Creative Scotland – Page 2 – The NEN

British Council launches international artistic residency programme for those affected by war and conflict

Initiative will provide vital support and creative sanctuary for artists from conflict-affected regions

The British Council, in partnership with Arts Council England, Creative Scotland and Arts Council of Wales/Wales Arts International, today announces the launch of a major new residency programme designed to support artists and cultural professionals whose work has been impacted by war and conflict.

The programme will see nine artists and cultural professionals from Lebanon, Yemen, Palestine, and Ukraine undertake residencies at leading cultural institutions across England, Scotland, Wales and Northern Ireland.

The initiative builds upon a successful pilot project held in Scotland in 2023 during the UK/Ukraine Season of Culture, which was delivered by the British Council in partnership with Creative Scotland and Ukrainian Institute.

Starting this month and running until July 2026, the residencies will take place at prominent institutions renowned for their expertise in supporting artists across diverse art forms, from contemporary art to literature and film.

Each residency will last between four and twelve weeks, tailored to meet the specific requirements of both the host organisation and the visiting creative professional.

The programme aims to provide creative practitioners from countries affected by war and conflict with essential quiet time, care, and connections within the UK cultural sector.

This support is designed not only to nurture their individual practice and build their networks, but also to strengthen the communities they work with in their home countries.

Host organisations participating in the programme include Ulster University/Belfast Film Festival (Northern Ireland); Llenyddiaeth Cymru | Literature Wales (Wales); Edinburgh Sculpture Workshop (Scotland); Cove Park (Scotland); Moniack Mhor (Scotland); Pier Arts Centre (Orkney Island, Scotland); Delfina Foundation (England); ACME Studios (England); and Baltic Centre for Contemporary ArtEngland).

The programme also offers host organisations a valuable opportunity to expand their understanding of new cultural contexts, demonstrate solidarity with fellow artists, and develop expertise in supporting colleagues working under extremely challenging conditions.

It also helps connect participants to the wider arts sector, offering fresh insights that can spark new collaborations – benefiting not only the individuals involved but also enriching the host institutions and the sector more broadly.

This initiative reflects the British Council’s commitment to supporting international cultural exchange and providing support for artists whose creative work continues despite the pressures of conflict and displacement.

Artist Yasmine Rifaii, who will be hosted at Cove Park, said: “I have been craving distance from the noise of cities for a while now, so that I may sit with myself and let my thoughts brew into formation.

“The Cove Park residency came at the right time. I look forward to immersing myself with both the silence of nature, and the presence of fellow artists seeking the same experience.”

Anastasiya Gruba, who will be hosted by Ulster University, said: “This residency gives me the opportunity to complete a new version of the script for my tragicomic feature film Women Suicide Season, which I hope will be my feature directorial debut.

“I’m especially excited that the Belfast Film Festival will take place during my stay – it’s a wonderful chance to connect with the Northern Irish film community and international industry professionals.

“And I must admit, I’ve always dreamed of seeing the stunning landscapes of the Emerald Isle firsthand! There’s so much to do, and I can’t wait to dive in.

“I’m truly grateful to the British Council, Belfast Film Festival, and Ulster University for making this possible.”

Tania Rodionova, who will be hosted by Literature Wales, said: “Being a cultural manager doesn’t always allow for having time and space for my personal creative work. And life in Ukraine during the war time makes it even harder.

“So, my expectations for the residency in Ty Newydd is mainly to have this special space however my professional interest in local literature organisations and future cooperation opportunities cannot be ignored!”

Ruth Mackenzie, Director of Arts at the British Council said: “This residency programme recognises that supporting these artists and creatives is about building bridges across our global arts community and contributing to peace and prosperity.

“Just as the British Council was established in 1934 to support artists and creatives in countries across the world in the face of political danger, we continue this mission today. This programme provides space for artistic practice while strengthening the communities these artists support and nourish in their home countries.”

Laura Mackenzie-Stuart, Head of International at Creative Scotland said: “We are delighted to continue this residency programme through our on-going partnership with the British Council.

