• The Edinburgh International Festival unveils the first Community Connections Hub following an open call out earlier this year
• Space @ The Broomhouse Hub will work with the Edinburgh International Festival over a period of at least 18 months to explore opportunities for collaboration and connection
• In August, the Community Connections Hub will host a free VR Experience where visitors can use a VR headset to be fully immersed in a 360° concert by the Philharmonia Orchestra
The Edinburgh International Festival today announcesSpace @ The Broomhouse Hub as the very first Community Connections Hub.
Space @ The Broomhouse Hub was chosen following an open call out by the International Festival for an Edinburgh-based community organisation for a partnership that will last at least 18 months and will explore opportunities for collaboration with the International Festival and the local community in Broomhouse.
In August, Space @ The Broomhouse Hub will host a free VR experience from resident orchestra Philharmonia. This 360° experience of Vaughan Williams’s The Lark Ascending makes its UK premiere and features Festival Director Nicola Benedetti as the solo violinist.
This will allow the user to sit right in the heart of the orchestra through Virtual Reality, allowing them to experience the performance in astonishing detail.
As well as hosting the Philharmonia VR Experience, this partnership will be a fully collaborative process, and will be entirely shaped by Space @ The Broomhouse Hub and the International Festival’s shared ideas and activities.
This new residency model is designed to deepen understanding between the International Festival and the local community, strengthen connections and enrich the local community and the spirit of the Festival.
The Edinburgh International Festival is committed to developing long-term connections with Edinburgh’s Communities by exploring what our core values of discovery and connection mean for Edinburgh’s citizens whilst finding ways to reflect the ideas, ambitions and creative interests of different communities within our organisational commitments.
The International Festival wants to build long-term and sustainable connections and have chosen a residency model working with one focused partner to allow for deepening two-way understanding, allowing time to mature connections and realisation of joint ambitions.
Caroline Donald, Head of Discovery & Participation, Edinburgh International Festival said: “The Edinburgh International Festival are really looking forward to working with our new community partners Space @the Broomhouse Hub and working together to make new connections, getting to know all the families and people in the community to create and share cultural experiences.”
Neil Hay, CEO, Space @ The Broomhouse Hub, said: “This is fantastic news for Broomhouse and Southwest Edinburgh. This partnership will open up the Edinburgh International Festival to new audiences, allowing local people and families to enjoy cultural experiences our communities don’t normally access.
“We look forward to seeing all the exciting things the partnership will bring this summer and the coming year.”
More information on the Edinburgh International Festival’s Discovery and Participation programme, which runs year-round, can be found here:
P6 pupils from the Royal Mile and Abbeyhill Primary Schools and student dancers from Moray House School of Education and Sport came together yesterday to perform Junk Food, written and created for this year’s Pomegranates Festival.
Over the course of the spring term, pupils at both schools took part in several workshops to discuss themes such as why people dance, what dance looks like, and chose a topic of their choice to create a dance piece that was relevant to them.
The pupils chose to discuss ‘Junk Food’ and used this theme to create a short dance piece accompanied by new electronic music by Gourab Dey, with the help of students at the University. The pupils worked on themes like ‘hangry’ and what this looked like as a dance movement, and after several rehearsals they created today’s final dance piece.
Wendy Timmons, Co-Producer of Pomegranates Festival and Senior Lecturer in Dance at Moray House School of Education and Sport said:“Many children that we work with in schools experience dance as part of physical education, and therefore the aesthetic experience of being in a theatre and being on stage is completely new.
“What this project aimed to do was to create a dance piece using their ideas so they would feel more connected with the process. Today’s performance illustrates the quality of work that this process can create, and this came across in the piece.”
The Pomegranates Festival runs until tomorrow (Tuesday 30 April) and is Scotland’s annual festival of international traditional dance.
Initiated and curated by Traditional Dance Forum of Scotland it is presented and produced in partnership with Traditional Arts and Culture Scotland, Moray House School of Education and Sport, University of Edinburgh, Edinburgh City Libraries, Dance Base and the Scottish Storytelling Centre.
The Festival finishes with a finale performance on International Dance Day 29 April which includes a new piece of dance created by MC, hip-hop dancer and choreographer-in-residence Jonzi D and performed by 20 Edinburgh-based traditional dancers.
The piece will be accompanied by newly-commissioned poetry by Perth-based poet Jim Mackintosh who will also be launching his new book of poetry We are Migrant at the event, and poems by BBC broadcaster Ian McMillan.
Plus, there will be a screening of a new film by contemporary visual artist and human rights activist Mare Tralla who has been artist-in-residence at this year’s festival.
There will also be a live streamed keynote lecture by Jonzi D on ‘Decolonising the Expressive Arts Curriculum’ tomorrow – Tuesday 30 April at 10am at Paterson’s Land, Moray House School of Education and Sport, Holyrood Road, Edinburgh EH8 8AQ.
