Although we will not be open till late on Thursday 23rd April for World Book Night, we will still be celebrating at Stockbridge Library–please join us on Wednesday the 22nd from 6-7pm to share a poem or a short passage from an author who has made a lasting impact on your life.
No need to register in advance, but please do pick something that can be read aloud in under ¬3 minutes!
Four writers from Edinburgh have been named as this year’s recipients of Scottish Book Trust’s 2024 New Writers Award.
Tutor Alice Rowena Wilson, writer and poet Shasta Hanif Ali, primary teacher Amie Robertson and journalist Sukhada Tatke were selected out of hundreds of entries to take part in this year’s mentorship programme.
Every year, Scottish Book Trust, the national charity changing lives with reading and writing, holds its prestigious year-long writer development programme to support burgeoning writers in Scotland. In addition to a £2,500 cash prize, awardees receive invaluable mentorship from established writers and industry professionals, a week-long retreat, and opportunities to showcase their work to key figures in the publishing world.
Since its launch in 2009, the New Writers Awards have had an extraordinary impact on publishing. Of the 212 awardees who have completed the programme, 96 have published their work, and 210 books have been published worldwide.
Previous awardees include Graeme Macrae Burnet whose 2015 novel His Bloody Project was shortlisted for the Man Book Prize.
Pakistani-Scottish writer Shasta Hanif Ali is a winner of the Edinburgh 900 Poetry Competition 2025 and the 2024 Candlestick Press Light Poems competition.
She’s also written and performed her poetry at Push The Boat Out Poetry Festival and Edinburgh’s International Book Festival amongst others.
She says: ‘I am delighted to receive the New Writers Award 2026 and grateful to the Scottish Book Trust for this opportunity. It’s come at just the right time for my writing and development. I’m looking forward to meeting the other awardees and being in community.’
Alice Rowena Wilson is originally from Ross-on-Wye, Herefordshire and now lives in Edinburgh, where she works as a tutor. She was previously selected for the BBC New Creatives programme, in partnership with Arts Council England.
Her short drama was broadcast on BBC Radio 4 Extra in 2021. She is particularly interested in the intersection of the historical, the fantastical, and the imaginary.
Alice says: ‘I’m absolutely thrilled to receive this award. I was totally shocked when I got the call – I’d just woken up from a nap and thought it was a bizarre dream!
“I’m now looking forward to throwing myself into my writing this year, and making the most of this opportunity.’
Amie Robertson is a primary school teacher from Edinburgh, who specialises in children’s stories. Her stories weave a passion for Scottish history and mythology with the lived reality of her working-class background.
She has completed two writing courses at Edinburgh University, where her children’s picture book, My Secret Dragon was chosen for their writing showcase. She is working on her second middle-grade novel, inspired by historical Hebridean clans with an added touch of magic.
Amie says: ‘I am shocked and overjoyed to have won the Scottish Book Trust New Writers Award and cannot emphasise enough how much it truly means.
“It has given me the confidence and determination to go after my writing dreams, with the invaluable support and insight from those within the business. I just can’t wait to get started!’
Sukhada Tatke is an independent journalist and communications officer at a think tank. She was the inaugural recipient of this year’s The Kavya Prize, to support an emerging writer of colour.
Originally from Mumbai, India, she currently lives in Edinburgh. Her features have been published in Al Jazeera, Wired, BBC and Atlas Obscura, and essays in literary magazines such as The Rumpus, Literary Hub, Commonwealth Writers’ and Verseville. She is the recipient of several journalism awards and fellowships.
Sukhada says: ‘I am incredibly thrilled and honoured to receive this award. In what is often a solitary journey riddled with challenges and self-doubt, it is wonderful to get the kind of recognition that tells you you’re on the right path.
“I look forward to meeting my cohort and the many opportunities this award will bring.’
Marc Lambert, CEO of Scottish Book Trust, said: ‘Congratulations to this year’s New Writers, each of whom were selected for this opportunity for their exceptional writing. It’s always incredible to meet our awardees as they start their year-long journey of receiving invaluable support and mentorship.
