We’re over the moon to announce that we have been awarded multi-year funding from @creativescots !!!
This will help us to plan for the future in ways we have never managed to before, to build on recent successes like our Adopt a Piano scheme and to help us one day find a permanent home for the Pianodrome Amphitheatre in Edinburgh.
Huge credit must go to Creative Scotland for recognising the potential of small cultural organisations to make huge positive impacts.
Creative Scotland have done great work advocating on behalf of artists and culture and we’re chuffed to bits to have this core funding secured for the next three years.
Over the last 7 years we have developed from project to project; articulating new ideas, saving over 600 pianos from landfill, working with hundreds of artists and welcoming tens of thousands of participants into to our community-focused interactive spaces.
Thank you to the local and international communities who have supported and believed in the Pianodrome thus far.
We’ll continue to strive towards our conviction that no piano is junk, and no person is unmusical!
Open Letter from SHONA McCARTHY, Chief Executive, Edinburgh Festival Fringe Society
What a fantastic week for the cultural sector of Scotland. All the lobbying, advocacy and effort from so many, for so long, has resulted in some desperately needed stability and longer-term security; and Culture Counts did a sterling job in leading the charge.
It has been uplifting and joyful to see so many brilliant theatres, companies, community art centres, creatives and festivals across Scotland, invested in, and supported to make new work and do ambitious things.
A special nod to the success of our sister festivals – the Film, Children’s, Art, Book and Jazz festivals; and with over £5million in public sector support per year, the Edinburgh International festival will be enabled to undertake some truly wonderful commissions and programming. Perhaps this will be the moment for some shared resource into a collaboration of all six summer festivals to create a spectacular, free-to-access opening and closing of the whole season for Edinburgh’s residents. Exciting times and I look forward to the imaginative programming to come.
It is also wonderful to see Hidden Door secure some core support – its devolved curatorial approach and fusions of genre and imagination have brought something new to the whole festivals landscape. Congratulations are due all-round and hats off to the Scottish Government for recognising the value of the arts to the heart and soul of the nation, to job creation, well-being and the economy. All of this in the same week that the Fringe Society has had its own news to share, with the announcement of our new Chief Executive coming in to post in April this year.
However, I hope support can also be found for those who didn’t make the list this time.
The Fringe is a different beast. It is complex, but only if you want it to be. However, its complexity should not be a reason not to support the very event that gives Edinburgh’s festivals their global brand, economic success and enormous impact for the performing arts across Scotland, the UK and the world. It truly is an access point for so many artists and audiences alike, into the arts.
Here’s where we are:
The Edinburgh Festival Fringe is made up of thousands of moving parts. All of those are important and are what make it unique. The Fringe is not a funded, curated arts festival, it is a platform and a marketplace that is open to anyone. Every artist or show that comes to Edinburgh does so at their own financial risk, and with their own set of objectives for what they want from participating in the Fringe. There are many producers who will annually develop and support a selection of shows to present at the Edinburgh Fringe, who share the risk with their artists. The venues that host them are all different models, but many of them also take significant risk, or share risk with producers and artists.
Then there is the Fringe Society – the small charity that is made up of Fringe members and provides core services to the festival: artist support, box office, marketing, promotion, and audience navigational tools. Income generated from participants through registration fees and box office commission pays for these services. The Fringe Society delivers a whole programme of added value that is designed to remove barriers to participants and audiences and ensure inclusion. This work isn’t financed by income from the Fringe, but is supported by donations, fundraising and ring-fenced public funds for projects. In keeping costs to participants low or frozen for 18 years, the income generated from registration fees and tickets, has long-since come far short of covering the costs of services to the Fringe.
Once upon a time the Fringe was a self-financing ecosystem with a collective effort from all the fringe-makers on keeping it affordable for artists and audiences. However, the well-documented economic context of recent years changed that. In this moment, if Edinburgh, Scotland and the UK wants to keep the Edinburgh Festival Fringe, then the whole thing needs support, and that has to come from multiple sources and has to support both the Fringe and the Fringe Society.
The Fringe Society needs core annual public sector support if it is to continue to provide services to the Fringe at an affordable level. It also needs to be able to adjust its fees to meet some of the rising costs too. A stable Fringe Society can continue to play a positive convening role for the wider Fringe community and in recent recovery years we have been able to redistribute some £6.3million out through the Fringe ecology in funds for artists, producing venues and support for Scottish work, to help it survive and stabilise.
The Fringe Society will continue to use its convening role to raise funds to support artists through the Keep it Fringe fund and Made in Scotland. We must also ensure that the essential digital infrastructure that supports festival systems – online tools and wayfinding, are future-proofed, and will seek support and donations to retain our 32 community partnerships across the city so that they can continue to experience their Fringe their way, both during August and year-round.