Out of Competition, Midnight Madness and Repertory strandswill showcase the best in UK and World cinema
The newly relaunched Edinburgh International Film Festival (EIFF) has today announced a landmark collaboration with the renowned Edinburgh Festival Fringe which will open up the Film Festival programme in new venues across the city including non-traditional cinema spaces at Summerhall and the heart of the Fringe footprint.
From August 15 to August 21 2024, the 77th edition of EIFF will see film embedded in the August festival ecosystem, allowing audiences to seamlessly experience the best of the Fringe along with the world-class programme of cinema at EIFF.
Spaces in Summerhall and others at the heart of the Fringe will serve as unique and unusual EIFF venues, creating a new EIFF footprint in close proximity to wider Fringe activity including theatre, music and comedy, ensuring audience engagement with Edinburgh’s summer festivals is easier than ever before.
This year’s cinema hub will be the Cameo Cinema on Home Street, one of the original venues for EIFF and home to some of its most iconic moments, including a speech from Orson Welles as part of the Festival in 1953.
This year’s EIFF programme will include a strand of Out of Competition films including international premieres, UK premieres and additional world premieres sitting alongside the 10 world-premiere feature films competing for The Sean Connery Prize for Feature Filmmaking Excellence.
A Midnight Madness strand will showcase the best in genre cinema from around the world in a late night slot.
A repertory strand will champion retrospective and restored masterworks.
Innovative short film programmes will also run alongside this year’s EIFF Short Film Competition, which will award a cash prize of £15,000. The title of the Short Film Competition will be revealed soon.
Industry activity will run across the first weekend of the Festival with more announcements to follow in the next few weeks. Submissions to the 77th EIFF are currently open, with a final deadline of 19 April.
EIFF honours 70+ years of film festival history, showcasing the very best talent in filmmaking in a format rooted in a local Scottish context whilst embracing the international diversity of creative expression. The Film Festival encourages general audiences, film fans and industry professionals to make the trip this summer to Edinburgh, which is universally recognised as a place of beauty, history, discovery and adventure.
EIFF Director, Paul Ridd said: “We are so excited by the possibilities of August in Edinburgh and the shape of our programme as it comes together.
“Our collaboration with the Fringe will grow a powerful relationship between audiences across artistic forms. We will tap into the creative energy that is everywhere in the city, encouraging critics, tastemakers and above all audiences to engage with each other and all that is on show.”
Recently announced, The Sean Connery Prize for Feature Filmmaking Excellence is a £50,000 award given to a single filmmaker as part of a new features competition prize at the centre of the relaunched festival.
10 world-premiere feature films will compete for the cash prize, to be determined by audience vote. EIFF will also inaugurate a short film competition with a cash prize of £15,000. Submissions are now open. Criteria for submitting films to the Festival can be found at www.edfilmfest.org.
Helmed by Festival Director Paul Ridd and Festival Producer Emma Boa, the team aims to create a world-class showcase for independent film and filmmaking talent.
Former Acquisitions Executive Ridd is supported by an expanding Board, including Chair Andrew Macdonald of DNA Films, producer of the iconic Edinburgh-based film Trainspotting; Peter Rice, former Chairman of General Entertainment at Disney and President of 21st Century Fox; and Amy Jackson, producer of last year’s BAFTA award-winning indie, Aftersun. EIFF 2024 is supported by Screen Scotland.
Seer 2 platform supporting collaboration across NHS boards
The expansion of a ‘world-leading’ data and analytics platform will help improve collaboration and innovation across Scotland’s health and social care system.
Seer is a platform that allows staff to access and analyse data easily, helping clinicians, teams and boards in decision-making around patient care and the planning of resources. Areas in which it is currently used include cancer intelligence, the monitoring of blood stocks and the flu vaccination programme.
Seer 2 is the next phase, which utilises cloud technology and will give the health and social care workforce access to a more advanced version, increasing opportunities to access new tools and technologies with greater flexibility. These features have already been used to create new dashboards to help manage capacity during winter.
Speaking at the Digital Health and Care Scotland Conference 2024, Health Secretary Neil Gray also confirmed the Scottish Government will provide an update on Scotland’s first Data Strategy this spring – with an updated Delivery Plan for the Digital Health and Care Strategy to be published in April.
Mr Gray said: “NHS Scotland is growing opportunities to use digital and technology-driven services to enhance health and social care.
“Better use of data and digital technology is critical to how we drive improvements in healthcare and is a key part of our plans to reform services. Through enhancing our use of technology, we can unlock opportunities for collaboration across health boards and other organisations, and it is therefore vital that this includes maximisation of digital and far better, and far faster, use of data.
“It’s great to see how world leading Seer 2 is enabling us to support collaboration and innovation across government and the NHS, providing near real time intelligence to support decision making, build new insights and enable better outcomes. This platform is just one of the ways we are embracing tech to help us as we face challenges ahead in funding pressures, inequalities and workforce.”
