culture – The NEN – North Edinburgh News

Between Women: Travelling Gallery returns with new exhibition

Travelling Gallery is delighted to be partnering with the University of St Andrews this February to present the exhibition Between Women.

The exhibition features the work of Franki Raffles, Sylvia Grace Borda, Sandra George, Carolyn Scott and Niu Weiyu.

Between Women takes images made by the photographer Franki Raffles from her base in Edinburgh during the 1980s and 1990s as a starting point to explore relationships between gender, labour, education, care and activism in documentary photography since the 1950s in Scotland and internationally. Raffles’ photographs will appear alongside images by Sylvia Grace Borda, Sandra George, Carolyn Scott and Niu Weiyu which together illuminate how gender is produced and reproduced through workplaces, housing, healthcare, and particularly schools, playgrounds and nurseries, across urban and rural landscapes.

In examining the relationships and power structures between women, this exhibition takes inspiration from two projects by Raffles. The first is a trip Raffles made in 1984–85 to the Soviet Union and Asia, including an extended period in China, during which her concern with women at work crystallised.

The second, Picturing Women, was part of a 1988–89 educational initiative organised by Stills Gallery, Edinburgh, aimed at helping young people analyse photographs, for which Raffles studied the working relationships between women at a school. These two projects provide a framework through which connections and comparisons with Niu Weiyu, Carolyn Scott, Sandra George and Sylvia Grace Borda’s photographs emerge.

One of the few women photographers to gain professional recognition in twentieth-century China, Niu worked for state-run media organisations and produced a large number of photographs that portray women’s roles as workers throughout the 1950s, 1960s and 1970s.

Carolyn Scott’s documentary photographs images of children and families in Newcastle’s Rye Hill area where she lived between 1967-68 observe the relationships and socialisation forged through play, but also the effects of deindustrialisation on the community.

Sandra George’s photographs of Edinburgh during the 1980s and 1990s attest to the importance of community educational groups and spaces in activism and organising, alongside public demonstrations and gatherings.

Sylvia Grace Borda’s studies of schools, leisure centres and nurseries in the New Town of East Kilbride reflect on the complex legacies of post-1945 Welfare State architecture from the perspective of the early 2000s.

Together, these photographs highlight the possibilities for solidarity between women in sites and spaces spanning the local and the global, but also the importance of recognising differences and intersectional identities that account for the constructs of gender, sexuality, race, disability and class in activism and organising.

Launching in Edinburgh at the Community Wellbeing Centre on Monday 17 February from 11am to 5pm, the exhibition will tour throughout the week visiting the following locations:

Tuesday 18 February, 10am – 4pm – Glasgow Women’s Library
Wednesday 19 February, 10am – 4pm – Dundee International Women’s Centre
Thursday 20 February, 10am – 4pm – Fluthers Car Park, Cupar
Friday 21 February, 10am – 4pm – East Sands Leisure Centre, St Andrews

Between Women is curated by Vivian K. Sheng and Catherine Spencer, with support from the University of St Andrews Impact and Innovation Fund.

Culture and Communities Convener, Councillor Val Walker said: “It’s brilliant to see the Travelling Gallery return for 2025.

“It’s crucial that art and culture is as accessible to as many people as possible. I’m proud that through our ongoing support of the Travelling Gallery, and the recent increased Creative Scotland investment, art is brought straight into the hearts of towns and cities across Scotland. I hope everyone takes the opportunity to visit the exhibition, bringing together work which illuminates how gender is produced and reproduced through workplaces.

“Here in Edinburgh, we’re clear that that our residents should be able to easily access a variety of cultural activities, and this exhibition brings art closer to people’s communities.”

Louise Briggs, Curator, Travelling Gallery said: “We’re delighted to be working with Vivian, Catherine, and the University of St Andrews to present this exhibition.

“We’re looking forward to discussing the work of each artist with our visitors, who we believe will have their own stories and experiences to share that chime with many of the references (and local sites) found in the work on display.”

With thanks to the University of St Andrews Libraries and Museums, Edinburgh Napier University, Franki Raffles Estate, Craigmillar Now, Gaofan Photography Museum, Sylvia Grace Borda and Carolyn Scott.