What could a whole Fringe support strategy look like.
For a stable, healthy Fringe we need a joined-up investment strategy that includes the Scottish Government, the City of Edinburgh Council and the UK Government. We have continuously made the case and both UK and Scottish Governments have recognised the unique place that the Fringe occupies as a platform, a showcase, a marketplace and global expo. There is nothing else like it on these islands, and it offers something unique in the world as an annual global meeting place to celebrate the performing arts in all their glory and for the business of the performing arts to be done.
We of course need a stable Fringe community with companies, producers and theatres able to produce work, and the investment from the Scottish Government last week goes a long way towards this. We will continue to lobby until Scotland is on a par with the best of Europe.
The Fringe Society’s new year-round Fringe Central secured a capital grant that will create new affordable rehearsal spaces for artists, and also unlocked £1million in Keep it Fringe funds for direct bursaries to 360 artists over 2024 and 2025. The Fringe Society are aiming to sustain the Keep it Fringe fund in some form, and producer James Seabright, has already committed the first £25,000.
Investment in the Fringe Society from the Scottish Government is needed to ensure the charity can continue to provide core services to this vital event.
The Scottish Government have recognised that this organisation falls between the cracks and have made the commitment to support, and this is a work in progress. Scottish artists, companies and many local producing theatres and venues are supported through the multi-year funding programme, the Open Fund, and the Made In Scotland showcase at the Fringe and this helps. Yet there is still a gap in support for the whole Fringe operation, and there is a continuing disparity between the infrastructural needs and financial support made available for major sport events as opposed to the investment in sustained, annual arts events with longitudinal impact, like the Edinburgh Fringe.
For the UK Government – the Edinburgh Fringe hosts artists from all over the UK, with over 2,000 shows coming from England alone every year; with producers and promoters bringing work to be showcased and booked for onward opportunities. The Fringe ecosystem needs support to host all of this.
The UK Government have so far provided a Capital Grant to the Fringe Society to create a year-round Fringe Central space, and we have been making the case to build on this investment for the whole ecology. This could happen in several ways:
Theatre Tax Relief could be extended to support the venue infrastructure set up at the Fringe that is undoubtedly part of the production process
The Fringe should be supported by UK Government for its role as a driver of the Creative industries – Industrial strategy, and well-positioned for support from the £65 million recently announced by Secretary of State Lisa Nandy
It should be recognised as a Major Event for the UK, and its operating structures supported as would so readily be done with a sporting event of this scale and reach, such as an Olympic or Commonwealth Games
Arts Councils across UK should be investing in their artists to support them coming to the Fringe, as international showcases already do
The City of Edinburgh Council is crucial in providing a supportive operating context:
The Fringe will generate over £1million in Visitor Levy – this money should be ring-fenced to be redistributed in supporting the event
Affordable accommodation is the single biggest barrier to making the Fringe truly inclusive for creatives, workers and audiences. There are three ways this could be alleviated
Exemptions on home-letting and home-sharing being real, effective and immediate
A mechanism for HMOs (houses of multiple occupancy) privately run student accommodation to be made available to artists during the summer months
A map of accommodation capacity within a one-hour commute of Edinburgh and the supporting transport routes to make that underused capacity viable
New structures have already been set up to create this joined up approach through a National Festivals Partnership and a Festival City Infrastructure group. Let’s hope these structures can finally bring a strategic and supportive approach, to enable the Fringe to sit comfortably within Scotland’s national cultural asset base whilst also being properly enabled to welcome the emerging performing artists and breakthrough work from across the UK and the world.
The Edinburgh Fringe is unlike any other cultural event in the world, in that it is largely self-financed by those who take the risk to make and show work. It is made up of hundreds of parts, all of which are important. It is a wonderful balance of ticketed venues, street performance, free shows and pay what you want shows; from new discoveries to world-class and established artists.
It is the sum of these parts that makes it distinctive, inclusive, extraordinary and with something to say in the world. The stability of the Fringe is dependent on a recognition by everyone involved in it; that it is not owned by anyone – no organisation, group, or collective. It has no super league or participant base that is any more important than any other. It is a platform for freedom of expression like no other – ever evolving, growing, contracting and contorting.
It is not stuck in any one period of time, and should never allow any single interest group or sense of entitlement to derail its beautiful, messy and joyful mission for inclusion and cultural democracy
Its mantra is to give anyone a stage and everyone a seat – and that’s a mantra worth protecting and championing. That’s the Fringe. What a welcome it would be for the incoming CEO of the Fringe Society, if this extraordinary event was set on a new foundation stone where both the Fringe itself and the charity that supports it are validated and supported. With that support and validation, the whole Fringe community can move forward together collaboratively to secure the future of this vital event.