“The pilot programme in 2023 provided vital access to creative opportunity for artists in Ukraine at a time when accessing facilities in their home country was a huge challenge.

“The five selected artists made Scotland their home for a few weeks but left having made friends and colleagues for life. We wish the next (expanded) round of artists the same creative joy and success in their residencies across the UK.”

Dafydd Rhys, Chief Executive of Arts Council of Wales, said: “This programme embodies the spirit of collaboration that sits at the heart of Arts Council of Wales’s work, and in terms of international connections, the work of our international arm Wales Arts International.

“Through our partnership with Literature Wales, we’re delighted to take part in this initiative to create a space of care and creative exchange, linking Wales with artists whose stories speak to our shared humanity across borders.

“The residency will give Tania time to develop her practice and share her experiences, while enriching Wales’s own literary community with fresh perspectives on resilience, language and the role of art in uncertain times.”

Simon Mellor, Deputy CEO Arts Council England, said: “Arts Council England is proud to be a partner in this important residency scheme, offering artists coming from places of conflict the opportunity to make new connections and to build new networks of support.

“We are particularly glad to join with our sister agencies in extending this initiative across the whole UK, building a body of relationships between creatives and communities both here and in Ukraine.”

Full Line-up Announced for Soundhouse Winter Festival

Thursday 27 November to Monday 1 December 2025

www.soundhousewinterfest.com

The 2025 Soundhouse Winter Festival returns from Thursday 27 November to Monday 1 December at the Traverse Theatre in Edinburgh, thanks to support from The National Lottery through Creative Scotland.

The festival showcases musicians either from, or based in Scotland, and runs over St Andrews Day and the Fair Saturday weekend. The programme includes some of Scotland’s finest jazz, and trad musicians, a showcase of emerging new musicians, music workshops for adults and young people, and a silent film accompanied by live music.

Headliners include experimental folk band Constant Follower led by songwriter Steven McAll playing tracks from their latest album Let the Healing Begin which has recently been added to the long list for the Scottish Album of the Year (SAY) award, 2024’s Scottish Jazz Vocalist of the Year Niki King; genre blending spoken word artist, rapper, and rising star Bee Asha; andguitarist Chris Amer and his Sextet (Matt Carmichael, Fergus McCreadie, Gus Stirrat, Stephen Henderson and Mhairi Marwick) performing music from their new collection Making Peace With What Is.

In addition, award-winning Scottish composer and guitarist Graeme Stephen will present his score for the 1927 silent film Metropolis, performedby Stephen on guitar and a classical string quartet lead by Fiona Winning on viola.

The quartet is completed by Tom Hanky (violin), George Smith (violin) and Robert Irvine (‘cello). Graeme will also be giving a non-participatory masterclass in Developing Concepts for Composition, Improvisation and Practice, for learners to explore creative ways to turn their ideas into compositions.

Other highlights over the weekend include harpist and lead vocalist Dara Dubh performing fan favourites and new tracks with Tony McVey on drums, Eve Simpson on keys/vocals and Brad Phillips on doublebass.

Multi-instrumentalist and folk singer Cahalen Morrison performing songs from his forthcoming album with his freshly minted trio; and jazz saxaphonist Rachel Duns, whose music ranges from blues and soul, to thepsychedelic sounds of the 1960s.

Over the weekend, audiences will also be treated to an afternoon concert from Scottish/Egyptian instrumentalists and composers The Ayoub Sisters who rose to stardom after their debut album premiered at No.1 in the Official Classical Charts.

Plus, three emerging artists playing in this year’s Spotlight concert, showcasing the very best up and coming jazz musicians in Scotland.

They include guitarist and double bass player Timmy Allan who won the BBC Scotland Young Jazz Musician of the Year Award in 2024 and this year’s Alan McAuley Jazz Award; The Ewan Johnston Trio formed of pianist Ewan Johnston, Christopher Quinnon on bass and Roan Anderson on drums; and the Milele Collective a young five-piece making waves on the Scottish scene with their jazz, latin and afro grooves.