Travelling Gallery is a contemporary art gallery in a bus. Since 1978 it has been bringing exhibitions to communities throughout Scotland. We recognise that art can change lives and we create fair conditions and remove barriers to allow access and engagement to audiences in their own familiar surroundings.

The gallery space offers an open and welcoming environment for people of all ages, backgrounds, and abilities to discover and enjoy contemporary art. Over the past forty years, Travelling Gallery has brought innovative exhibitions to every part of Scotland reaching hundreds of thousands of visitors and school pupils.

Travelling Gallery is a ‘not for profit’ organisation, regularly funded by Creative Scotland and supported by the City of Edinburgh Council.

For more information, please vist the Travelling Gallery website.

The gallery has ramp access for wheelchairs; hearing loop and will have large print format exhibition interpretation.

Artist Biographies

Sylvia Grace Borda is an artist working with photography, net art, video installation, and eco-art, who has undertaken projects in Canada, Finland, Northern Ireland, Latvia, Scotland, Ethiopia and Taiwan. Her artwork is concerned with establishing systems of public understanding that underpin literacy, advocacy, and action to conserve the built and natural environments. In Scotland, she focused on New Town architecture in EK Modernism (2005–10) and A Holiday in Glenrothes (2008), and created an edible photo artwork, the Lumsden Biscuit (2016–17). Her roles at Queen’s University Belfast (2008–10); University of Salford (2011), and University of Stirling (2012–15) have focused on visual arts and social histories, digital engagement and innovation. In 2023, she received the Mozilla Foundation Rise 25 award in recognition of her transformative media arts practice to democratize the web for communities. Exhibitions include National Galleries of Scotland, RIAS, Street Level Photoworks, and The Lighthouse, Glasgow.

Sandra George (1957–2013) was an Edinburgh-based social documentary photographer, multi-disciplinary artist, and a community worker in Craigmillar. George studied Photography at Napier University, Drawing and Painting at Edinburgh College of Art, and Community Education at The University of Edinburgh. For over 30 years she worked extensively as a freelance photographer for organisations and publications including the Sentinel, Tollcross Community Newspaper, Shelter, Craigmillar Festival News, and Craigmillar Chronicle, and taught photography and art to communities across Edinburgh. She started working in community development in Wester Hailes in the 1980s, and in Craigmillar from the 1990s, and was an integral member of initiatives including McGovan house, the Thistle Foundation, and the Craigmillar Arts Centre. Alongside a commitment to community work, anti-racism and social justice, George’s photographs document children at play and their educational and leisure environments. George’s archive is held at Craigmillar Now, a community-led arts and heritage organisation in Craigmillar.

Franki Raffles (1955–1994) was a feminist photographer specialising in social documentary. Raffles studied philosophy at the University of St Andrews from 1973–1977, where she was an active member of the Women’s Liberation Movement. After experimenting with photography while living on the Isle of Lewis, she moved to Edinburgh in 1983, and started documenting women at work, as well as organising and campaigning. Raffles frequently collaborated with Edinburgh District Council’s Women’s Committee, including on the project To Let You Understand: Women’s Working Lives in Edinburgh (1989) Zero Tolerance campaign against domestic violence in the early 1990s. She travelled widely throughout her career, including extended trips to Asia and the Soviet Union. Raffles’ work is currently the focus of a major exhibition Franki Raffles: Photography, Activism, Campaign Works at BALTIC Centre for Contemporary Art. Her archive is held at the University of St Andrews.

Carolyn Scott is an artist working in photography, film and installation. She was raised in Edinburgh and now lives in Cupar, Fife. Carolyn lived in the Rye Hill district of Newcastle Upon Tyne in the late 1960s where, in the spring and early summer of 1968, using a twin-lens Rollieflex camera, she photographed the immediate area in which she lived. Her Rye Hill Social Documentary Photography Collection images were unseen for nearly 40 years until she revisited them during her studies at Duncan of Jordanstone College of Art and Design, Dundee University, where she received a BA and MFA. Carolyn’s work has been shown in the Cupar Arts Festival, St Andrews Photography Festival, Royal Scottish Academy and The Centre for Theology and Inquiry, Princeton. The Rye Hill Social Documentary Photography Collection is now held at the University of St Andrews.