The cultural sector review will perhaps take a closer look at why the Edinburgh Fringe doesn’t sit comfortably within the established mechanisms of investment in the cultural sector, and a new way may be found to give it investment and support. Edinburgh is a city that has given huge recognition to new infrastructure and investment in classical music and the classic artforms.
It would be wonderful to see some validation of the forms of creative expression, such as comedy and street performance, which allow a significant point of access into the arts, and anyone to step into the opportunity to perform.
Often all that is required is space, a microphone and a story to tell.
Shona McCarthy, Chief Executive, Edinburgh Festival Fringe Society
A record number of cultural organisations to receive stable, year-on-year funding to deliver culture and creativity for Scotland’s people
All organisations currently funded by Creative Scotland to receive a significant uplift after years of standstill funding
An additional 141 organisations will receive a multi-year funding commitment for the first time
Significant increase in community-focused organisations being supported, alongside established cultural organisations, better representing Scotland’s geography and diversity
Overall funding to the portfolio will increase further in 2026/27
This cultural shift has been made possible thanks to a significant budget commitment from the Scottish Government
Today, Thursday 30 January 2025, in a significant moment for culture in Scotland, Creative Scotland has announced the largest portfolio of cultural organisations ever to be supported on a multi-year basis.
The recent uplift in Grant-in-Aid funding from the Scottish Government, releasing the largest budget ever available to Creative Scotland, enables more than £200m in support to be provided to 251 organisations over the next three years.
Further to this, 13 other organisations, will be supported by a £3.2m Development Fund, with a view to them joining the Multi-Year Funding portfolio in 2026/27.
Over half of the organisations in the portfolio are being offered a multi-year funding commitment for the first time, reaching more parts of Scotland, and more parts of our society, than ever before.
Those organisations which have an existing regular funding relationship with Creative Scotland will receive an average uplift of 34% in their funding in 2025/26, increasing to an average of 54% from 2026/27, bringing certainty and stability.
North Edinburgh Arts is one of the organisations to receive three year funding. They said: ‘We are delighted to share that North Edinburgh Arts has been awarded Multi-Year Funding from Creative Scotland! We are looking forward to re-opening our venue in the coming weeks, so the confirmation of Multi-Year Funding has come at the ideal time.
“NEA’s venue is owned, used, and loved by our community. The stability of long-term funding will allow us to plan with confidence and make a real difference for the hundreds of artists, participants, volunteers, and visitors coming through our door.”
Hidden Door also received good news. They announced: “We’re proud to be one of 13 organisations to receive Creative Scotland development funding with a view to joining their Multi-Year Funding portfolio in 2026
This is a huge vote of confidence in our support for emerging artists, connecting audiences with inspirational cultural experiences.
‘We’re acutely aware of the challenges facing the creative sector, and we know that not everyone will have received good news today. But we warmly congratulate all those who secured funding, and we look forward to collaborating with many more wonderful projects in the years to come.’
Together, the organisations in this portfolio deliver cultural and creative work of quality, breadth and depth to audiences across Scotland and internationally and the portfolio is more representative of Scotland’s geography, diversity, people and communities than ever before. All this underlines Scotland’s reputation as a thriving creative nation where culture is valued and developed for all.
Importantly, the portfolio also provides significant support to Scotland’s local and national economy, through direct employment, by creating opportunities for freelancers, and by supporting individual artists and creative practitioners of all types.
Robert Wilson, Chair of Creative Scotlandsaid: “This is an extremely positive moment for culture in Scotland, bringing with it a renewed sense of stability and certainty to Scotland’s culture sector.
“Thanks to the vote of confidence in the culture sector, demonstrated by the recently announced budget from the Scottish Government, Creative Scotland can offer stable, year-on-year funding to more organisations than ever before.
“I’m particularly pleased that this funding will increase further from next year, enabling even more fantastic artistic and creative work to be developed here in Scotland.
“Stable, long-term funding for as many organisations as possible is the underlying principle of the Multi-Year Funding programme, and we are delighted to be able to bring it to fruition.
“This funding means that we are able to bring so many new, community focused organisations into the portfolio, while also providing significant increases to those more established organisations which have been on standstill, regular funding for so many years.
“I’m also very pleased to be able to offer 13 further organisations significant amounts of development funding, to enable them to come into the portfolio in its second year.