Mr Gray was also at Boroughloch Medical Practice, which has a long history of embracing technology, where Dr Abhayaratna demonstrated an online consultation and workflow system that helps GP practices manage patient caseloads through operational change and digital triage.
This makes it easier for people to talk to their own doctor or other healthcare professional and helps GP practices to prioritise and deliver care through message, phone and video.
Dr Abhayaratna said: “We’ve been making digital access available to patients since October 2019, with around 80% of patients making requests of the practice online. The system supports us in making the best use of our multi-disciplinary team’s skills, to ensure each patient gets the best care for their needs.
“This has resulted in a balanced workload for our staff and has enhanced the overall efficiency of the practice. Importantly, patient feedback tells a similarly positive story with 75% of patients reporting that our digital service is ‘better’ than previous arrangements.”
Dobbies, the UK’s leading garden centre, is announcing a collaboration with grant-giving charity, Cash for Kids, to give children in need a gift this Christmas. Dobbies’ Edinburgh store and Stockbridge little dobbies will host a gift donation drop-off point for the charity’s Mission Christmas initiative.
Mission Christmas is set to make a difference to children and young people in communities across the UK who are affected by poverty, illness, neglect or have additional needs. This initiative aims to spread the joy that comes with unwrapping a Christmas present on Christmas Day.
Dobbies now invites customers along to its drop-off point at its Edinburgh stores, encouraging those who can, to bring a gift and help Santa reach young people in need this year.
Dobbies’ Community & CSR Communications Executive, Chloe Bell, said: “There’s nothing like the joy of unwrapping a Christmas present on Christmas Day, especially for a child. It’s disheartening to think that, due to circumstances beyond their control, some children might miss out on this magical experience.
“We are delighted to be partnering with Cash for Kids to make Christmas extra special for these young people. We hope that the spirit of Christmas, centred around sharing and giving, inspires everyone to donate a present or two at our Edinburgh stores.”
Victoria Hendry, Charity Manager from Cash for Kids added: “We believe every child deserves the magic of Christmas and teaming up with Dobbies allows us to spread joy this year, making a real difference to children and young adults.
“We’re turning generosity into gifts, creating smiles, and ensuring that every child feels the warmth of the festivities.”
Participating stores that have a donation box are; Aberdeen, Ayr, Edinburgh, Dundee, Dunfermline, Livingston, Perth, Stirling, Inverness and little dobbies Stockbridge. For more information on how to get involved, visit dobbies.com.
If you would like to make a financial donation to Cash for Kids’ Mission Christmas to allow them to buy a gift on your behalf, Braehead, Milngavie and Sandyholm have donation pages, visit:
First of its kind NCMD report released today which RoSPA contributed to
Data shows that collaboration and education are ‘vital’
Road collisions and drowning are two of the biggest killers
Collaboration and education are key in keeping the nation’s children safe from injury and death, that’s the message today from The Royal Society for the Prevention of Accidents (RoSPA) in the wake of new child mortality data released by a leading University.
Data from the University of Bristol’s National Child Mortality Database (NCMD) team, created in collaboration with RoSPA and other key organisations, shows that 644 children aged up to 18 in England died due to traumatic injuries between 1 April 2019 and 31 March 2022; of these, 211 died because of a vehicle collision, 160 died due to violence and maltreatment, and 84 died by drowning.
A further 189 died due to other traumatic injuries such as drug or alcohol poisoning, suffocation, falls, choking, foreign object consumption, fires, electrocution, falling objects and dog attacks.
According to RoSPA, Accidents remain the UK’s biggest killer of children and young people up to the age of 19, and are the biggest cause of preventable, premature death up to the age of 60.
The report (which used data from the NCMD cohort, a first-of-its-kind initiative to collect comprehensive and timely information on every child death in England) sought to identify risks and patterns from the 9,983 child deaths that occurred in England between 1 April 2019 until 31 March 2022.
Ashley Martin, Public Health Advisor at RoSPA, worked closely with the NCMD on the report. He said:“We welcome this valuable report and data analysis that is an important step forward in understanding the scale and causes of accidental death among children, a significant number of which occur in their own homes.
“The report confirms the tragic toll of accidental death among children and the effects on their families and makes vital recommendations to Government ,organisations and. charities.
“Now, we need to come together to understand how to use these findings to reduce the death toll and keep more children and young people safe from harm.”
In terms of road collision data, the report found:
There were 211 deaths of children and young people due to vehicle collisions over the last three years.
Death rates were highest for 15-17 year olds, with children in deprived areas disproportionately affected. There were 37 (17.5%) deaths of children aged under 5, 70 (33.2%) deaths of children and young people aged 5-14 years, and 104 (49.3%) deaths of young people aged 15-17 years.