“We look forward to seeing the next steps in their writing journeys.’
Here is the full list of awardees:
A National Theatre of Scotland Production
Presented in partnership with The Royal Lyceum Theatre Edinburgh and in association with Pitlochry Festival Theatre
The Prime of Miss Jean Brodie
Adapted by David Harrower from the novel by Muriel Spark
Directed by Vicky Featherstone
Featuring Gayle Rankin as Jean Brodie
Touring Scotland from 02 October to 07 November 2026.
Previews and opening at The Royal Lyceum Theatre Edinburgh before touring to The Citizens Theatre, Glasgow; His Majesty’s Theatre, Aberdeen and Pitlochry Festival Theatre.
Opening performance at The Royal Lyceum Theatre Edinburgh on 9 October 2026.
National Theatre of Scotland in partnership with The Royal Lyceum Theatre Edinburgh and in association with Pitlochry Festival Theatre is bringing one of Scotland’s most iconic and enduring Scottish literary characters to the stage, in a brand-new production of The Prime of Miss Jean Brodie. This production will mark 60 years since the premiere of the original stage version.
Adapted for the stage by acclaimed Scottish playwright David Harrower from Muriel Spark’s much-loved novel, The Prime of Miss Jean Brodie is directed by Vicky Featherstone and features Gayle Rankin making her National Theatre of Scotland debut as the charismatic Jean Brodie.
To mark Muriel Spark’s birthday, born in Edinburgh on 1 February,1918, National Theatre of Scotland is releasing newly commissioned images to promote this new production. The photos were captured by Rankin in his studio in London.
Gayle Rankin, photographed by Rankin.
Born in Edinburgh in 1918, Muriel Spark he wrote 22 novels including The Driver’s Seat, Memento Mori and The Girls of Slender Means with The Prime of Miss Jean Brodie being the best known of her works.
First published in the New Yorker and reissued in volume form in 1961, the novel is set in Edinburgh in 1936 with the central character based in part on a teacher at Muriel Spark’s Edinburgh school, James Gillespie’s School for Girls. The novel was subsequently adapted for stage, film and television.
Gayle Rankin is a Tony Award-nominated Scottish performer well known for her role as Sheila the She-Wolf in the hit Netflix series GLOW. Gayle recently finished a run on Broadway as Sally Bowles opposite Eddie Redmayne in the award-winning production of Cabaret (Tony nominated).
Other TV credits include House of the Dragon and Perry Mason (HBO). Film includes Alex Garland’s Men, Amazon’s Blow the Man Down, Bad Things and The Greatest Showman. New York theatre credits include Sam Gold’s Hamlet and Phyllida Lloyd’s The Taming of the Shrew.
Gayle Rankin said: “Working with the legendary photographer Rankin was an incredible experience.
His deep curiosity as an artist, alongside Vicky Featherstone and me, helped crack open the earliest beginnings of our Jean Brodie—approaching her not just as an icon, a myth or character, but as a real woman for our time. We were thrilled to start this journey with Rankin’s lens on her.”
Rankin is a British photographer, publisher, and film director.
Best known for work that is on the cultural cusp and leading future trends, he has produced rule-breaking campaigns for brands such as Rolls Royce, Unilever, L’Oreal, Lego, and Samsonite; creating wide reaching projects for charities including Women’s Aid and Macmillan; and shooting music videos for the likes of Miley Cyrus, Rita Ora and Kelis.
As a photographer Rankin’s portfolio ranges from portraiture to documentary. He has shot The Rolling Stones, David Bowie, Kate Moss, Kendall Jenner and Zendaya to name only a few. In 2023 Rankin photographed King Charles III to mark the monarch’s 75th Birthday for The Big Issue magazine.
As a publisher, Rankin co-founded the seminal magazine Dazed & Confused with Jefferson Hack in 1990 and has since published the likes of AnOther and AnOther Man, alongside over 40 books, and the fashion and culture publication Hunger. His photography has been published everywhere from his own publications to Elle, Vogue, Esquire, GQ, Rolling Stone, and Wonderland, and exhibited in galleries globally, including MoMA, New York, and the Victoria & Albert Museum, London.
