A Scottish hog roast business famed for the freshly roasted pig visible from its three Edinburgh shop windows is celebrating a quarter century of roasting.
The prominent Oink shops celebrate just one product – the 14 hour slow-roasted pork, which available in three sizes of rolls, or in a box, with optional haggis stuffing, crackling, apple sauce or chilli sauce.
Founded by two Borders’ farming families off the back of the 1999 pig price crash, the brand, which has been copied around the world from China to Argentina, is targeting 2025 as being its record year, with an aim to surpass 250,000 rolls sold.
Adam Marshall, who co-founded Oink with Sandy Pate and farms land near Reston in Berwickshire, said: “When we started out, we weren’t trying to build an empire — we were just two farmers trying to stay afloat during a tough time for the pig industry.
“We built our own ovens, turned up at farmers markets, and hoped people would give it a try. To still be here 25 years later, serving hundreds of thousands of rolls a year, is something we’re really proud of.
“We’ve stuck to what we know, kept it simple, and done it our way. The fact people still queue up for it means a lot to us.”
The collaboration started when Adam Marshall and Sandy Pate founded Reiver Country Farm Foods and began selling produce from their farms and neighbours locally.
Then, inspired by what was believed to be the only hog roaster at the time, a business in York, the entrepreneurial pair brought a homemade roasting oven and started venturing up to Castle Terrace to take part in the first established Edinburgh Farmers Market.
Their piping hot pulled pork rolls proved an instant crowd-pleaser, attracting a growing band of hungry regulars, which paired with the demand from tourists, especially those from Asia and mainland Europe, then inspired the move to bricks and mortar in the Scottish capital.
Oink owners Adam Marshall (Pink shirt) and Sandy Pate
Sandy Pate, who farms around 12 miles away from Adam in Longformacus, said: “We were just two mates with a passion for great meat and a desire to show city folk what Borders farming could deliver.
“We never imagined that a weekend stall would become something that would draw such loyal customers from near and around the world.
“At the end of the day, it’s about making people happy with something that tastes brilliant – and diversifying our farming businesses to ensure a viable and prosperous future for our families.”
The pair opened the doors to their first dedicated shop, Oink, in the heart of Edinburgh’s Old Town in 2008. Nestled on the cobbled Victoria Street, the shop quickly became a firm favourite among tourists, students, and workers alike.
A second opened on the Royal Mile in 2014, followed by a Hanover Street shop in 2018.
Oink has grown into a treasured part of the city’s food scene, dishing out thousands of hand-pulled rolls each week and building a fiercely loyal following. Its famous fans include Radio 1 DJ Greg James, comedian and foodie Ed Gamble, the Australian Rugby Team and Phil Rosenthal – who featured the Victoria Street shop on hit Netflix show “Somebody Feed Phil”.
Though the original Reiver farm shop in Reston has closed its doors, it laid the foundations for everything that came after. Their commitment to quality and flavour has also powered a thriving outside catering business. The Oink mobile service caters weddings, corporate events, and private parties across Scotland, with pork roast options all prepped in their specialist unit.
Looking back, the founders, who both turn 65 this year and have no plans to slow down or retire, are proud that the business continues to be family-run and fiercely independent, with Adam and Sandy supported by their partners and families and a team of 30 employees.
Oink owners Adam Marshall (Pink shirt) and Sandy Pate
Adam added: “Edinburgh’s food scene has changed a lot over the years — there’s more chains, more trends, and a lot of investment.
“We’ve just stuck to what we know: good pork, cooked slow, served simply.”
Pic Greg Macvean 27/04/2025
City of Edinburgh Council – reception at City Chambers for the Arts Festivals Summit
215 festival specialists gathered this week in Edinburgh for the European Arts Festivals Summit 2025.