Collisions where the child was in the vehicle as a driver or passenger were most common (35% of all deaths)) followed by deaths where the child was a pedestrian (32%). The most common type was car or van collisions for 15-17 year olds and pedestrian collisions for those aged 10-14.
Contributory factors in these crashes were speeding (27%), risk taking, consumption of drugs and alcohol (by the child or driver) and non-use of appropriate safety equipment (20%). In some instances, complex home circumstances was identified as a factor. Road design was also a factor in many collisions.
Rebecca Guy, Road Safety Manager at RoSPA, said:“We strongly support the recommendation that all primary school children receive road safety education and are looking at ways we can build on our previous work with parents and schools.
“We also believe that road layout and design needs to be suitable for all – pedestrians, cyclists and motorised vehicle users included and agree that support for witnesses to vehicle collisions should be improved.
“We look forward to taking the results of these findings and using them as a basis for our lifesaving accident prevention work.”
The report also showed that deaths due to drowning increased over the three years, with 20 deaths in 2019-20, rising to 37 in 2021-22.
They occurred most commonly in inland bodies of water (such as a river or lake) or in the bath and increased over the three years. The children and young people most at risk were those aged under five or over 15, males, those living in the most deprived neighbourhoods, and children from a Black or Black British ethnic background.
Over half the deaths occurred during the summer months, although some evidence shows that deaths in the spring were rising the fastest. In 83% of cases, the child or young person was unsupervised at the time of death. Five of the seven deaths of children under one who drowned in the bath were in a bath seat.
David Walker,Head of road and leisure safety at RoSPA and Executive Lead at the UK National Water Safety Forum, said: “This report is a clear call to action that better support and awareness is needed for families and communities – so that everyone can enjoy and respect the water.
“As we look forward to World Drowning Prevention Day on 25 July, this report provides yet more evidence that all Government departments, led by Cabinet Office, must take a coherent and coordinated approach to drowning prevention across the UK.”
VisitScotland reveals Year of Stories 2022 highlights for Edinburgh and the Lothians
A new report has highlighted how Edinburgh and the Lothians helped contribute to the success of Year of Stories 2022.
Collated by VisitScotland, the evaluation report which features independent research and partner feedback, shows the Themed Year delivered significant benefits to Scotland and its communities.*
Highlights included:
A total of 354 funded and partner events across all 32 local authority areas including 47 funded and 31 partner events in Edinburgh and the Lothians.
Greater collaboration across the tourism, events and related sectors was evidenced with hundreds of industry partners participating and a wide range of innovative partnership projects and campaigns inspired by the year.
Scots and Gaelic showcased by 42% of funded events.
Vast promotional reach was achieved including 4 million views of the Year of Stories promotional videos, 2,760 pieces of media coverage and marketing campaigns reaching people 148m times.
A central strand of activity was the creation of a diverse events programme. The funded events programmes, with support from Museums Galleries Scotland and National Lottery Heritage Fund, invested a total of £1.33 million in the sector, shining a spotlight on well-loved and brand new stories alike. The widest range of organisations from national companies to community groups participated.
Funded events included Edinburgh International Book Festival which this year ran a special Year of Stories programming strand called Scotland’s Stories Now.
Similarly, Figures of Speech a partnership between Scottish Storytelling Centre (SSC) and Edinburgh UNESCO City of Literature Trust, created six events across two seasons bringing writers and artists together to explore Scottish literature through cross-arts presentations and new commissions.
In addition, a brand new event in 2022 was Of Scotland’s Soils and Soul developed by the Royal Botanic Garden Edinburgh. Held across four Botanic Garden sites including Edinburgh, the event offered visitors four bespoke trails showcasing stories of and about Scotland that related to the land, plants and nature.
Local communities took to the spotlight with the support of the innovative Community Stories Programme, a partnership between VisitScotland and Museums Galleries Scotland with support from National Lottery Heritage Fund and Scottish Government.
This programme provided opportunities for communities to come together, tell the stories that matter to them and develop skills, opportunities and partnerships.
Events in Edinburgh and the Lothians included: A happy Nameste (greetings to you) (Dance Ihayami); A Poetry Feast of Mythical Beasts (Push the Boat Out Ltd); BE United Presents (BE United); Family Encounters – New Stories Strand (Imaginate); John Muir’s Stories of Survival (East Lothian Council); Listening to Linlithgow – The People’s Stories (Linlithgow Heritage Trust); Object of my desire (West Lothian Council); OMOS Workshops and Storytelling Cabaret (Icky Arts CIC (Pollyanna)); Oor Toon (Penicuik Community Arts Association); Pavementology – the story of Street Events at the Fringe (Edinburgh Festival Fringe Society); Preserving and Celebrating Edinburgh’s Deaf Heritage (Deaf Action); Stories of the Bathgate Hills: A Celebrations of the Voices of People and Place (Bathgate Hills Venture SCIO); The Calder Witch Hunt (West Lothian Council); The Phone Box – East Linton voices shared down the line (Catherine Wheels Theatre Company); and Voices from a New Town (Craigsfarm Community Development Project Ltd).