Gayle Rankin, photographed by Rankin
Rankin said: “It was a thrill and a privilege to be invited to capture the extraordinary Gayle Rankin in the iconic role of the dangerous but alluring Jean Brodie. Her power as an actor brought an electric theatricality to the shoot as can be seen in the final images.
“It was fantastic to collaborate with the National Theatre of Scotland on this production, which I hope I can get to see later this year.”
ABOUT THE PRODUCTION
‘Give me a girl at an impressionable age, and she is mine for life’
At the Marcia Blaine School for Girls, junior-school teacher Miss Jean Brodie is, famously, in her prime.
Each year, Brodie selects her ‘set’. The crème de la crème of girls whom she will shape through art and politics, stories of sexual liberation and titillating glimpses of the women they could become. In return, she demands utter loyalty from them all.
Witty, seductive and swirling in contradictions, Brodie’s mythical ability to invent her own truths and manipulate her girls ultimately leads her to risk everything.
In an adaptation by David Harrower, which sharpens the knives of Spark’s extraordinary work, and with a cast led by Gayle Rankin (Sally Bowles in Cabaret on Broadway, and TV’s Glow & House of The Dragon and The Greatest Showman), this visceral production takes a head-on look at the enduring moral fascination with such a beguiling and dangerous character.
“The crème de la crème of Brodie adaptations”
The Theatre Times on The Prime of Miss Jean Brodie, Donmar Warehouse, 2018
This is the first time that David Harrower’s adaptation of The Prime of Miss Jean Brodie has been performed in Scotland, having been originally staged at the Donmar Warehouse in 2018 to critical acclaim.
The original 1966 London stage adaptation was by Jay Presson Allen (Marnie, Cabaret). Scottish productions include Pitlochry Festival Theatre in 1985 and 2009 and at The Royal Lyceum Theatre Edinburgh in 2003.
Gayle Rankin played one of the schoolgirls in The Lyceum production and this 2026 production marks her homecoming to Scotland’s stages.
Vicky Featherstone, director, said “20 years after we made our first tentative steps towards what a National Theatre for Scotland could be, I am honoured to be part of this year’s celebrations, with what is undoubtably one of the most iconic characters and stories ever written.
“It is testament to Spark that this story penned in 1961 Edinburgh, feels as sharp, as shocking, as thrilling, as alive as it did on publication and is an incredible opportunity to exalt the exceptional theatre artists and celebrate Scottish audience’s unbridled passion for theatre that gave us the courage to begin all those years ago.”
David Harrower is an Olivier Award-winning and Tony-nominated Scottish playwright and screenwriter. Plays include Blackbird (Olivier Award for Best New Play and Tony nominated), Knives in Hens, Kill the Old, Torture Their Young (Traverse Theatre), Six Characters in Search of an Author, 365, Calum’s Road (National Theatre of Scotland). Film & TV work includes Una, Outlaw King, Lockerbie: A Search for the Truth and the forthcoming The Day of the Jackal Season 2.
Vicky Featherstone was the founding Artistic Director of the National Theatre of Scotland, and she returns to direct The Prime of Miss Jean Brodie with the company, following a decade as Artistic Director of London’s Royal Court Theatre. Theatre credits include: Our Ladies of Perpetual Succour, Enquirer (National Theatre of Scotland); Shoe Lady, The Glow (Royal Court); The Outrun (Royal Lyceum Theatre for Edinburgh International Festival 2024). Her production of Krapp’s Last Tape with Stephen Rea recently played in NYC following an earlier presentation at Barbican, London and Pavilion Theatre, Dublin in 2025.
Touring in 2026 to The Royal Lyceum Theatre, Edinburgh (Previews Fri 2, Mon 5-Thu 8 October) Fri 9 October to Sun 18 October; The Citizens Theatre, Glasgow Wed 21October to Sat 24 October; His Majesty’s Theatre, Aberdeen Thu 29 October to Sat 31 October; Pitlochry Festival Theatre Wed 4 November to Sat 7 November 2026.