“This signals a significant moment of positive change for Scotland’s cultural community, and I hope that, after the deeply challenging time of the pandemic, and the difficulties that have faced the sector in the subsequent years, that now is the time that we can look forward with confidence and the Scottish culture sector can get on with what it does best, producing outstanding art and creativity for everyone to enjoy.”
Angus Robertson, Cabinet Secretary for Culturesaid: “This is a foundational moment for culture and the arts in Scotland. More organisations than ever, in more parts of the country will benefit from the stability of Multi-Year Funding with the number of funded organisations more than doubling, from 119 to 251.
“Funded as part of a record £34 million increase for culture in the draft 2025-26 Scottish Budget, this significant increase in both the number of funded organisations, and the level of grant funding they will receive, has the potential to be truly transformational. It secures the future of key cultural organisations of all sizes across Scotland, which are major assets to our communities and our economy, supporting thousands of jobs and creating new opportunities for freelancers, artists and other creative practitioners.
“It means 251 culture organisations across Scotland, from Argyll and Bute to Shetland, Na h-Eileanan Siar, and the Borders, will receive Multi-Year Funding from April this year and a further 13 have the possibility of doing so from 2026-27.
“I am also reassured that the remaining unsuccessful applicants will all be offered bespoke support from Creative Scotland to adapt their business models.”
Following the ministerial statement in the Scottish Parliament, Labour Lothians MSP Foysol Choudhury welcomed the funding: “This funding decision is a step forward for Scotland’s cultural community. It reflects the collective determination of local groups, artists, and advocates who have worked tirelessly to highlight the importance of the arts in our society.
“I am proud to have played a role in advocating for multi-year funding, and I hope this provides some temporary relief to the culture sector. Festivals have struggled with standstill government funding for years, stunting their growth. The culture sector should not just be fighting for its survival.”
The list of organisations being awarded Multi-Year Funding, and their award for the next three years, is available on our website.
The list of organisations being offered development funding, and their conditional award for the next three years, is also available on our website.
Seachdain na Gàidhlig (World Gaelic Week) has unveiled details of its most diverse, ambitious and largest programme to date, bringing together speakers, learners and enthusiasts from across Scotland and beyond.
The fourth edition of the nationwide language initiative will take place from 24th February – 2nd March 2025 celebrating the theme, Ceanglaichean gun Chrich (pronounced kyeh-leech-un gun chreech), which signifies Building Connections in English.
More than 60 groups across Scotland and beyond, have been awarded funding through the initiative’s Small Grants Fund, supported by Bòrd na Gàidhlig, to stage events and activities championing the Gaelic language next month.
A record number of people applied for funding to be part of the celebrations this year, with over 100 applications received. This was a 44% increase in submissions from 2024, as the appetite for and appreciation of the indigenous language continues to grow.
A wide range of events are set to take place, all united by the common bond that demonstrates the linguistic, cultural and human connections that language forges, with a range of programme highlights in Edinburgh.
People across Scotland and in diaspora communities around the world are being encouraged to get involved in this year’s Seachdain na Gàidhligand stage their own events.
Individuals, community groups and organisations with any level of Gaelic can host an activity in their community that promotes the language and builds connections.
Events can be added to the World Gaelic Week website at
People can also take part in the hugely popular Say a Gaelic Phrase Day as part of Seachdain na Gàidhligon Thursday 27th February 2025, which engages thousands online each year.
Seachdain na Gàidhlig 2024showcased over 170 events in 100 locations throughout Scotland and across the world, including Nova Scotia and New York. The initiative also delivered its first-ever programme of digital assemblies for schools, which engaged 12,600 pupils from 136 schools across 27 local authority areas and will be expanded for 2025.
Joy Dunlop, Director of Seachdain na Gàidhlig, said: “There’s a number of activities planned for Seachdain na Gàidhlig 2025 across Edinburgh which will have far-reaching positive impacts.
“This year’s funded programme demonstrates the power Gaelic has in building bonds, enriching lives and enhancing community cohesion. Seachdain na Gàidhlig continues to grow year on year and provides an important platform for Gaelic cultural exchange.
“We are very grateful to Bòrd na Gàidhlig for their support to make the initiative possible and would encourage anyone in and around Edinburgh with a love of or interest in Gaelic to stage their own event and get involved.”
Organised by Scottish traditional culture and music organisation Hands Up For Trad, with support from Bòrd na Gàidhlig, Seachdain na Gàidhlig was inspired by the success of other minority language initiatives such as Seachtain na Gaeilge in Ireland and Mìos nan Gàidheal in Nova Scotia.
The week-long celebration gives Scottish Gaelic speakers, learners and supporters the opportunity to celebrate the language at home and internationally and drives national recognition and awareness.