As well as an extensive events programme, the Year of Stories 2022 offered opportunities for the wider tourism industry and related sectors to share their own stories, with multiple examples of businesses and organisations collaborating to create new content, campaigns and activities for communities and visitors.
Locally, Edinburgh-based Mercat Tours used the Themed Years to launch a social impact project to support vulnerable people in Edinburgh through storytelling. The Our Stories, Your City project raised funds to allow members of the Grassmarket Community Project the chance to experience a tour and attraction visit free of charge.
Meanwhile The Real Mary King’s Close partnered with Edinburgh Gin to create ‘Stories & Wonders’ gin tasting tours offering visitors the chance to sample four unique gins with historical links to the city..
As part of the Year of Stories, the Scotch Whisky Experience highlighted a different story each week about one of the bottles in their whisky collection. Year of Stories was also a good match for their Tasting Tales events, which include stories about Scotch, the distilleries and the Scottish food to which they match the whiskies.
Finally, in November 2022, Rosslyn Chapel launched an initiative which asked visitors from around the world to share a story about the attraction. The chapel, which was founded in 1446, has featured in a number of stories, most notably Dan Brown’s novel, The Da Vinci Code, but it has attracted visitors for generations, many of whom have recorded their stories in travel journals.
Neil Christison, VisitScotland Regional Director said: “Themed Years provide an opportunity for collaboration and partnership across tourism, events and wider sectors, using Scotland’s strengths to attract domestic and international visitors and grow the visitor economy.
“The findings of this evaluation show that the Year of Stories really engaged communities right across the Capital, Mid, East and West Lothian. While the year may have ended, the story is far from over. Our hope is that businesses and events continue sharing their stories and visitors continue to be inspired by the places, people and cultures associated with them.”
Culture Minister Christina McKelvie said: “I am delighted that Scotland’s Year of Stories 2022 has had such a positive and lasting impact in so many communities across Scotland.
“As a result of partnership working, the fantastic range of events on offer inspired people to create and share their own incredible stories, traditions and journeys.
“The high level of engagement with this themed year will leave a lasting legacy as we continue to tell each other stories about who we are and where we live.”
Lucy Casot, CEO of Museums Galleries Scotland said: “The Year of Stories Community Stories Fund created a powerful opportunity to support a wide range of people to take part in the themed year and we are proud to have delivered this in partnership with VisitScotland, with support from National Lottery Heritage Fund and the Scottish Government.
“The fund supported creativity with new and old stories brought to life allowing locals and visitors to experience a wide diversity of voices.
“The evaluation clearly demonstrates the positive impact participation had on the groups who held events and the communities across the country who came together to enjoy them. To know that this year’s programme increased awareness of and appreciation for Scotland’s stories and has inspired future visits is a remarkable achievement by all those involved.”
Caroline Clark, The National Lottery Heritage Fund Director for Scotland, said: “The impact of Year of Stories was writ large across Scotland last year. People throughout the country really got behind it, a fact confirmed by this report.
“The diversity of stories and how they were shared was a particular feature of the Year of Stories due to the Community Stories Programme, which was supported through funding from National Lottery players. It really engaged with the imagination of individuals, communities and groups, allowing them to share their stories, their way – stories of Scotland’s people, places and cultures.”
The Themed Years model provides a shared platform for many organisations to come together and multiply their impact by working together, inspired by the same theme and utilising common branding and tools. Scoping for options and approaches for a possible 2025 Themed Year is now underway with more details to be released towards the end of 2023.
The Year of Stories Evaluation Report can be viewed here
A vision to transform Scotland’s justice sector through the COVID-19 recovery period and beyond has been published.
The new strategy will enshrine key priorities – making sure victims voices are heard, placing women and children at the heart of service delivery and reassessing the role that prisons and the use of imprisonment should play.
Specifically:
Victims will take a more prominent role in cases, experience fewer delays and be supported in their recovery. A Victims’ Commissioner will be appointed and there will be increased use of pre-recorded evidence. Restorative Justice services will also be made available across Scotland by 2023.
As well as an ambition to prevent Violence Against Women and Girls by tackling societal attitudes of misogyny and gender inequality, the vision prioritises systemic changes to improve the experiences of women and children building on the recommendations of Lady Dorrian’s report on the Management of Sexual Offences and ensuring access to Bairns’ Hoose for every child victim or witness who needs it.
Prison will always be needed for the most serious offences to ensure safety, but with evidence demonstrating community interventions are more effective than short prison sentences at reducing reoffending, the strategy seeks to reduce the need for imprisonment through early intervention and providing greater access to community justice alternatives.
The vision will be underpinned by a requirement for the whole sector to ensure people are treated with empathy and kindness, for example by avoiding additional trauma by having to retell their stories.