Two of Scotland’s most dynamic festivals are joining forces to create ambitious new work at the intersection of literature and music.
The Edinburgh International Book Festival and Celtic Connections have announced a multi‑year partnership spanning 2025–2027, featuring a series of original commissions designed to celebrate Scottish creativity, reach new audiences, create new opportunities for Scottish artists, and reimagine what is possible when art forms meet in unexpected ways.
Headline Commission: Scotland and India
A major highlight of this partnership will be the world premiere of The Golden Road at Celtic Connections 2026, a unique collaboration inspired by William Dalrymple’s award-winning book.
Following its debut in Glasgow, The Golden Road will evolve and return in an expanded form for a landmark performance at the Edinburgh International Book Festival in August 2026.
This journey from Celtic Connections to the Book Festival will see the project grow and develop, offering audiences a fresh and ambitious reimagining of the work at each stage.
Dalrymple will appear at the Citizens Theatre on 31 January alongside India Alba, a collective of Indian and Scottish musicians whose fusion of Indian classical and Scottish traditional backgrounds has created a unique exploration of world culture. Their debut album Reels and Ragas (2009) and follow‑up High Beyond (recorded in the Himalayas) revealed striking resonances between raga gats and Highland melodies, with the drone sounds of bagpipes and tampura forming a shared musical language.
For Celtic Connections 2026, India Alba will be joined by renowned cellist Su‑a Lee, guitarists Ali Hutton and Graeme Stephen, and further guests to be announced.
The Golden Road 7.30PM, Sat 31 Jan Citizens Theatre Tickets: https://www.celticconnections.com/event/1/india-alba-special-guests-with-william-dalrymple-the-golden-road/
Rhymes and Reels
Alongside the headline commission, audiences can enjoy Rhymes and Reels on 27 January at the Mackintosh Church in Glasgow. This special performance will revive two EIBF‑commissioned works and premiere a new Celtic Connections collaboration.
Harpist Esther Swift presents her musical settings of Jackie Kay’s poetry, with Kay herself reading from The Heartstrings of Poetry, commissioned by EIBF and first premiered at the 2025 festival.
Another EIBF commission, award‑winning poet and novelist Angus Peter Campbell appears with his daughter Brìghde Chaimbeul, blending readings in English and Gaelic with accompaniment from small pipes.
Former National Poet of Scotland Liz Lochhead collaborates with renowned Highland fiddler Duncan Chisholm in a brand‑new Celtic Connections commission.
Rhymes and Reels 7.30PM, Tue 27 Jan Mackintosh Church Tickets: https://www.celticconnections.com/event/2/rhymes-reels/
Jenny Niven, Director, Edinburgh International Book Festival: “We’re delighted to embark on this multi‑year partnership with Celtic Connections, uniting two of Scotland’s most dynamic festivals in a celebration of creativity and collaboration.
“This new era for the Book Festival is about opening doors—bringing together writers, musicians, and audiences in ways that spark new ideas and reach further into our communities.
“Our recent Thistle Award win is a testament to the power of innovation and partnership, and we look forward to building on that momentum as we explore the rich intersections of Scottish literature and music together.”
Donald Shaw, Creative Producer, Celtic Connections: “Celtic Connections has always been about forging new paths and bringing artists together across genres and traditions.
“We’re incredibly excited to be partnering with the Edinburgh International Book Festival, allowing us to celebrate the stories, sounds, and voices that make Scotland’s cultural scene so vibrant.
“By working together, we’re creating space for ambitious new work and for audiences to experience the magic that happens when music and words meet on equal terms.”
Quotes from three of Scotland’s most well-known poets have been unveiled on the Scottish Parliament’s Canongate Wall on the Royal Mile.
Earlier this year, over 5,000 public votes were cast from people all over Scotland who chose which works by previous Scots Makars Liz Lochhead, Jackie Kay and Kathleen Jamie should feature.