In addition, cellist and improvisor Simone Seales will be giving an Improvisation Workshop for beginners on how to make sound without musical notation, open to amateur or experienced instrumentalists, vocalists or musicians from any other discipline.

Douglas Robertson and Jane-Ann Purdy, co-producers said: “After last year’s multi-genre celebration of the Scottish music scene, we are delighted to be back for our second annual Soundhouse Winter Festival.

“We’ll be presenting jazz, pop, rap, classical, soul, funk, folk, trad, and many points where those categories intersect. It will be heartwarming, life affirming and a great antidote to the November blues. We extend a warm welcome to all: come and be part of Edinburgh’s great music-loving community.“

Alan Morrison, Head of Music at Creative Scotland said: “The closes and wynds of the capital are about to come alive as the Soundhouse Winter Festival returns to Edinburgh with another excellent array of rising stars and familiar faces.

“This compact and perfectly curated programme offers plenty of opportunities to discover new talent across an extended weekend in November, with must-see gigs each and every day.

“Organised by the same people as Edinburgh’s rejuvenated Tradfest, the quality of music is guaranteed to be top-level, with something to suit all tastes.”

Booking link for tickets – soundhousewinterfest.com

Showcasing Scotland’s arts festivals

£1.8 million to expand funding reach

Culture Secretary Angus Robertson has announced £1.8 million in grant support for arts and cultural festivals to put the spotlight on artistic talent across the country.

The funding is available to non-profit arts and cultural festivals in Scotland and is designed to help them ‘push creative boundaries’ and enhance their international reputation on the world stage.

The fund builds on the success of the Scottish Government’s Festivals EXPO Fund and helps deliver a key commitment in the Scottish Budget 2025-26 to expand the reach of the fund across Scotland.

Awards of up to £200,000 will be available in the first year and will be administered by Creative Scotland. The grants can be used for raising the international profile of festivals and to support other areas vital to their success, such as for sector and talent development and to open access to educational groups.

Culture Secretary Angus Robertson said: “Scotland has a wealth of outstanding festivals up and down the country. They are at the at the heart of our culture sector and national life, bringing us together through our enjoyment of art, literature, music and other performing arts.

“By increasing investment into festivals across the country we are supporting their commissions of and collaborations on new and exciting works, increasing opportunities for participation in creative pursuits and ensuring Scotland’s cultural highlights can be enjoyed at home and abroad.

“The new fund is a direct result of discussions through the Strategic Partnership for Festivals, a focal point that brings together diverse representation from arts festivals and a broader range group of partners who support them.

“Collaboration with the sector is vital and this group will be crucial in supporting the implementation and development of this fund in the coming months.”

Chief Executive of Creative Scotland Iain Munro said: “Scotland’s festivals are a vibrant celebration of our creativity and culture, recognised and enjoyed by local communities and people from around the world.

“The expanded festivals fund is a new opportunity to profile incredible creative work in every corner of the country and support other areas vital to success – from sector and talent development to further experimentation and space to develop ambitions with specific groups and communities.

“Working with festivals nationwide, this investment will support artists, widen community engagement and further strengthen Scotland’s impressive international reputation.”

Further information and detailed guidance notes for festivals will be available through Creative Scotland.

Public asked to inform independent Review of Creative Scotland

Eight roundtable discussions to be held across Scotland

Artists and communities across Scotland will be given an opportunity this summer to help inform the independent Review of Creative Scotland.

Eight roundtable discussions will be held across the length and breadth of Scotland this summer to ensure any recommendations are evidence-led and reflect a national perspective on Creative Scotland’s role. Led by Angela Leitch CBE, the independent Review team will also host a separate roundtable for children and young people.

The engagement plans come as the results of a national culture sector survey are published. Commissioned in January to inform a wider programme of support for the culture sector, the survey received responses from more than 750 artists, creative organisations and members of the public who raised concerns about the complexity of accessing culture funding and disparities across the country.