Seachdain na Gàidhlig 2025 will take place from 24th February – 2nd March 2025. For a full list of events running throughout the week and information on how to get involved, visit: www.seachdainnagaidhlig.scot.
Collaborating with creative minds, Scottish Ensemble have forged new paths over recent years blurring the boundaries between genres and artforms. In their latest cross-artform project Scottish Ensemble collaborate with Blind Summit to explore what puppetry can reveal about music.
Performing Arnold Schoenberg’s Verklärte Nacht (Transfigured Night) and Philip Glass’ Symphony No. 3 the musicians and puppeteers play together to blend sound and visuals in this experimental collaboration where puppetry and music lead each other in a fragile dance. Directed by Mark Down, this new work will defy the rules to reveal the unseen, unheard and unknown.
Performances take place on Thursday 13 February at Edinburgh’s Traverse Theatre (as part of Manipulate Festival), Friday 14 February at Dundee Rep and Saturday 15 February at Glasgow Royal Concert Hall’s New Auditorium.
Jonathan Morton, Artistic Director of Scottish Ensemble, said: “Collaborations which involve a different artform invite us to re-examine some of our habitual patterns of thought, behaviour and action.
“There is risk involved. And, more alluringly, the potential encounter with something special. At the start of this collaboration, I knew very little about puppetry, but I am drawn to the fact that puppeteers, like musicians, pick up inanimate objects and, somehow, breathe life into them. You can see this, and you can hear it in The Law of Gravity.”
Mark Down, Artistic Director of Blind Summit, said: “During the research and development sessions for this project it has been an absolute inspiration to be surrounded by live music all day, I wish I could have an ensemble at all our rehearsals.
“The puppeteers and musicians generated seemingly endless ideas, the challenge was how to edit and organise them to share with an audience. The Law of Gravity is of course what makes everything fall down, I hope we stay standing”
In another first for Scottish Ensemble the performances in Dundee and Glasgow will be audio described. Visually impaired audiences will be able to enjoy the production through a live verbal commentary describing the visual elements of the production, whilst being respectful to the music performed.
Tickets range from £11 – £22 and in Dundee and Glasgow are free for under 16s.
Tickets are available from https://scottishensemble.co.uk/programme/2024-25/the law-of-gravity/
The Scottish Portrait Awards are back and bigger than ever, as the Scottish Arts Trust and National Galleries of Scotland announce a landmark move that will see the 2026 awards hosted at the Portrait gallery in Edinburgh for the first time
This exciting new home for the 2026 awards will bring deserved attention to the many talented contemporary portrait artists in Scotland today. Applications to participate in the 2026 Scottish Portrait Awards will open on 1 September 2025 and close 15 January 2026. Submissions are open to anyone over the age of 16 on 1 November 2026 and born or living or studying in Scotland, regardless of experience.
The Scottish Portrait Awards are excited to welcome television presenter and journalist Kirsty Wark as Guest Judge. With an impressive broadcast career, Kirsty presented BBC Two’s Newsnight for 30 years before going on to anchor BBC Radio 4’s arts and culture programme, Front Row. Kirsty joins a stellar line-up of highly respected artists and photographers who will select the works for the exhibition.
Joining Kirsty will be Guest Photography Judge Albert Watson OBE, one of the world’s most successful fashion photographers. Known for his iconic portraits including those of Alfred Hitchcock and Steve Jobs, Watson’s portrait of Sir Sean Connery is part of Scotland’s national collection.
Also joining the panel is Calum Stevenson, who was shortlisted for the Scottish Portrait Awards in 2020. Calum went on to be the youngest artist and first Scot to win Sky Arts Portrait Artist of the Year in 2021.
Organised by the Scottish Arts Trust, the Scottish Portrait Awards are a celebration of Scottish talent and creativity. Around 120 works will be selected for the fine art and photography exhibitions which will be held in National Galleries Scotland: Portrait from Autumn 2026 – Spring 2027.
All entries will be in the running for cash prizes totalling £16,000 which will be presented by the Scottish Arts Trust along with the opportunity to win one of two commissions for works that will join Scotland’s national collection.
The Scottish Arts Trust also runs a bursary scheme that will provide free entry to a number of artists who require any assistance. Details on the bursary scheme and how to enter the awards and can be found at scottishartstrust.org/portrait
The Scottish Portrait Awards exhibition will also include 50 works selected from the free-to-enter Scotland Now! Phone Portrait Award. Anyone aged 16 years or over and living in Scotland can enter with recent phone portraits taken in Scotland of someone who lives in Scotland. The Scotland Now! Award, which also carries a cash prize, launched in 2024 and attracted over 1,500 entries in its first year.