Hosted by the Edinburgh International Festival, Festivals Edinburgh, and the City of Edinburgh Council, the Arts Festivals Summit 2025 of the European Festivals Association’s (EFA) welcomed over 200 festival professionals for a four-day conversation about festivals, arts, and the role of arts festivals today.
With 215 delegates participating from 44 countries, it has brought diverse perspectives, questions, and themes forward on how festivals can assume a responsible role towards their artists, audiences and societies in an ever-changing world.
Edinburgh International Festival Director, Nicola Benedettiopened the Summitwith a keynote talk on her experience of taking on the role and how her perspective as a performing artist has shaped her approach to curation, collaboration and connection.
Ms Benedetti shared reflections on the importance of holding in balance a deep respect for the past whilst providing a fertile ground for daring innovation, risk and unbridled creativity.
Delegates heard from a range of different voices and perspectives to gain a greater understanding of the interaction between festivals and their city, particularly in the case of Edinburgh, and explored the different aspects that contribute to Edinburgh’s success story.
They had the chance to meet the network of Festivals that exists in Edinburgh and the eleven festivals that contribute to Edinburgh’s unique reputation as The Festival City.
Fittingly Edinburgh is one of the founding members of the recently established EFFE Seal for Festival Cities and Regions, run by EFA which was developed by seven cities – Belgrade, Bergen, Edinburgh, Ghent, Krakow, Leeuwarden, and Ljubljana – to build on the achievements of the EU-funded Europe for Festivals, Festivals for Europe – EFFE programme and sets out to build co-operation between cities and their festivals across Europe.
During the Summit, four cities signed up to the EFFE Seal: Nis (Serbia), Budapest II District (Hungary), Coimbra (Portugal) and Tampere (Finland).
The EFFE Seal recognises cities for their commitment to their festival communities and aims to promote creativity, sustainability, internationalism, and resilience through knowledge exchange.
The future of festivals and their place in society focused delegates on how festivals contribute to societal topics such as sustainability, inclusion, well-being and freedom of speech, discussed from the point of best practices, learning from failures, perspectives and innovative proposals.
Inspiring keynotes by Roman Krznaric, author and social philosopher, and Elena Polivtseva, independent researcher and a co-founder of Culture Policy Room, challenged participants to think through the current tests the arts are facing, their vision for the future and the importance of long term thinking.
Nicola Benedetti, Festival Director, Edinburgh International Festival, said: “The Edinburgh International Festival exists to spark dialogue and cultural exchange – not only on our stages, but across communities and borders.
“It was a privilege to host the European Festivals Association’s 2025 Summit at The Hub, our home in the heart of the Festival City – where the International Festival sparked what is now the largest cultural celebration after the Olympics, every August in Edinburgh.
“Being surrounded by such a dynamic gathering of cultural leaders was a powerful reminder that the most enduring festivals and institutions are driven by a deeper desire to change society for the better.
“Coming together with our international counterparts to reflect, challenge, and collaborate on how we can deepen our impact was both energising and essential.”
Jan Briers, President of European Festivals Association affirmed: “The Summit in Edinburgh was full of new information, permanent networking, and making new collaborations and friends.
“It was a wonderful edition during which festivals coming from many different contexts discussed the future and its shape.”
Lori Anderson, Director of Festivals Edinburgh added:“Seeing our European festival colleagues inspired by cultural conversations across the city, and exhilarated by the beauty of Edinburgh, has been not only heartening but deeply moving – and reminds us that, in the current climate of global uncertainly, there is so much that unites us and so much to gain from deeper international relationships”.
EFA Members elected their President giving a continued mandate to its current chair, Jan Briers
Jan BRIERS shared: “I am pleased to continue to chair this wonderful organisation and being elected in Edinburgh is very meaningful for my new mandate.”
Michael Herrmann, Founder and Director of the Rheingau Music Festival, has been appointed as new Honorary Member of EFA.
The Summit concluded with the handing over of Edinburgh to Budva, Montenegro.