Niu Weiyu (牛畏予) (1927–2020) worked as a photojournalist and photographer for North China Pictorial, Southwest Pictorial, and the News Photography Bureau. She later joined the Xinhua News Agency, where she worked for various branches from the 1950s to the 1980s. Weiyu was one of the few women photographers during this period, who were often assigned to feature women workers, such as the first women pilots, as well as public figures and officials in the Chinese Communist Party, and she travelled extensively throughout her career.

Vivian K. Sheng is an art historian working on contemporary Chinese and East Asian art in transnational contexts and an assistant professor in contemporary art at the University of Hong Kong. In Fall 2022, she was a Global Fellow hosted by the School of Art History at the University of St Andrews. Her research investigates the intricate interrelations between women, domesticity and art practices in contexts of ever more intensified cross-border movements and exchanges, provoking reflections on notions of identity, home and belonging beyond the territorial fixity of natio-state. Relevant issues are explored in her forthcoming monograph book— The Arts of Homemaking: Women, Migration and Transnational East Asia. Her writings have appeared in ASAP/Journal, Art Journal, PARSE Journal,Third Text, Sculpture Journal, Yishu and INDEX JOURNAL.

Catherine Spencer is an art historian at the University of St Andrews. She is currently working on a book entitled Abstract Subjects: Art, Borders and ‘Britain’, and co-editing Grassroots Artmaking: Political Struggle and Activist Art in the UK, 1960–Present with Maryam Ohadi-Hamadani and Amy Tobin (Bloomsbury, forthcoming). Her writing on Franki Raffles has been published in Art History (2022) and the catalogue for the 2024–5 exhibition Franki Raffles: Photography, Activism, Campaign Works at BALTIC Centre for Contemporary Art. In 2021, she co-curated Life Support: Forms of Care in Art and Activism with Caroline Gausden, Kirsten Lloyd, and Nat Raha at Glasgow Women’s Library. Her essays have appeared in Art History, Art Journal, ARTMargins, Tate Papers, Parallax and Oxford Art Journal.

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 the first £25,000.

Investment in the Fringe Society from the Scottish Government is needed to ensure the charity can continue to provide core services to this vital event.

The Scottish Government have recognised that this organisation falls between the cracks and have made the commitment to support, and this is a work in progress. Scottish artists, companies and many local producing theatres and venues are supported through the multi-year funding programme, the Open Fund, and the Made In Scotland showcase at the Fringe and this helps. Yet there is still a gap in support for the whole Fringe operation, and there is a continuing disparity between the infrastructural needs and financial support made available for major sport events as opposed to the investment in sustained, annual arts events with longitudinal impact, like the Edinburgh Fringe.

For the UK Government – the Edinburgh Fringe hosts artists from all over the UK, with over 2,000 shows coming from England alone every year; with producers and promoters bringing work to be showcased and booked for onward opportunities. The Fringe ecosystem needs support to host all of this.

The UK Government have so far provided a Capital Grant to the Fringe Society to create a year-round Fringe Central space, and we have been making the case to build on this investment for the whole ecology. This could happen in several ways:

Theatre Tax Relief could be extended to support the venue infrastructure set up at the Fringe that is undoubtedly part of the production process
The Fringe should be supported by UK Government for its role as a driver of the Creative industries – Industrial strategy, and well-positioned for support from the £65 million recently announced by Secretary of State Lisa Nandy
It should be recognised as a Major Event for the UK, and its operating structures supported as would so readily be done with a sporting event of this scale and reach, such as an Olympic or Commonwealth Games
Arts Councils across UK should be investing in their artists to support them coming to the Fringe, as international showcases already do

The City of Edinburgh Council is crucial in providing a supportive operating context:

The Fringe will generate over £1million in Visitor Levy – this money should be ring-fenced to be redistributed in supporting the event
Affordable accommodation is the single biggest barrier to making the Fringe truly inclusive for creatives, workers and audiences. There are three ways this could be alleviated
- Exemptions on home-letting and home-sharing being real, effective and immediate
- A mechanism for HMOs (houses of multiple occupancy) privately run student accommodation to be made available to artists during the summer months
- A map of accommodation capacity within a one-hour commute of Edinburgh and the supporting transport routes to make that underused capacity viable

New structures have already been set up to create this joined up approach through a National Festivals Partnership and a Festival City Infrastructure group. Let’s hope these structures can finally bring a strategic and supportive approach, to enable the Fringe to sit comfortably within Scotland’s national cultural asset base whilst also being properly enabled to welcome the emerging performing artists and breakthrough work from across the UK and the world.