The plan also enshrines the need for collaborative work across public services to improve outcomes for individuals, focussing on prevention and early intervention.
Justice Secretary Keith Brown said: “This bold new vision will deliver a just, safe, and resilient sector with the needs of victims very firmly at its centre.
“Transforming the way we view and deliver justice in Scotland will ensure we properly support the most vulnerable in our society, creating a fair system that fulfils and meets the human rights of all who use it.
“This strategic blueprint sets out key priority areas including improving the experience of women and girls in a justice system historically designed by men, taking forward reform to address inequalities. It also stresses the need for a fresh look at the use of custody and firmly puts victims and the needs of victims at its centre.
“Underpinning this, the vision makes clear the need for services to be person centred and trauma informed to avoid re-traumatising people as they journey through the system. And, fundamentally, it stresses the importance of holistic early interventions that leverage the whole of government and public services to reduce offending and the causes of offending at the outset.
“I am determined to drive change and deliver better outcomes through our public services and this new framework envisions the best way to do that. We can and will deliver justice services which meet the needs of modern Scottish society.”
How collaboration between colleges and universities can transform lives and places
A new report calling for greater collaboration between colleges and universities has set out recommendations for governments and sector leaders to support regional priorities and deliver UK-wide economic recovery.
The report argues that further and higher education must no longer be pitted against each other – both nationally and locally – if post-16 education and skills systems across the UK are to deliver on pressing societal challenges such as closing skills gaps, supporting economic recovery, and delivering on net-zero goals.
The report identifies how unequal investment and a lack of clarity on the role that universities and colleges play has led to years of unnecessary tension.
It warns that post-16 education and skills systems can suffer from being too confusing and difficult to navigate for both students and employers and that competition between institutions exacerbates this.
It calls on colleges, universities and governments to commit to creating joined-up education and skills systems with a focus on shared responsibility for the sectors to deliver for people, employers and their places.
Amongst a number of key recommendations, the report calls on governments across the UK to commit to a more balanced investment and to define the distinct but complementary roles of colleges and universities through a new 10-year strategy.
Following extensive consultation and input from education leaders and policymakers from the four nations, the report provides a blueprint for more collaboration between institutions to support people, employers and communities. The recommendations apply to varying degrees across the four nations, with many of them inspired by existing practice and policy.
Recommendations for sector leaders, which focus on creating strong local networks:
Agree the institutions who are involved in the network and embrace the local geography and specialisms that already exist.
Develop a cohesive education and skills offer for local people, employers and communities built around lifelong learning, ensuring inefficient duplication and competition is reduced.
Move beyond personal relationships and agree how the whole institution is involved in collaboration, with clear roles and shared responsibility for partnership.
Recommendations to governments across the four nations to build better education and skills systems:
Set an ambitious 10-year strategy to ensure lifelong learning for all and to deliver on national ambitions.
Balance investment in FE and HE to ensure the whole education and skills system is sustainably funded so that colleges and universities can work in the interests of their local people, employers and communities.
Equal maintenance support across loans and grants for HE and FE students, regardless of age, personal circumstances, or route into education.
Tackle the ‘messy middle’ by defining distinct but complementary roles for colleges and universities to avoid a turf war over who delivers various types of education and training.
Create a single funding and regulatory body for the entire post-16 education and skills system in each nation to deliver more aligned and complementary regulatory approaches that will ensure smoother learner journeys.
The report also provides a number of UK-wide case studies of best practice for policymakers, institutions and sector leaders to learn from.
Sir Ian Diamond, Chair of the Independent Commission on the College of the Future, said: “This report rightly highlights that universities and colleges are vital institutions offering transformational education and skills. If we are to face the long-term impacts of the pandemic and to drive a sustainable, inclusive economy, then it is clear they have to increasingly do this together.
“The report marks a moment when the two sectors can commit to delivering on a bold joint mission for supporting people, productivity and places. I know from my time in both sectors that many leaders are driving the change needed to bring this to life. Through the work of the Commission we have drawn great learnings from practice and policy across the four nations. This report champions the best of what exists.”
Richard Calvert, Chair of the Civic University Network Partnership Group and Deputy Vice-Chancellor of Sheffield Hallam University, said: “This report provides an opportunity for both sectors to come together and recognise our potential to make an even greater impact if we work in partnership.
“As we have found through this report, there are excellent examples of collaboration across FE and HE – but too often those examples are the exception rather than the rule. We must do better in learning from each other, and taking action to deliver better outcomes for learners, employers and our local communities.
“It is also important for governments to recognise that there are policy levers which can support collaboration, rather than encourage competition. A joined-up further and higher education sector across the UK could be transformative in redressing regional inequalities, delivering lifelong learning and underpinning the levelling up agenda.”
Audrey Cumberford, Principal & CEO at Edinburgh College and member of the Independent Commission on the College of the Future, said: “As the Principal of Scotland’s capital college, I know the impact that is possible when education and skills leaders collaborate for the good for their region. This report sets out the untapped potential of what colleges and universities can do together.