Confirming the remit of the independent Review, Culture Secretary Angus Robertson said the five key areas to be examined had been informed by the Review team’s engagement to-date, alongside a wealth of historic evidence and the survey results:

Creative Scotland’s purpose and functions
Creative Scotland’s structure and performance
Governance and leadership within Creative Scotland
Creative Scotland’s finances and distribution of funds
Collaboration, relationships and partnerships

The independent Review is expected to publish recommendations in November.

Culture Secretary Angus Robertson said: “With the 2025-26 Scottish Budget providing a record £34 million uplift for culture, including an additional £20 million for Creative Scotland’s multi-year funding programme, this independent Review will examine Creative Scotland’s operations and structure to maximise the impact of this increase, and ensure the evolving needs of Scotland’s diverse cultural sector can be met.

“I’m grateful to everyone who took the time to share their experiences and perspective in our survey – your feedback, in addition to informing a wider programme of support for the culture sector, has also helped to shape the remit of the independent Review alongside the review team’s engagement to-date, and a wealth of historic evidence.

“The review team continue to collect evidence from culture and other organisations who interact with Creative Scotland, so I would strongly encourage anyone with an interest to take part in a roundtable near you this summer.”

Angela Leitch CBE, Chair of the independent Review of Creative Scotland said: “I have already been struck by the wealth of evidence demonstrating the contribution the creative and culture sectors make to us as individuals, to our communities and to our economy.

“I look forward to engaging further and hearing from a wide range of stakeholders across the country to consider how Creative Scotland can support the sector’s challenges and embrace opportunities.”

Independent Review of Creative Scotland: remit – gov.scot

Culture sector support needs survey – gov.scot

Individuals and organisations are invited to share their views with the Chair and Vice Chair of the independent Review of Creative Scotland at eight roundtable meetings to be held this summer in the following locations:

10 June – Selkirk

11 June – Glasgow

16 June – Dundee

23 June – Edinburgh

24 June – Aberdeen

25 June – Inverness

26 June – Orkney

2 July – Dumfries

If you would like to participate in these discussions please contact:

creativescotlandreview@gov.scot

In addition to engaging with Scotland’s creative industries, the independent Review team will also speak with organisations outside the culture sector who are directly impacted by Creative Scotland, including higher and further education institutions, local authorities and the enterprise agencies.

The independent Review of Creative Scotland was first announced in the 2024-25 Programme for Government, as the first review of Creative Scotland since its establishment in 2010.

The Scottish Budget 2025-26 provides an increase of £34 million to culture in Scotland, including £20 million for Creative Scotland’s multi-year funding programme.

Following Dame Sue Bruce’s withdrawal on health grounds, and the appointment of Angela Leitch CBE as the new Chair, the independent Review is now expected to publish recommendations in November 2025.

Community arts building bridges through international cultural exchange

Scottish arts organisations have received new funding to enhance cultural engagement within local communities. Think Circus, Stellar Quines and Media Education are among 20 UK/international exchange partnerships to have secured a share of £360,000 in the latest round of the Cultural Bridge programme.

Made possible with investment from Creative Scotland, Arts Council England, Arts Council Northern Ireland, British Council, Arts Council of Wales/Wales Arts International, Fonds Soziokultur and Goethe-Institut London, Cultural Bridge enables socially engaged, grassroots cultural groups in the UK and Germany to share ideas, learn new skills and develop creative projects addressing social issues, enriching the creative and cultural lives of communities.

Edinburgh-based Think Circus is partnering with socio cultural German theatre companies, WHEELS and Junges Theater Münster for Missing Link, an exchange project that will bring circus arts into communities and create new creative opportunities for young people.

Think Circus’ Founder Kat Borrowdale said: “We are delighted to be building an international connection with WHEELS and Junges Theatre Münster.

“Our organisations all have roots in community theatre practice but take very different approaches.