The Edinburgh Fringe is unlike any other cultural event in the world, in that it is largely self-financed by those who take the risk to make and show work. It is made up of hundreds of parts, all of which are important. It is a wonderful balance of ticketed venues, street performance, free shows and pay what you want shows; from new discoveries to world-class and established artists.

It is the sum of these parts that makes it distinctive, inclusive, extraordinary and with something to say in the world. The stability of the Fringe is dependent on a recognition by everyone involved in it; that it is not owned by anyone – no organisation, group, or collective. It has no super league or participant base that is any more important than any other. It is a platform for freedom of expression like no other – ever evolving, growing, contracting and contorting.

It is not stuck in any one period of time, and should never allow any single interest group or sense of entitlement to derail its beautiful, messy and joyful mission for inclusion and cultural democracy

Its mantra is to give anyone a stage and everyone a seat – and that’s a mantra worth protecting and championing. That’s the Fringe. What a welcome it would be for the incoming CEO of the Fringe Society, if this extraordinary event was set on a new foundation stone where both the Fringe itself and the charity that supports it are validated and supported. With that support and validation, the whole Fringe community can move forward together collaboratively to secure the future of this vital event.

The cultural sector review will perhaps take a closer look at why the Edinburgh Fringe doesn’t sit comfortably within the established mechanisms of investment in the cultural sector, and a new way may be found to give it investment and support. Edinburgh is a city that has given huge recognition to new infrastructure and investment in classical music and the classic artforms.

It would be wonderful to see some validation of the forms of creative expression, such as comedy and street performance, which allow a significant point of access into the arts, and anyone to step into the opportunity to perform.

Often all that is required is space, a microphone and a story to tell.

Shona McCarthy, Chief Executive, Edinburgh Festival Fringe Society

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.

Scotland’s World Gaelic Week comes to Edinburgh

Seachdain na Gàidhlig (World Gaelic Week) has unveiled details of its most diverse, ambitious and largest programme to date, bringing together speakers, learners and enthusiasts from across Scotland and beyond.

The fourth edition of the nationwide language initiative will take place from 24th February – 2nd March 2025 celebrating the theme, Ceanglaichean gun Chrich (pronounced kyeh-leech-un gun chreech), which signifies Building Connections in English.

More than 60 groups across Scotland and beyond, have been awarded funding through the initiative’s Small Grants Fund, supported by Bòrd na Gàidhlig, to stage events and activities championing the Gaelic language next month.

A record number of people applied for funding to be part of the celebrations this year, with over 100 applications received. This was a 44% increase in submissions from 2024, as the appetite for and appreciation of the indigenous language continues to grow.

A wide range of events are set to take place, all united by the common bond that demonstrates the linguistic, cultural and human connections that language forges, with a range of programme highlights in Edinburgh.

People across Scotland and in diaspora communities around the world are being encouraged to get involved in this year’s Seachdain na Gàidhligand stage their own events.

Individuals, community groups and organisations with any level of Gaelic can host an activity in their community that promotes the language and builds connections.

Events can be added to the World Gaelic Week website at

seachdainnagaidhlig.scot/events/community/add.

People can also take part in the hugely popular Say a Gaelic Phrase Day as part of Seachdain na Gàidhligon Thursday 27th February 2025, which engages thousands online each year.

Seachdain na Gàidhlig 2024showcased over 170 events in 100 locations throughout Scotland and across the world, including Nova Scotia and New York. The initiative also delivered its first-ever programme of digital assemblies for schools, which engaged 12,600 pupils from 136 schools across 27 local authority areas and will be expanded for 2025.