“We are excited about the opportunity to host the Arts Festivals Summit in Budva next year. The gem of the Western Balkans has many things to offer.
We are committed to make sure delegates enjoy a fruitful and unforgettable stay.“, said Milena Lubarda Marojević, Director of Theatre City Budva that will host EFA’s next Arts Festivals Summit in April 2026.
During the Summit, 22 new organisations joined EFA, reinforcing EFA’s desire to increase the more diversity of its membership and adding to the Association’s relevance at a geographical and artistic level.
New members include Africa Simply The Best (Belgium), Anibar International Animation Festival (Kosovo), DokuFest (Kosovo), Festival Fabula (Slovenia), Festival Música Viva (Portugal), Food Film Fest Bergamo (Italy), I Suoni Delle Dolomiti (Italy), KotorArt International Festival (Montenegro), Maribor Theatre Festival (Slovenia), Oeiras International Piano Festival (Portugal), ReMusica Festival (Kosovo), SPRING Utrecht Performing Arts Festival (Netherlands), Turkish State Theatres (Türkiye), and Vicenza Opera Festival (Italy). Five Ukrainian festivals have been reconducted in their membership, expressing EFA’s solidarity with the country: Construction Festival, Festival of Contemporary Art “Gogolfest”, Kharkiv Music Fest, Odessa Classics Music Festival, and Ukrainian Festival Association “Art-Ethno Fest”.
Three organisations also joined as collective and affiliate members: Creative Island (United Kingdom), the Association of Asia Pacific Performing Arts Centres (AAPPAC) and the World Federation of International Music Competitions (WFIMC).
Safeguarding Scottish Dance Traditions for the Future
MONDAY 28 APRIL, 18:30
On the eve of International Dance Day, the Pomegranates Festival (25-30 April) will discuss and demonstrate through dance, the importance of safeguarding Scottish traditional dance in an international context.
Leading the discussion will be Steve Byrne Director of TRACS (Traditional Arts and Culture Scotland), and an expert advisor to UNESCO on intangible cultural heritage. Joining Steve will be Rachel Hosker of the Centre for Research Collections, University of Edinburgh, Árpád Vörös, recipient of a knighthood for his lifetime contribution towards Hungarian folk dance and Sebastian Wanless, Chair Elect of the Royal Scottish Country Dance Society.
The discussion will start with demonstrations of traditional dance accompanied by live music including Scottish Country Dance, Highland and Polonaise, Leading the display and accompanied on the bagpipes by Stephen Clark will be Eilidh Gammons, twice Junior World Champion in Highland Dancing, followed by Lily and Lucy Clark – all students at Helensburgh’s Margaret Rose School of Dance, run by Margaret MacInnes, a recipient of the British Empire Medal for services to Highland dancing.
Edinburgh-based members of the Royal Scottish Country Dance Society Andrea Ritchie, Eilidh Garden, Faye McNeil, Rachel Shankland, Andrew Nolan, Jürgen Munz will perform a fine selection of Scottish Country Dances.
These will be followed by a short display of Polonaise(performed by members of Parzenica, Scotland’s Polish Folk Dance Group – Anthony Carter, Fiona Lynch, Natalia Nowak and Renata Grillanda.
The Polonaise was inscribed in UNESCO’s list of intangible heritage and list of humanity to be safeguarded in December 2023. It is hoped Scotland’s traditional dances will be put forward for inscription when the UK Government opens its list to nominations for intangible cultural heritage later this year.
Intangible Cultural Heritage (ICH) encompasses the rich tapestry of traditions, expressions, and practices that communities inherit from their ancestors and pass on to future generations. It resides in the realms of knowledge, skills, rituals, music, dance, language, and other forms of expression and is a dynamic and living heritage that constantly evolves, reflecting the collective wisdom, creativity, and identity of diverse communities worldwide.