The Scottish Portrait Awards has been running since 2017 and is organised by the Scottish Arts Trust, a small charity largely managed by volunteers. Since its inception, the awards have discovered and recognised almost 500 incredible artists whose work features in the Scottish Portrait Awards online archive.
Many of the artists have continued to advance their careers with exhibitions and commissions. Previous award winners include many celebrated artists including Helen Wilson, Robin Gillanders and Graeme Wilcox.
National Galleries of Scotland have a longstanding relationship with the Scottish Portrait Awards with former judges from the galleries including Imogen Gibbon, Deputy Director and Chief Curator, Portraiture and Ben Harman Senior Curator, Photography. Michael Youds was working as a gallery attendant at the National Galleries of Scotland when he won the Scottish Portrait Award in Fine Art in 2019. Youds now has two works in Scotland’s national collection.
As well as celebrating contemporary Scottish artists, the awards also provide an opportunity to shine a light on some of the stories of the sitters in the portrait. Last year saw Jennifer Charlton become the first female winner of the MPB Scottish Portrait Award in Colour Photography with her winning photograph from a series titled A Hidden Community.
The sitters in her images were all volunteers – a mixture of friends and strangers who each courageously shared their stories on mental health, demonstrating how we live in a hidden community where mental health doesn’t discriminate. Since winning the award, Jennifer has become a media spokesperson for Women’s Aid.
Kirsty Wark, Scottish Portrait Awards Guest Judge said: “The Portrait gallery in Edinburgh is home to contemporary portraits and famous faces from Scotland’s past. It’s really exciting to have the opportunity to shine a spotlight on some Scotland’s amazing up and coming talented artists.
“I am thrilled to be part of the judging panel and to be supporting the great work of the Scottish Arts Trust.”
Sara Cameron McBean,who is a Scottish Arts Trust trustee and had the original idea for the Scottish Portrait Awards, said: “Ten years ago, a group of us were sitting around a table planning the creation of this new platform that would celebrate and promote portraiture in Scotland.
“We had no money and no staff. Our dream was always that the Scottish Portrait Awards would eventually come to the Portrait Gallery.”
Imogen Gibbon, Deputy Director and Chief Curator of Portraiture at National Galleries of Scotland said: “Portraiture can transform the ordinary into the extraordinary. The success of the Scottish Portrait Awards lies in the multitude of stories behind and conveyed through each and every portrait.
“This will be one of the most ambitious exhibitions of contemporary Scottish portraiture of its time. We are making the announcement early because we want as many artists as possible to be aware of the opportunity to see their work hanging in the Portrait Gallery.”
Calum Stevenson, Scottish Portrait Awards Fine Art Judge, said: “The impact of the Scottish Portrait Awards are enormous, I was thrilled to have my self-portrait accepted for the exhibition in 2020 and I know that experience helped build my confidence when I entered and won the Sky Arts Portrait Artist of the Year in 2021.”
Gordon Mitchell RSW RSA RGI, Director, Scottish Portrait Awards and Fine Art Chair, said: “The Scottish Portrait Awards offer Scottish artists the best opportunities for exposure, engagement and recognition of work, and for some, career-changing impact.
“There couldn’t be a more fitting partner than National Galleries Scotland: Portrait to ensure more visitors have the opportunity to come face-to-face with the leading portraiture of the day.”
Simon Murphy, Chair of Photography, said: “The Scottish Portrait Awards is a fantastic opportunity for everyone to get involved regardless of experience.
“The resulting exhibition will give a unique insight into contemporary portraiture in all its diversity”
Dame Sue Bruce will chair the review of Creative Scotland, Culture Secretary Angus Robertson has announced.
The review will examine Creative Scotland’s remit, functions and how it can best support the culture sector’s ambitions for renewal. It will be the first review of Creative Scotland since its establishment in 2010, as part of a wider commitment to review how the culture sector is supported.
Culture Secretary Angus Robertson welcomed the “wealth of experience” Dame Sue Bruce will bring to the review, with previous roles in Scotland’s arts and local government sectors.
Mr Robertson said: “I’m delighted that Dame Sue Bruce has agreed to chair the Creative Scotland review. She brings a wealth of experience from previous roles in the arts and local government sectors, making her well-placed to conduct a thorough and independent review into how Creative Scotland supports the arts in Scotland.
“The 2025-26 Scottish Budget includes a record £34 million uplift for culture. I am determined to maximise the impact of every penny of that. The review will consider the diversity of potential sources of funding, such as philanthropy, for culture – to underpin a more sustainable and resilient cultural sector in the years to come.