“This collaboration will introduce new methods for our teachers and performers, which will be shared with the children and young people in our community projects – enhancing their skills, enjoyment and creativity.”

Fife-based Stellar Quines Theatre Company is teaming up with German film education leadership group, MPower on a project giving voice to women of colour in Scotland and Germany through writing and filmmaking. Specially tailored residencies in Scotland and Berlin will enable refugee and migrant women to develop their skills via workshops, film production and public showcases.

Caitlin Skinner, Stellar Quines’ Artistic Director said: “MPower and Stellar Quines are over the moon to have this support to continue our partnership.

“Our time with MPower has already been transformational for us as practitioners and as organisations and we’re so excited to be able to extend this work to more participants.

“In the current global climate our collaboration is a vital opportunity for young women to use film and theatre to explore the connections between feminism and migrant justice and to share their experience across borders.”

Empowering individuals with lived experiences of trauma, discrimination, and adversity is central to a new collaboration between Scottish grassroots activists Media Education and digital inclusion innovators Q3.

This partnership aims to enhance cultural engagement and empower underrepresented communities through knowledge exchange. By providing opportunities to build skills, explore identities, and express creativity through filmmaking and podcasts, participants can find audiences and make a meaningful impact with their stories.

The insights gained will be shared locally and across Europe, shaping future social arts practices and fostering a more inclusive society.

Iain Shaw, Media Education’s Company Director said: “We’re thrilled to start our collaboration with Q3, whose important work we deeply admire.

“At the heart of our partnership is the belief that sharing lived experiences is key to building bridges between people from all walks of life and creating a fair and equitable society.

“This programme gives both organisations the time to strengthen practice by exploring similarities and differences in our approaches and sharing that learning more widely.”

Karen Dick, Creative Scotland’s Head of Place, Partnerships & Communities said: “Central to the ethos of the Cultural Bridge initiative is the gift of time, empowering meaningful collaborative international exchange between socially engaged and grassroots arts organisations and fostering lasting connections within local communities.

“The programme’s diverse activities and projects will have the freedom to explore new approaches to cultural practice, promote co-creation and community engagement, working together to shape local place, shared identity and collective agency.

“We extend our warm congratulations to Stellar Quines, Think Circus and Media Education on their awards and, thanks to our partners’ continued support, we’re excited to build on the programme’s successes further enriching the creative and cultural lives of communities in the UK and Germany.”

Pomegranates Festival programme announced

FULL PROGRAMME ANNOUNCED – 25-30 April 2025

The Traditional Dance Forum of Scotland is delighted to announce full details of its fourth Pomegranates Festival which will run from Friday 25 to Wednesday 30 April 2025 at various venues across Edinburgh.

The Pomegranates Festival in partnership with TRACS (Traditional Arts and Culture Scotland) and Moray House School of Education and Sport, at the University of Edinburgh celebrates Scottish traditional dance alongside world traditional dance practised by New Scots and cultural migrant communities across Scotland.

It is supported by Creative Scotland and includes exhibitions, ceilidhs, workshops, walking tours, and talks about traditional dance from Scotland and around the world. Every year the Pomegranates Festival explores the intrinsic links of traditional dance with live music, film, fashion, poetry, art and heritage craft.

This year’s festival theme is masks invitingfestival-goers to experience the power of masks used in different traditions; and reflect on the significance, beauty and mystery of masks and mask-making in traditional dance from antiquity to modern days.

The festival opens on Friday 25 April with a packed programme of short films of traditional dance followed by a Q&A with featured creatives, including the award-winning filmmakers Marlene Millar and Mare Tralla. Marlene’s films include To Begin the Dance Once More(2023) which tells the story of displacement and water crisis reimagined through the mythological world by three climate refugees from Scotland and Egypt; and Bhairava (2018) filmed on location in India which evokes Shiva, the Lord of Dance as both the destroyer of evil driving out terrible deeds, and the guardian of time.