Joy Dunlop, Director of Seachdain na Gàidhlig, said: “There’s a number of activities planned for Seachdain na Gàidhlig 2025 across Edinburgh which will have far-reaching positive impacts.

“This year’s funded programme demonstrates the power Gaelic has in building bonds, enriching lives and enhancing community cohesion. Seachdain na Gàidhlig continues to grow year on year and provides an important platform for Gaelic cultural exchange.

“We are very grateful to Bòrd na Gàidhlig for their support to make the initiative possible and would encourage anyone in and around Edinburgh with a love of or interest in Gaelic to stage their own event and get involved.”

Organised by Scottish traditional culture and music organisation Hands Up For Trad, with support from Bòrd na Gàidhlig, Seachdain na Gàidhlig was inspired by the success of other minority language initiatives such as Seachtain na Gaeilge in Ireland and Mìos nan Gàidheal in Nova Scotia.

The week-long celebration gives Scottish Gaelic speakers, learners and supporters the opportunity to celebrate the language at home and internationally and drives national recognition and awareness.

Seachdain na Gàidhlig 2025 will take place from 24th February – 2nd March 2025. For a full list of events running throughout the week and information on how to get involved, visit: www.seachdainnagaidhlig.scot.

Scottish Ensemble join forces with puppetry company, Blind Summit, in The Law of Gravity

Collaborating with creative minds, Scottish Ensemble have forged new paths over recent years blurring the boundaries between genres and artforms. In their latest cross-artform project Scottish Ensemble collaborate with Blind Summit to explore what puppetry can reveal about music.

Performing Arnold Schoenberg’s Verklärte Nacht (Transfigured Night) and Philip Glass’ Symphony No. 3 the musicians and puppeteers play together to blend sound and visuals in this experimental collaboration where puppetry and music lead each other in a fragile dance. Directed by Mark Down, this new work will defy the rules to reveal the unseen, unheard and unknown.

Performances take place on Thursday 13 February at Edinburgh’s Traverse Theatre (as part of Manipulate Festival), Friday 14 February at Dundee Rep and Saturday 15 February at Glasgow Royal Concert Hall’s New Auditorium.

Jonathan Morton, Artistic Director of Scottish Ensemble, said: “Collaborations which involve a different artform invite us to re-examine some of our habitual patterns of thought, behaviour and action.

“There is risk involved. And, more alluringly, the potential encounter with something special. At the start of this collaboration, I knew very little about puppetry, but I am drawn to the fact that puppeteers, like musicians, pick up inanimate objects and, somehow, breathe life into them. You can see this, and you can hear it in The Law of Gravity.”

Mark Down, Artistic Director of Blind Summit, said: “During the research and development sessions for this project it has been an absolute inspiration to be surrounded by live music all day, I wish I could have an ensemble at all our rehearsals.

“The puppeteers and musicians generated seemingly endless ideas, the challenge was how to edit and organise them to share with an audience. The Law of Gravity is of course what makes everything fall down, I hope we stay standing”

In another first for Scottish Ensemble the performances in Dundee and Glasgow will be audio described. Visually impaired audiences will be able to enjoy the production through a live verbal commentary describing the visual elements of the production, whilst being respectful to the music performed.

Tickets range from £11 – £22 and in Dundee and Glasgow are free for under 16s.

Tickets are available from https://scottishensemble.co.uk/programme/2024-25/the law-of-gravity/

Milestone move as National Galleries of Scotland to host the Scottish Portrait Awards 2026

The Scottish Portrait Awards 2026

National Galleries Scotland: Portrait

Exhibition will run from Autumn 2026 – Spring 2027

Entries can be made 1 September 2025 and close 15 January 2026 at scottishartstrust.org/portrait

The Scottish Portrait Awards are back and bigger than ever, as the Scottish Arts Trust and National Galleries of Scotland announce a landmark move that will see the 2026 awards hosted at the Portrait gallery in Edinburgh for the first time

This exciting new home for the 2026 awards will bring deserved attention to the many talented contemporary portrait artists in Scotland today. Applications to participate in the 2026 Scottish Portrait Awards will open on 1 September 2025 and close 15 January 2026. Submissions are open to anyone over the age of 16 on 1 November 2026 and born or living or studying in Scotland, regardless of experience.