“In Scotland we are increasingly operating in a coherent strategic policy environment, with strong recognition for the concept of a national tertiary ecosystem. Working more and more symbiotically has meant that we have established good practice in learner-focused articulation from college to university, which is rightly highlighted in this report.”
Mark Huddleston, Director at jheSOLUTIONS Limited and formerly NI Commissioner for Employment and Skills, said: “Colleges and universities in Northern Ireland are integral partners for many businesses and their partnership only makes this more powerful.
“A vital feature of the future for both FE and HE systems is playing their part in supporting people and businesses with lifelong learning. This report brings to life how collaboration in delivering this must continue to come to the fore.”
Professor Ellen Hazelkorn, author of the review of the oversight of post-compulsory education in Wales and Commissioner and member of the Independent Commission on the College of the Future, said: “Building a more seamless post-secondary education system has to be the direction of travel, mirroring the shifts other countries are taking to address long-standing societal and economic challenges.
“Six years on from the review of the Welsh post-compulsory system, which I led, the Welsh government is moving ahead with mechanisms for a coordinated system of further and higher education.
“Today’s report recognises the progress being made in Wales, and across the UK, and identifies where the policy needs go further to ensure that the education and skills system keeps up what the world needs.”
David Hughes, Chief Executive of Association of Colleges, said: “The report rightly calls for us to do away with the historically narrow view of education pathways that have ingrained rigid ideas of what and who a college or a university is for. It’s led to unhelpful arguments about who gets a bigger slice of the pie when it comes to funding and finite resources.
The shifts in the world of work and the economy require a rethink about how people access learning at different stages throughout lives and at different levels. Collaboration, not competition between colleges and universities is key to this, to every citizen being able to be a lifelong learner.
“For too long the system has focused on one group of adults – those who have progressed into higher education – at the expense of another group – those who have not . That is not fair and does not deliver strong communities. The recommendations for government and for colleges and universities, if implemented, would be a giant step towards more people being able to improve their work and life chances.
“The UK Government’s Levelling Up White Paper, published last week, sets out the need for fundamental ‘systems change’ to level up left behind places, through a cross-government, cross-society effort. This report sets out the role colleges and universities can and must play at the heart of that effort, and ways in which local leaders can step up to work together in new ways, and policy change that will enable this too.”
Iestyn Davies, Chief Executive of ColegauCymru, said: “This publication sets out a clear challenge and expectation to all institutions and individuals that work in further and higher education and echoes the call in our manifesto, Further Success: Policy Recommendations for the next Welsh Government.
“While there are some great examples of collaboration between colleges and universities, there is still much that can be done to improve joint working and cooperation.
“In Wales, the proposed Commission for Tertiary Education and Research offers an opportunity to address this which is why it is vital to establish that body in in the right way.
“It is time that further and higher education moved forward together as equal partners. It is now for institutions to step up and outline how they will respond to the opportunities set out by the Welsh Government and contained within this report.”
Dance Base and Jupiter Artland’s dance residency programme
Dance Base, Scotland’s national centre for dance, and Jupiter Artland, a contemporary sculpture park and art gallery just outside Edinburgh, are thrilled to announce the five artists selected for the Space, Nature, Nurture | Winter Residency Series – a new collaborative residency programme which offers dance and movement artists a unique opportunity to immerse themselves in and work with the natural and sculpted outdoor surroundings of Jupiter Artland.
Scotland is a hugely diverse and varied landscape that is not only an incredible source of inspiration, but which can also act as a creative collaborator and be a central element of performance work for artists.
Jupiter Artland encapsulates the richness of the Scottish landscape, incorporating wild woodland alongside sculpted spaces, and is a hugely inspiring and creative environment for artists to engage with. Space, Nature, Nurture is the first collaboration between Dance Base and Jupiter Artland and both partners are thrilled to be able to provide an opportunity for artists working in dance and movement to bring their practice in to this unique environment.
The five artists selected were chosen based on their genuine interest in developing material in, with and in response to the unique natural environment and in collaborating with ecologies as a central part of their work.
They are Thomas Goetz, Hamshya Rajkumar, Kate E Deeming, Jennifer Paterson (All or Nothing Aerial Dance Theatre) and Simone Kenyon.
Each of the Space, Nature, Nurture artists will receive a fully funded 1-2 weeklong residency at Jupiter Artland over November and December when the Park is closed, providing them with full and unlimited access to the Artland.
As part of their residency, they will each present an element of audience engagement, reconnecting or establishing a link with their audience. These will be delivered in person and online.
This Residency programme has been made possible thanks to funding from the Performing Arts Venue Relief Fund and is part of a wide programme of artist support that Dance Base are delivering to support Scotland-based dance artists to return to their practice after this very difficult 18 months.