Also screening is Mare Tralla’s new screen dance The Bright Fabric of Life (2024) which tenderly addresses the life-altering injuries sustained by women in labour, told using traditional African dance and music; Home (2023, Dir. Kes Tagney) which explores the deep connection people have for the place they call home featuring Scottish Step dancer Sophie Stephenson;Crowned by Flame (2024, Dir. Lyuxian Yu) about the Chinese Yi ethnic community’s Cigarette Box dance; Armea (2024. Dir. Letila Mitchell)which chronicles the homecoming of the dancers and musicians of the Pacific island of Rotuma; On Canada Day(2024, Dir. Gurdeep Pandher) reflecting on Canada’s past through a dance fusion of Punjabi and Celtic traditions; and Autocorrect (2022, Dir. Jonzi D) inspired by the COVID-19 face masks, set to the spoken word of Saul Williams and commissioned by Sadler’s Wells.

Hip-hop dance theatre artist, choreographer and dancer Jonzi D returns to the festival as this year’s choreographer-in-residence and will be working with traditional dance artists based in Scotland to create this year’s masked festival finale Hidden Faces which will premiere on the International Day of Dance (29 April 2025).

Other highlights include:

● The premiere sharing of not for glory – a skirling new dance-theatre performance of bodies and bagpipes, and rebellious unravelling of traditional dance and music by Jack Anderson, Charlotte Mclean and in collaboration with musician Malin Lewis.

● The premiere sharing of Sequins – a new hip hop dance theatre solo show by Kalubi Mukangela-Jacoby set to the Pomegranates Festival spoken word commission of Sequins of Poems to Dance To by Ian McMillan.

● An evening of poetry, dance and discussion focusing on Intangible Cultural Heritage and its relationship with Scottish traditional dance.

● A new exhibition of masks (3 Apr-12 May) by Pomegranates Festival artist-in-residence Lorraine Pritchard – anEdinburgh-based mask maker, costume-designer and fashion model, plus the only Scottish artist performing at the Venice Carnival 2025. Lorraine’s first solo exhibition, especially curated for the festival, zooms on the relationship between the heritage craft of mask-making and traditional dance and features masks, photographs, films and books, including Lorraine’s new Venetian Carnival masks which ahead of the exhibition will be premiered and modelled by the artist at this year’s Carnevale in Venice 21 February – 4 March.

● A day of walking tours led by dance historians Alena Shmakova and Agnes Ness about the role of women in traditional dance past and present, with focus on the role of Mary, Queen of Scots.

● A dance theatre matinee which is the culmination of Pomegranates dance artists-in-residence at Edinburgh’s Abbeyhill and Royal Mile Primary Schools. Over 20 resident dancers – all postgraduate students in Dance Science and Education at the University of Edinburgh will perform alongside the Scot Polish musician-in-residence Aga Idczak. The choreography of the Scot Cypriot artist Sotirios Panagoulias and the costume design by the New York born Scot Polish designer Gerry Gapinski are co-created with over fifty pupils aged 10-11 years. The matinee is the outcome of an unique co-devising method of Socratic Circles, weaving in the children’s ideas, drawings and poems about the wee objects selected by each pupil to represent their diverse heritage.

In the lead up to the start of the festival there will also be a podcast released on 8 March to celebrate International Women’s Day, previewing the story of Mary, Queen of Scots in Edinburgh and her passion for dance, with New Scot Alena Shmakova.

Plus, there will be a Ceilidh Plus mixing Scottish, Bulgarian and Irish traditional dancing on 21 March to celebrate 10 years of the Bulgarian traditional dance school in Edinburgh and St Patrick’s Day on 17 March.

This popular event is part of the festival’s year-round programme of Ceilidh Plus evenings held at the Kings Hall that combine Scottish dancing with traditional dances from the migrant and diaspora communities in Scotland.

During the festival the Ceilidh Plus event will showcase a mix of Scottish, Polish and Hungarian dance styles.

All festival events are presented on a free or affordable ‘pay what you can‘ basis.