“The intention of this review is to ensure views the length and breadth of Scotland are heard swiftly and the vitally important contribution that artists and cultural organisations do for our nation and our identity is recognised, valued and well-supported.
“The Scottish Government has also today launched a new survey seeking views on how culture and the arts are currently supported in Scotland and areas for change. The responses will help inform the scope of the review so I would encourage all those with an interest to respond to our survey.”
Dame Sue Bruce said: “Culture and the arts reflect our values, aspirations and history as a country and the people who work in the sector make an invaluable contribution to our society and our economy.
“I look forward to working with the sector and Creative Scotland to ensure that it’s remit and functions continue to be relevant for the culture sector today, recognising that there has been much change in the sector since 2010 when Creative Scotland was first established.”
Hundreds of individuals and organisations to benefit
Culture Secretary Angus Robertson has said an additional £34 million in culture and arts spending next year will be “game-changing” for the sector.
Wednesday’s draft Scottish Budget 2025-26 will see culture and arts spending increase by £34 million, with £20 million of this being channelled through Creative Scotland for its competitive multi-year funding programme for artists and cultural organisations.
Speaking at the National Gallery of Scotland, Culture Secretary Angus Robertson said significant levels of public investment in the culture and arts sector would be coupled with an examination of the structures around culture funding to ensure as much money as possible goes directly to artists and organisations.
He confirmed that the review of Creative Scotland’s remit and functions will begin early next year and will aim to publish its recommendations in summer 2025.
Culture Secretary Angus Robertson said: “Scotland’s arts and culture are at the very soul of our nation. They speak to how we see the world, how we share ideas, and how our people can give expression to their hopes.
“Our draft budget could not be clearer in our steadfast support for Scotland’s arts and culture sector. We aim to provide an additional £34 million next year to bolster the sector. This is a game-changing increase.
“This will enable Creative Scotland to roll-out its multi-year funding programme – ensuring that the highest ever number of artists and organisations receive regular funding.
“We also plan to increase funding for Screen Scotland, give uplifts to our National Performing Companies, double our Festivals EXPO funding, provide above inflation increase to Sistema and the Youth Music Initiative, and restart the Culture Collective programme alongside with a range of other activity.
“This budget brings us half way to reaching our five-year commitment of a recurring £100 million increase for the sector in just two years. For 2026-27, subject to the normal budget processes, our aim is to deliver a further £20 million increase.”
The draft Scottish Budget 2025-26 was published on 4 December 2024. It commits an additional £34 million resource funding to arts and culture in Scotland.
Within this, a further £20 million will be provided to Creative Scotland for its multi-year funding programme in 2025-26. Funding will also increase by £4.5 million for Scotland’s National Collections and £1 million for the National Performing Companies.
The draft Scottish Budget 2025-26 also commits to an increase of £4 million funding for Scottish Festivals, doubling the EXPO Festival Fund to expand its reach beyond festivals in Edinburgh and Glasgow as well as providing funding for the Festivals Partnership. There will also be an additional £2 million for Screen Scotland to support work to attract international investment and large-scale productions to Scotland.
The Culture Collective programme will be restarted with £4 million to benefit Scottish communities, community organisations, individual artists and freelancers.
In addition, £270,000 has been allocated to enable the creation of a single digital library interface which directs people to Scotland’s public libraries, allowing the public to access information, online content and a national e-resources lending area to ensure equitable access to information and reading material across Scotland.
There will also be £4 million allocated for a new Scottish Culture & Heritage Capacity Fund. This fund recognises the significant challenges faced by heritage and culture organisations across Scotland.
There is just one day to go before the brand new Soundhouse Winter Festival kicks off in Edinburgh, thanks to support from The National Lottery through Creative Scotland.
The programme is packed with big names and up and coming bands from across Scotland including award winning feminist rock goddess Megan Back, who hasrecently returned from gigs in California, performing tracks from her new album out next year; and impulsive punk/rock n’ roll multi-instrumentalist Callum Easter performing with his full band the Roulettes and special guest indie/folk soloist Iona Zajac.
They will be headliningalongside some of Scotland’s finest jazz and trad musicians including Fergus McCreadie, Su-a-Lee, Duncan Chisholm, Hamish Napier, and Donald Shaw; a screening of silent film The Rugged Island: A Shetland Lyric accompanied by music composed by multi-instrumentalist Inge Thomson and fiddle player Catriona Macdonald; and live performance poetry with Edinburgh’s previous Makar Hannah Lavery accompanied by music from Kate Young.