MEET THE ARTISTS
Thomas Goetz is an Edinburgh-based choreographer, performer; movement facilitator who draws inspiration from themes related to nature, philosophy and science. His recent work is concerned with emergence, behaviour, and (eco-)systems in nature and the role we play as part of these systems.
Talking about his residency, he said: “All living organisms occupy specific ecological niches which describe the role they play in an ecosystem. Animals & plants evolve unique adaptations to survive, live and thrive in a specific habitat under certain environmental conditions.
“In this residency I will be exploring how we can evolve into creatures which occupy the natural and artistic habitats of Jupiter Artland. These evolving imaginary creatures will differ in the way the move, are able to perceive the environment, communicate (with sound/voice or movement) & interact with one another.”
Hamshya Rajkumar is an inter-disciplinary artist who navigates through embodied movement, intention and ritual.
She said: “Through movement I will be exploring various human interventions within the Jupiter Artland estate in the form of Gardens, Woodlands and Land artworks that reflect the human need for beauty versus the understanding of the ecological community. An element of my practice involves embedding within Land +| Sea:scapes who are devoid of my ancestors.
“I am curious about forming an intra-species alliance with the much debated invasive Beech Tree and introduced ornamental exotic Plants. An extended focus will include the relationship between manicured foot and manicured grass. As Heavy Rain is likely during November, I will be experimenting with using second hand clothing as an extension of the bodily self as well as skin that absorbs and moves with Weather.
Kate Deeming. With decades of outdoor dance experience, Kate E. Deeming describes herself as an ‘artist who uses dance to make good stuff happen’. Kate E. creates public facing work largely in urban environments and outside of traditional arts hierarchies.
Kate said: “I am interested in creating moments and reminders that build empathy and connect us to our individual and collective power, to reinforce and manifest a joyous and loving world.”
For the Space Nature Nurture Residency Kate E. is to create a week-long durational dance piece inspired by the Jupiter Artland Landscape. Utilising costume and wearable speakers, she will create giphys of wee dance moments which will feed into her wider community practice.
Jennifer Paterson is an aerial and dance director and Artistic Director of All or Nothing Aerial Dance Theatre, Scotland’s leading aerial dance company. She trained at London School of Contemporary Dance before discovering aerial and that she could overcome her fear of heights, going on to perform worldwide with several companies and directors.
For her residency, Jennifer will be working with other dance and aerial artists: Chrissie Ardill, Beverley Grant, Marie Williamson and Freya Jeffs.
She said: “Starting within the woodland at Jupiter Artland, taking movement from the ground, and moving it up into the air and around the trees, the woodland and back into the landscape, utilising our aerial dance harness skills and how we can play and create together in this environment.
“Our audience engagement will be through 2 workshops within the environment, allowing participants to play and explore both in and out of harness, just as we are doing. One for adults and one for children.
“Being so close to the Edinburgh International Climbing Arena at Jupiter Artland we will look to connect with climbers there, as well as recreational aerialists from the Scottish aerial dance community.”
Simone Kenyon is a Scotland-based artist, performer, Feldenkrais practitioner and academic. For the past 20 years she has worked across performance and dance that embraces the complex interrelationships of movement, people and place.
Talking about her residency, she said: “The residency will focus on new research exploring the practices of drystone dyke building; including the choreographic, material agency, conservational, ecological, cultural and social aspects of wall building.
“Working for the first time, in-person with Master Waller, George Gunn, we will work with an existing wall in need of repair within the grounds to explore building techniques, place relational performance, creative conversations and take time to develop this new collaboration.
“Filmmaker Emma Dove also joins to make our collaborative trio to further explore and develop ways of working with film in the process. On the last day of our residency, we will share our findings and explorations though conversation in-situ with a small group.
“Post residency we will share a film for a wider audience online. Beyond the physical residency, Simone will begin new critical-peer conversations with artist Robbie Synge, to stimulate questions and ideas as a way of continuing the development of the work.”
Tony Mills, Artistic Director at Dance Base:“Jupiter Artland is an incredibly innovative arts space with a team that is forward thinking. We feel it is the perfect place where artists can be supported to explore new connections between dance and the environment within an artistic context.
“As we come back to working together creatively, the desire for collaboration and making things happen is so much stronger. This has resulted in this exciting cross-city partnership that will challenge the notions of what dance is and where it happens, and open up new avenues for dance artists and their work. We look forward to creating more opportunities with Jupiter Artland in the future.”
Nicky Wilson, Director of Jupiter Artland: “It is an honour to host Dance Base and their Space, Nature, Nurture residency at Jupiter Artland. Working alongside other cultural institutions creates great networks across the city, and the country, which are incredibly powerful vehicles for change.
“I am a huge advocate for bringing creativity outside, enjoying the outdoors, watching nature, and being inspired by art. It is more important than ever to embrace this freedom and I am so excited to see the residents flourish in the landscape.”