Wendy Timmons and Iliyana Nedkova, Festival Co-curators said: “We are delighted that this year’s Pomegranates Festival is themed around traditional dance and intangible cultural heritage, especially at a time when Scots are soon to be invited to nominate their favourite traditions to be included on an official living heritage list.
“Later this year, submissions for the list will be encouraged from all sectors of society, including the traditional dance communities and people who have brought dance traditions from overseas to the UK.”
Sebastian Wanless, Chair Elect of The Royal Scottish Country Dance Society (RSCDS) said: “We are thrilled to participate in theFourth Pomegranates Festivaland to showcase Scottish country dance on the eve of the UNESCO International Day of Dance.
“For over a century, we have championed the vibrant tradition of Scottish country dancing—an energetic blend of lively music, joyful movement, and deep-rooted culture. More than just steps and tunes, Scottish country dance is a unique social phenomenon that welcomes everyone, everywhere.
“Together with dancers from around the world, let’s celebrate movement, culture, and unity in the lead up to this special day.”
Speakers:
Steve Byrne was appointed as Director of TRACS in 2023. A noted performer, researcher, folklorist and community activist, Steve trained at the School of Scottish Studies at Edinburgh University, before embarking on a distinguished creative career. Steve is a founding member of Scottish folk bandMalinky and has contributed to the digitisation of vital early recordings of Scottish music and storytelling.
Rachel Hosker is the University Archivist and Research Collections Manager. Rachel originally trained as an archivist, and now manages archivists, librarians and curators responsible for the University’s cultural heritage collections and welcomes IASH fellows to the Centre for Research Collections at the University. Rachel is Chair of the UK UNESCO Memory of the World Programme.
Árpád Vörös (Budapest) is a dancer and folk dance teacher. He was awarded a Knighthood of Hungarian Culture in 2020 for the care of Hungarian folk dance. From 1990, for ten years, he was a teacher at the Árpád Bókay Elementary School in Pestszentlőrinc, and founded the TÉBLÁB Dance Ensemble. Today, he is the president of the foundation that operates the school and a professional assistant and choreographer of several ensembles in Transylvania, Felvidék and Vojvodina, as well as an ethnographic researcher of the region.
Wendy Timmons (Chair) is a Senior Lecturer in Dance Science and Education at the University of Edinburgh, and co-producer of the Pomegranates Festival. She has many years of professional arts practice, and is well experienced in teaching and training dance artists, young dancers and dance teachers.
Alongside her teaching, research and programme development, Wendy has undertaken many knowledge exchange and applied Dance Science and Education research projects. She is currently Convenor for the Traditional Dance Forum of Scotland and the Health & Wellbeing Trustee at Dance Base.
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 Dance Forum 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.
Join an unforgettable Summer Outdoor Club and explore Edinburgh like never before
This summer, Dynamic Earth – Edinburgh’s Science Centre and Planetarium – is welcoming back children to its ever-popular Summer Outdoor Club.
Following a sell-out club in 2024, Dynamic Earth’s Summer Outdoor Club returns to inspire a new generation of young scientists. Designed to give children the skills they need to become scientists through fun outdoor activities like rocket engineering and shelter building, plus lots of crafts and group games.
Running throughout July and early August, the club takes place in Holyrood Park and the stunning green spaces surrounding Dynamic Earth. Each day focuses on a different themes and skills essential for scientific success such as creativity, problem solving and experimenting.
The Summer Outdoor Club gives kids the opportunity to design exciting inventions, crack tricky questions and work together to make the big things happen — all while making new friends and unforgettable memories.
With a mix of outdoor play, science games and nature walk there’s something to spark the imagination of every young scientist. With limited spaces available, Dynamic Earth encourages booking early to avoid disappointment.
Conor Ellis, Director for Science Learning and Engagement at Dynamic Earth, said: “Our Summer Outdoor Club is the perfect solution for parents looking for enriching holiday activities this summer.
“With specialist kit, expertise and access to Holyrood Park – our team will deliver an inspirational outdoor club that highlights the importance of the local natural world in our everyday lives.