The Scottish Portrait Awards are excited to welcome television presenter and journalist Kirsty Wark as Guest Judge. With an impressive broadcast career, Kirsty presented BBC Two’s Newsnight for 30 years before going on to anchor BBC Radio 4’s arts and culture programme, Front Row. Kirsty joins a stellar line-up of highly respected artists and photographers who will select the works for the exhibition.

Joining Kirsty will be Guest Photography Judge Albert Watson OBE, one of the world’s most successful fashion photographers. Known for his iconic portraits including those of Alfred Hitchcock and Steve Jobs, Watson’s portrait of Sir Sean Connery is part of Scotland’s national collection.

Also joining the panel is Calum Stevenson, who was shortlisted for the Scottish Portrait Awards in 2020. Calum went on to be the youngest artist and first Scot to win Sky Arts Portrait Artist of the Year in 2021.

Organised by the Scottish Arts Trust, the Scottish Portrait Awards are a celebration of Scottish talent and creativity. Around 120 works will be selected for the fine art and photography exhibitions which will be held in National Galleries Scotland: Portrait from Autumn 2026 – Spring 2027.

All entries will be in the running for cash prizes totalling £16,000 which will be presented by the Scottish Arts Trust along with the opportunity to win one of two commissions for works that will join Scotland’s national collection.

The Scottish Arts Trust also runs a bursary scheme that will provide free entry to a number of artists who require any assistance. Details on the bursary scheme and how to enter the awards and can be found at scottishartstrust.org/portrait

The Scottish Portrait Awards exhibition will also include 50 works selected from the free-to-enter Scotland Now! Phone Portrait Award. Anyone aged 16 years or over and living in Scotland can enter with recent phone portraits taken in Scotland of someone who lives in Scotland. The Scotland Now! Award, which also carries a cash prize, launched in 2024 and attracted over 1,500 entries in its first year.

The Scottish Portrait Awards has been running since 2017 and is organised by the Scottish Arts Trust, a small charity largely managed by volunteers. Since its inception, the awards have discovered and recognised almost 500 incredible artists whose work features in the Scottish Portrait Awards online archive.

Many of the artists have continued to advance their careers with exhibitions and commissions. Previous award winners include many celebrated artists including Helen Wilson, Robin Gillanders and Graeme Wilcox.

National Galleries of Scotland have a longstanding relationship with the Scottish Portrait Awards with former judges from the galleries including Imogen Gibbon, Deputy Director and Chief Curator, Portraiture and Ben Harman Senior Curator, Photography. Michael Youds was working as a gallery attendant at the National Galleries of Scotland when he won the Scottish Portrait Award in Fine Art in 2019. Youds now has two works in Scotland’s national collection.

As well as celebrating contemporary Scottish artists, the awards also provide an opportunity to shine a light on some of the stories of the sitters in the portrait. Last year saw Jennifer Charlton become the first female winner of the MPB Scottish Portrait Award in Colour Photography with her winning photograph from a series titled A Hidden Community.

The sitters in her images were all volunteers – a mixture of friends and strangers who each courageously shared their stories on mental health, demonstrating how we live in a hidden community where mental health doesn’t discriminate. Since winning the award, Jennifer has become a media spokesperson for Women’s Aid.

Kirsty Wark, Scottish Portrait Awards Guest Judge said: “The Portrait gallery in Edinburgh is home to contemporary portraits and famous faces from Scotland’s past. It’s really exciting to have the opportunity to shine a spotlight on some Scotland’s amazing up and coming talented artists.

“I am thrilled to be part of the judging panel and to be supporting the great work of the Scottish Arts Trust.”

Sara Cameron McBean, who is a Scottish Arts Trust trustee and had the original idea for the Scottish Portrait Awards, said: “Ten years ago, a group of us were sitting around a table planning the creation of this new platform that would celebrate and promote portraiture in Scotland.

“We had no money and no staff. Our dream was always that the Scottish Portrait Awards would eventually come to the Portrait Gallery.”