The winning quotations were sent to Perthshire-based stone carver Gillian Forbes, assisted by apprentice Cameron Wallace, who carried out the letter-cutting process for the new quotes as well as many of the original ones already featured.
In total 29 quotations now feature on the Canongate Wall from Scottish writers and thinkers as well as popular proverbs and poems which are letter-cut into stones sourced from across Scotland. The Wall was designed by artist Soraya Smithson which pays tribute to the design ideas of Holyrood lead architect Enric Miralles.
The winning quotations are:
this
our one small country…
our one, wondrous, spinning, dear green place.
What shall we build of it, together
in this our one small time and space?
– from Grace, A Handsel, New & Collected Poems, 2012
Stone cut into Achnaba Schist from Lochgilphead.
Where do you come from?
‘Here,’ I said, ‘Here. These parts.’
– from In my country, Darling: New & Selected Poems, 2007
Stone cut into Ailsa Craig Granite from Ayrshire.
Be brave:
by the weird-song in the dark you’ll find your way.
– from The Storm, The Bonniest Companie, 2015
Stone cut into Dalbeattie Granite from Dumfriesshire.
Presiding Officer Rt Hon Alison Johnstone MSP said: “Adding new quotations onto one of Scotland’s most prominent public sculptures is a celebration of the talent and skill of women who are performing at the very top of their professions.
“The inspirational words of our three poets – Liz Lochhead, Jackie Kay and Kathleen Jamie – combine with the skill of stone carver Gillian Forbes, making these quotes something of real beauty using stone from across Scotland.
“This is only possible thanks to the original vision of Enric Miralles and artist Soraya Smithson, who designed the wall as a permanent reminder of our rich cultural heritage.
“I’m proud to unveil these new quotes, which ensure that this piece of living public sculpture reflects the writing talent we have in Scotland today.”
Liz Lochhead, Makar from 2011 to 2016, said: “It’s a big part of my life, being a Scot, being somebody who has a parliament, and getting some of my words on the walls here, it’s fantastic.”
Jackie Kay, Makar from 2016 to 2021, said: “It’s a huge honour and so extraordinary to be carved into stone.
“It’s so strange to think of your words surviving you – but in a sense, that’s every writer’s dream.”
Kathleen Jamie, Makar from 2021 to 2024, said: “Poetry is very democratic. It’s available to anybody – through libraries, through memory.
“It’s free, and it’s absolutely of our culture.”
Edinburgh International Book Festival announces its 2025 programme with close to 700 events featuring writers from all over the globe, taking place from 09-24 August, as it returns to Edinburgh Futures Institute (EFI) for the second year, inspiring vital discussion and dissection of the cultural zeitgeist on a global stage.
With a lineup ranging from Yellowface author R F Kuang, who appears as part of the festival’s newly programmed Young Adults strand, which directly responds to topics of social and cultural importance often driven by the digital landscape, to firm festival favourites Denise Mina, Chris Brookmyre, V E Schwab, and Ali Smith, there is something for every audience to enjoy. In a first for the August Festivals, the Book Festival also unveils plans for a dedicated children’s zone, offering families an oasis away from the bustle of the city this summer.
The key theme this year is Repair, with the Festival seeking to explore the many things around us which feel broken, and how we might seek to fix them. Using informed insights from a range of experts, lessons learned from our ancestors, the richness and connection offered by the natural world, hands-on activities, and our own inherent humanity, the Festival offers a wide range of active opportunities to rebalance the mind, reinvigorate the spirit, reconcile with others, and restore a sense of calm and hope in the face of a world in chaos.
The theme will be explored from every angle including by Robert Macfarlane, Louise Welsh, and ‘barrister for the earth’ Monica Feria-Tinta discussing the beinghood of nature with debate around whether rivers should be granted personhood, and political repair and conflict resolution will be in the spotlight as human rights lawyer Philippe Sands and journalist Steve Crawshaw ask whether ‘justice’ can really be restored. Elsewhere historian Olesya Khromeychuk and journalist Jen Stout honour the legacy of Ukrainian novelist and war crimes researcher Victoria Amelina, who died from injuries caused by a Russian missile attack, and Omar El Akkad, Katie Kitamura and Yiyun Li extol the role that literacy and reading have in maintaining a democracy.