Callum Easter & The Roulettes who play the Queen’s Hall, Edinburgh on Monday, 2 December with special guest Iona Zajac
The festival’s programme also includes early evening concerts at the Traverse with Nicole Smit performing some cool jazzy numbers with her Quintet (Vid Gobac on drums, Cameron Bradley on piano, Dave Toule guitar, and Kassandra E’Silva on saxophone); Gaelic singer-songwriter Rachel Walker performing with one of the country’s foremost folksingers and accompanists Aaron Jones; Edinburgh-based poetic psychedelic supergroup Acolyte (Ruairidh Morrison on bass, Gloria Black on synth and backing vocals, Daniel Hill on percussion and led by award-winning poet and spoken word artist Iona Lee); and acclaimed singer songwriter Victoria Hume, joined by long-term collaborator Chris Letcher.
Plus, there will be a showcase of emerging new jazz musicians including the Rosalind Orr Trio, TAO and C.A.L.I.E; a masterclass with jazz pianist Fergus McCreadie; and two workshops -Gaelic lullabies with Rachel Walker, and jazz saxophone with one of Scotland’s leading jazz instrumentalists Helena Kay.
Jane Ann Purdy and Douglas Robertson, producers of the Soundhouse Winter Festival said: “We are thrilled to be presenting a five-day festival of live ‘music from Scotland’ at this time of year.
“There are so many world class musicians working here right now that we were literally spoilt for choice. We hope the Soundhouse Winter Festival will not only be a chance for music lovers to hear some of their favourite live bands, but also a chance to hear some of the best up and coming artists of the moment.”
Fringe Society publishes its review of the year 2024
Today, Tuesday 26 November 2024, the Edinburgh Festival Fringe Society publishes its review of the year 2024, outlining its activities over the past 12 months. These include the Society’s core services to artists, as well as the work it undertakes year-round to give anyone a stage and everyone a seat.
This year the Fringe maintained its unique position in the world as one of the most important performing arts expos on the planet. Over 1,800 arts industry delegates came to the festival to see, book and buy work for opportunities such as onward touring and broadcast potential.
Artists from 60 countries performed across 3,746 shows in 262 venues and some 900 accredited media wrote about the festival and reviewed work.
Along with the success of this year’s festival there continue to be significant concerns regarding the cost and availability of affordable accommodation in Edinburgh, pressures on the supply chain, and an unhelpful policy environment; all exacerbating the already fragile cultural economy of the Fringe.
At the close of this year’s Fringe, Fringe Society Chief Executive Shona McCarthy penned an open letter outlining the many challenges faced by the sector and its thousands of artists, supporting the no art without artists campaign by Scottish creatives.
The Fringe Society also supports the current #InvestInCulture campaign from Scotland’s cultural sector, which seeks to increase the Scottish Government’s budget contributions of national spend on culture from 0.5% to match or exceed the European average investment in culture of 1.5%.
The challenges facing the Fringe Society, the Festival Fringe and the Scottish arts sector can only be overcome with long-term collaborative, sustainable action and investment.
As such, in a new development for this annual publication, the 2024 review of the year has been designed as a launchpad for further discussion.
In Shona McCarthy’s last review of the year before stepping down as Chief Executive, the Fringe Society invites potential funders, partners, sponsors and those who benefit from the economics of the Fringe to engage with them now and help ensure the sustainability of this unique event into the next 77 years.
Shona McCarthy, Chief Executive of the Edinburgh Festival Fringe Societysaid: ‘This year’s review is an invitation for discussion and to find solutions for the future of this amazing festival and expo.
“The whole sector needs action and investment and so does the Fringe. As the most influential and important performing arts marketplace in the world, the Fringe is crucial for the whole cultural ecosystem, not only for local, UK and international artists, but for the thousands of arts industry and media delegates who come here every year to view work, and source content for their own theatres, festivals and platforms.
“Warm words do not support our vital cultural life and creativity. Warm words do not provide platforms for Fringe artists on a global stage. Warm words do not help communities and audiences experience an event of global significance, on an Olympic scale, on their own doorstep.
“Now is the time to step up and work collaboratively to secure the future of this signature event for Scotland. After nearly ten years at the helm of the Fringe Society, I urge our public funders, our potential sponsors and partners, and those who have the influence, to turn words into action and sustainability for the sector and for this iconic event for the next decade.’
Benny Higgins, Chair of the Edinburgh Festival Fringe Societysaid: ‘Against an increasingly difficult policy environment and ongoing financial pressures, I congratulate Shona and the entire Fringe Society team on all that they have achieved this year.
“Artist support remains at the core of the work of the Fringe Society and the team work tirelessly to ensure this festival can continue.
“This isn’t easy work but is vital to ensure artists can continue to create and share their creativity that we all benefit from.’