Imogen Gibbon, Deputy Director and Chief Curator of Portraiture at National Galleries of Scotland said: “Portraiture can transform the ordinary into the extraordinary. The success of the Scottish Portrait Awards lies in the multitude of stories behind and conveyed through each and every portrait.

“This will be one of the most ambitious exhibitions of contemporary Scottish portraiture of its time. We are making the announcement early because we want as many artists as possible to be aware of the opportunity to see their work hanging in the Portrait Gallery.”

Calum Stevenson, Scottish Portrait Awards Fine Art Judge, said: “The impact of the Scottish Portrait Awards are enormous, I was thrilled to have my self-portrait accepted for the exhibition in 2020 and I know that experience helped build my confidence when I entered and won the Sky Arts Portrait Artist of the Year in 2021.”

Gordon Mitchell RSW RSA RGI, Director, Scottish Portrait Awards and Fine Art Chair, said: “The Scottish Portrait Awards offer Scottish artists the best opportunities for exposure, engagement and recognition of work, and for some, career-changing impact.

“There couldn’t be a more fitting partner than National Galleries Scotland: Portrait to ensure more visitors have the opportunity to come face-to-face with the leading portraiture of the day.”

Simon Murphy, Chair of Photography, said: “The Scottish Portrait Awards is a fantastic opportunity for everyone to get involved regardless of experience.

“The resulting exhibition will give a unique insight into contemporary portraiture in all its diversity”

Entries to the Scottish Portrait Awards 2026 open 1 September 2025 and close 15 January 2026, find out more at Scottish Portrait Awards — Scottish Arts Trust

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.”

Soundhouse Winter Festival kicks off tomorrow

Dates: Thursday 28 November to Monday 2 December 2024

www.soundhousewinterfest.com

There is just one day to go before the brand new Soundhouse Winter Festival kicks off in Edinburgh, thanks to support from The National Lottery through Creative Scotland.

The programme is packed with big names and up and coming bands from across Scotland including award winning feminist rock goddess Megan Back, who hasrecently returned from gigs in California, performing tracks from her new album out next year; and impulsive punk/rock n’ roll multi-instrumentalist Callum Easter performing with his full band the Roulettes and special guest indie/folk soloist Iona Zajac.

They will be headliningalongside some of Scotland’s finest jazz and trad musicians including Fergus McCreadie, Su-a-Lee, Duncan Chisholm, Hamish Napier, and Donald Shaw; a screening of silent film The Rugged Island: A Shetland Lyric accompanied by music composed by multi-instrumentalist Inge Thomson and fiddle player Catriona Macdonald; and live performance poetry with Edinburgh’s previous Makar Hannah Lavery accompanied by music from Kate Young.

Callum Easter & The Roulettes who play the Queen’s Hall, Edinburgh on Monday, 2 December with special guest Iona Zajac

The festival’s programme also includes early evening concerts at the Traverse with Nicole Smit performing some cool jazzy numbers with her Quintet (Vid Gobac on drums, Cameron Bradley on piano, Dave Toule guitar, and Kassandra E’Silva on saxophone); Gaelic singer-songwriter Rachel Walker performing with one of the country’s foremost folksingers and accompanists Aaron Jones; Edinburgh-based poetic psychedelic supergroup Acolyte (Ruairidh Morrison on bass, Gloria Black on synth and backing vocals, Daniel Hill on percussion and led by award-winning poet and spoken word artist Iona Lee); and acclaimed singer songwriter Victoria Hume, joined by long-term collaborator Chris Letcher.

Plus, there will be a showcase of emerging new jazz musicians including the Rosalind Orr Trio, TAO and C.A.L.I.E; a masterclass with jazz pianist Fergus McCreadie; and two workshops -Gaelic lullabies with Rachel Walker, and jazz saxophone with one of Scotland’s leading jazz instrumentalists Helena Kay.

Jane Ann Purdy and Douglas Robertson, producers of the Soundhouse Winter Festival said: “We are thrilled to be presenting a five-day festival of live ‘music from Scotland’ at this time of year.

“There are so many world class musicians working here right now that we were literally spoilt for choice. We hope the Soundhouse Winter Festival will not only be a chance for music lovers to hear some of their favourite live bands, but also a chance to hear some of the best up and coming artists of the moment.”