“It’s an exciting chance for young minds to connect with nature and embrace the scientific skills needed for success and have a brilliant time doing it.”
Dubbed by families as “the best summer camp in Edinburgh” by previous attendees and loved for its unique mix of fun and education, this year’s programme promises to delight from start to finish.
The Great Edinburgh May Day Cabaret returns for the third year running. There’ll be comedy, music and poetry to celebrate International Workers’ Day.
Compered by Jim Monaghan, and featuring a fantastic line-up of poetry from Stirling Makar, Kevin P Gilday, comedy from Vladimir McTavish and music from Calum Baird, Elsie McDonald and award-winning English folk-punk, Joe Solo.
Supported by Fair Pley, The STUC, Allan McDougall Solicitors and The Edinburgh, Lothians and Borders May Day Committee.
During renovations, an exceptionally rare Victorian Crossley engine was found tucked away in the attic of CoDE The Court, where it had remained hidden for decades. It is now on display in The Lost Close, the underground vaults of the building.
Built in 1878, this marvel of Victorian engineering, it was far ahead of its time, used to regulate the temperature of the Edinburgh Police Chambers, and its survival offers a rare glimpse into 19th century innovation.
Remarkably, this engine is the second-oldest surviving Crossley four-stroke engine in the world and the oldest in Europe. Only two other examples exist, the oldest is housed at the Henry Ford Museum in Michigan, USA, and another in Denmark. Its discovery, in near original condition, by founder Andrew Landsburgh, adds a significant chapter to Britain’s industrial heritage.
Copyright James Armandary Photography
It’s unclear whether the engine was newly installed in the building or a second-hand acquisition. Adding to the intrigue, research revealed a royal connection.
In the 1800s, Edinburgh Police Chambers and Balmoral Castle, the Royal Family’s Scottish residence, had the same system installed; adding to the royal connection, this rediscovered engine had originally been installed in the short lived “Royal Aquarium” at Waverley, before being moved to the police chambers in 1881 where it was installed for the purpose of ventilation.
Copyright James Armandary Photography
Andrew Landsburgh, Director and Founder of CoDE Concepts, said: “This is one of the most exciting finds in Scotland. We found it during The Court’s renovation, posted a photo online not knowing what we had, and suddenly experts from around the world were contacting us telling us we’d uncovered something incredible.
“What began as a refurbishment turned into the discovery of a vital piece of Edinburgh, and the world’s industrial heritage. This engine connects us directly to Scotland’s innovative past and the very beginnings of technology which still powers the modern world.
“We’ve brought it down from the attic to The Lost Close, the underground vaults of the building, where visitors can experience this historic find firsthand.”
Copyright James Armandary Photography
The story of this extraordinary discovery will be featured in an upcoming documentary titled ‘Potential Energy’ airing from 23rd May, which delves into how the engine was found, its relocation from the attic to The Lost Close, underground vaults of the building and the possibilities of restoring it for modern use.
The engine is currently on display at The Lost Close. To mark this discovery, The Lost Close is launching the Scottish Innovations Tour this June, exploring the country’s contributions to innovation and industry.
Visitors will journey through The Lost Close, now the permanent home of the Crossley ‘Otto Silent’ engine, and uncover Edinburgh’s role in shaping global technological progress.
James Armandary, Tourism Development Lead of The Lost Close, said: “This is an incredibly exciting addition to The Lost Close. It’s not every day you uncover a piece of engineering history that bridges the gap between Scotland’s past innovations and technology we take for granted today.
“This building continues to surprise us with its storied history and with the launch of the Scottish Innovations Tour, visitors will not only be able to see the engine up close but also explore Edinburgh’s long-overlooked role in shaping global industry.”
The Lost Close, hidden for nearly two centuries beneath layers of rubble from the Great Fire, was also rediscovered during renovations in 2019.
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.
