this immersive event will let visitors wander the streets at their own pace, uncover hidden tales, and interact with the past in an environment brimming with atmosphere and characters.
The one-of-a-kind event will see the streets beneath Edinburgh’s Royal Mile buzz with life as guests stroll through preserved homes and businesses, stepping into the world of those who once lived, worked, and died here.
Recently crowned the UK’s best tourist attraction and ranked 11th best visitor attraction in Europe in the 2024 TripAdvisor® Travellers’ Choice® Awards – Best of the Best, The Real Mary King’s Close continues to captivate visitors with its unique blend of history, storytelling, and immersive experiences.
Guests at ‘Underground Unlocked’ will come face to face with the people who once called The Close home. Encounter the enigmatic plague doctor, John Paulitious, and hear his grim warnings. Stop for a conversation with Mary Stewart, Mary Queen of Scots, who spent her last night in Edinburgh in Pearson’s Close.
Exchange words with renowned poet Robert Fergusson, or pause to listen to Janet Chesney, mother of the Close’s final resident, as she shares memories of a vanished way of life.
The two-hour experience will allow guests to wander leisurely and curiously as every turn reveals a new piece of history, character, and every shadow holds a secret.
Paul Nixon, General Manager at The Real Mary King’s Close, said: “Our new Underground Unlocked events give a rare chance to explore The Real Mary King’s Close at your own pace for up to two hours.
“During the one-off experience, guests will meet and interact with up to 13 historic residents, and step inside preserved homes and businesses, exactly as they stood centuries ago.”
“We wanted to give an idea of what the streets would have been like back in the 17th when the Close would have been bustling with life. At The Real Mary King’s Close, we are passionate about storytelling and creating unforgettable experiences that transport our visitors back in time.
“We can’t wait to welcome them to ‘Underground Unlocked’ and give them our most immersive experience yet.”
The special ‘Underground Unlocked’ experience will be running on Thursday 13th March from 18.00 until 21.00. Tickets are £40 per person. Spaces are extremely limited, so pre-booking is highly recommended.
This month we are showing the work of Jane Murray (1952-2024). The exhibition, titled Starting With A Line, was organised first by Jane herself and latterly by friends and family and includes paintings on wood, oil pastel on paper and mixed media works.
In a short introductory text in her own words, Jane shared reflections on her art practice which conclude: “As I have got older there is the realisation that the genre of my work was less reliant on observation and more on the expressive and instinctual, similar to that early child who put together visuals to make sense of her world.”
Jane was also a much-loved member of Edinburgh International Book Festival’s Citizen Writers Group and some of her old pals have already visited the exhibition on George IV Bridge.