Booking link for tickets: – soundhousewinterfest.com

Coming Up at Assembly Roxy this November!

Assembly Roxy’s year-round programme continues this November with a line-up of theatre, music, and live events celebrating creativity, Scottish traditions old and new, and looking to a better future for all.

With highlights including immersive theatre piece Maiden Mother Whore from Theiya Arts Dance Collective, Jeremy Corbyn at Lighthouse Books’ Radical Book Fair, and the Scottish Dementia Arts Festival 2024, there’s plenty coming up at Assembly’s year-round venue.

Theiya Arts Dance Collective joining Assembly Roxy on the 01 Nov with a thought-provoking performance experience, in Maiden Mother Whore.

A 90-minute show, Maiden Mother Whore invites audiences to interact with five installations throughout the Roxy, exploring complex relationships between women, social structures, health and social policies, and institutions.

Assembly Roxy regulars Edinburgh Ceilidh Club with Teannaich bring the finest in Scottish Ceilidh dancing back to Assembly Roxy Central on Fri 08 Nov. All the dances are taught and called by the band – so bring along regulars and newbies alike to celebrate the Scottish tradition.

Scottish Dementia Arts Festival 2024 boasts a jam-packed line-up of events including live performance, creative workshops, film screenings, open-mics and more. The four-day festival runs from 11 – 14 Nov and celebrates the creativity of people living with dementia, and highlights include relaxed Scottish panto McScrooge by Alan Mountford and Citadel Arts Group and creative consultants living with dementia, Dementia the Musical Soundtrack Gig with Sophie Bancroft and Friends, and Meeting Centres Scotland film launch, as well as a host of ceilidhs, open mics, discos and more!

Lighthouse Books return with their annual Radical Book Fair from Thurs 21 – Sun 24 Nov with a line-up of workshops, cabarets, panels and talks exploring community organising, creativity and international solidarity. This year’s theme ‘From Where We Standcelebrates histories of resistance, protest and change-making.

Highlights include We Are It: Community Power in Our Time with a panel including Jeremy Corbyn, Kate Pickett and Oliver Escobar, and Young Radical Worlds exploring radical writing for young people with Faridah Abike-Iyimide and Margaret McDonald.

The full programme of events can be found at www.lighthousebookshop.com.

Closing out the month, Amy Leach and Alasdair Paul bring their duo gig Amy and Alasdair to the Snug Bar, passing on traditional Scots songs and ballads. With history in Edinburgh and beyond,

Amy and Alaisdair share their simple and striking approach in a stripped back show sharing glimpses into the darkest and lightest moments of life. Amy and Alasdair is showing for one night only on 29 Nov.

Tickets and information on all the events above are available now from www.assemblyroxy.com

European Movement in Scotland urges Scottish Government to retain College of Europe bursaries

The Scottish Student Awards Agency (SSAA) is proposing to stop providing bursaries for students based in Scotland to study at the prestigious College of Europe.

The College provides post-graduate education and training for high achieving students. Many go on to be senior civil servants at the European Commission or be elected to the European Parliament.

Others become specialists in areas like trade, environmental law and foreign and defence policy with governments across Europe and with international organisations globally.

College of Europe graduates can be found in bodies like the Oragnisation for Economic Development and Cooperation, NATO, UN and World Bank, and holding senior posts in leading private sector businesses.

Chair of the European Movement in Scotland (EMiS), David Clarke, says: “We urge the Scottish government to think again about ending the bursaries for Scotland domiciled students to attend the College of Europe.

“This is a world class training ground for the brightest and the best. Cutting our ties with the College will be another great blow to our talented young people and have a lasting negative impact on Scotland’s relationship with the EU for decades to come. That’s bad for trade, bad for business, bad our universities and for our international relations. And bad for our ties of democracy, culture and friendship.”

The Scottish Government supported three places a year for recent graduates of Scottish universities. The cost is around £120,000 a year. The position is different in England where up to 28 British civil servants can get UK government funds to meet the cost of attending the College of Europe.

EMiS says continuing to support students from Scottish universities will deliver positive benefits for Scotland for decades to come.