Wendy Timmons and Iliyana Nedkova, Festival Co-curators said: “In 2025 when we celebrate Edinburgh’s 900 years journey from the 12th Century City of David to the 21st City of Diversity, we are very proud to present the fourth edition of Pomegranates – Edinburgh’s festival of diversity in traditional dance, the festival that has already made it to the #ListHot100 as one of the 100 most influential cultural events of the year.

“Expect a flair of mystery as this year our festival artists will don their dance masks and take on whole new personalities honouring their traditions and our global living heritage.”

John Ravenscroft, Head of the Centre for Research in Education, Inclusion and Diversity (CREID) at Moray House School of Education and Sport, University of Edinburgh said: “I am very pleased to continue to forge our strategic academic partnership with the Traditional Dance Forum of Scotland which dates back to 2018. Great to see the return of the Pomegranates Festival choreographer-in-residence Jonzi D who delivered the seminal Decolonising the Curriculum keynote lecture at Moray House School of Education and Sport as part of last year’s festival.

“I am also excited about the opening matinee which is part of the wider campaign advocating for the diverse forms of world traditional dance becoming a primary ingredient of our children’s primary education.

“This campaign is run by the Traditional Dance Forum of Scotland in conjunction with our Centre and our School while the matinee is funded by the University of Edinburgh through the Edinburgh Local Community Fund.”

MC, Jonzi D, hip hop dance theatre artist and choreographer-in-residence at this year’s Festival, said: “Following my Pomegranates festival debut last year, I am really honoured to be invited back as this year’s choreographer-in-residence, plus I am particularly partial to the new festival theme of masks.

“Traditional dance is important, including masked dance, because it represents living heritage while celebrating difference. I think we’ve reached a period in society where our differences are being used against us; our differences are being used to keep us separated; our differences are being used as judgmental tools. Manufactured polarisation. But our infinite differences define our identities, and still we have more in common than we have apart. Pomegranates festival celebrates our differences.”

Vanessa Boyd, Interim Head of Dance at Creative Scotland says: “Pomegranates Festival continues to be an important platform celebrating Scotland’s rich traditional dance heritage alongside the diverse influences that shape our communities today.

“This year’s focus on masks highlights a powerful symbol that has been used in dance for centuries, transforming performers and deepening storytelling across cultures.

“Audiences can look forward to experiencing new work and exploring the rich and diverse traditional dance forms that the Pomegranates Festival has to offer across a packed programme of live performance, screen, workshops and community gatherings.”

The Pomegranates Festival (25 – 30 Apr) is the annual platform for the diverse 250+ individual and organisational members of the Traditional Dance Forum of Scotland to teach, learn and perform in new dance theatre and screen dance shows, as well as new productions and residencies.

This is the fourth edition of Scotland’s annual festival of international traditional dance, initiated, curated and produced by the Traditional DanceForum of Scotland.

It is presented in partnership with TRACS (Traditional Arts and Culture Scotland), Moray House School of Education and Sport, University of Edinburgh, Edinburgh Central Library, Dance Base and the Scottish Storytelling Centre.

In 2025 the Pomegranates Festival is funded by Creative Scotland Multi-Year Funding through TRACS (Traditional Arts and Culture Scotland); the City of Edinburgh Council and University of Edinburgh through the Edinburgh Local Community Fund.

For tickets and more information visit https://www.tdfs.org/pomegranates/

Pianodrome celebrate funding boost

WEST SHORE ROAD PROJECT THANKS CREATIVE SCOTLAND

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!

It’s now or never for public agencies to support the Edinburgh Festival Fringe

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 financial support.

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

Creative Scotland announces Multi-Year Funding Outcomes for arts and culture organisations

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 Scotland said: “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.”

Download short audio statement from Robert Wilson, Creative Scotland Chair.

Angus Robertson, Cabinet Secretary for Culture said: “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.

Sue Bruce confirmed as Chair of Creative Scotland review

Survey launches to seek views of cultural sector

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.”