Indigenous Australian writer Melissa Lucashenko,and Anishinaabe journalist and author Tanya Talaga illuminate First Nations perspectives on truth, legacy, and repair, while artist, musician, performer, and writer Siôn Parkinson and mycologist Nicholas P Money champion the infinite potential of mushrooms, and journalist Ash Sarkar will wade right into the middle of the culture wars.
There will also be interactive events such as trying the Japanese art of kintsugi with Halle O’Neal, and exploring ‘multisolving’ with Alex Pearson.
Jenny Niven, Director of Edinburgh International Book Festival, said: “This year’s key theme of Repair starts from the belief that the brilliant ideas of writers and thinkers can help us repair a host of seemingly ‘broken’ things in our society, from the cycle of fast fashion and our relationship with the environment, to cultural reparations and the state of our politics. It’s a statement of hope and resilience, and an invitation for our audiences to think about what repair might mean for them.
“At a time when important conversations can feel impossible to have without igniting conflict and anger, we want the Edinburgh International Book Festival to provide a safe place for challenging but considered discussions.
“This year our programme features over 600 writers and artists from 35 countries, who have a wide range of perspectives on topics of personal, social and global importance. We invite you to come and learn something new, feed your curiosity and to broaden your horizons.
“The Book Festival is also a space for play and creativity, and we have an imaginative feast in store for audiences too – from stories from all around the world, to commissions of brand-new music and theatre, a Frankenstein themed cabaret, and a brand-new Kids Zone for our youngest audiences and their families, as well as a dedicated Young Adults programme for the very first time. So we hope people can have a fully rounded experience, all under one roof. We can’t wait to see you there!”
The 2025 programme will hinge around a range of new themes. Hundreds of the world’s best fiction writers, including many of Scotland’s most exciting voices, and dozens of debut authors, will share their new and most notable works in the Brilliant Fiction strand. Leith legend Irvine Welsh continues the antics of the Trainspotting crew through the 1980s and 90s, A L Kennedy exploresthe nature of justice and mercy, and the power of Andrey Kurkov hope and kindness; Judy Murray plays a match of mystery and murder; Bella Mackie brings us a comical mystery of fatal family dynamics; and Girl on the Train author Paula Hawkins introduces her new thriller.
The Festival also gathers some of the most exciting fiction writers working internationally, including Korea’s Hwang Sok-yong, Ukraine’s Andrey Kurkov, Spain’s Javier Cercas, China’s Liu Zhenyun, Brail’s Cacica Juma Xipaia, France’s Laurent Binet, Aotearoa-New Zealand’s Becky Manawatu, and Germany’s Daniel Kehlman.
The recently announced Front List series will return for the second year at McEwan Hall, in partnership with Underbelly, to present an expanded series of exciting events representing the breadth of the Book Festival’s offering, with a star-studded host of authors which includes Maggie O’Farrell, Ta-Nehisi Coates , Nicola Sturgeon, Yulia Navalnaya, Ian McEwan, R F Kuang, Ally McCoist, Ruth Jones, Butter author Asako Yuzuki, Mark Kermode and guest Brian Cox.
Fascinating Non-Fiction will explore everything from moving memoirs to scientific excavations, family odysseys to travelogues. Highlights include Naga Munchetty exposing the misogyny she discovered to be rife throughout the British healthcare system, smash-hit podcaster Adam Buxton rambling on in his inimitable manner with his new memoir, I Love You, Byeee, indefatigable comedian Ivo Graham extolling the benefits of failure, and Labour politician Diane Abbott discusses her inspirational new memoir, A Woman Like Me.
Good Information, brings together a host of trustworthy experts well versed in sifting out hard fact and cutting through murky algorithms to give you an honest account of a diverse range of topics.
Highlights include technology adviser to the Lord Chief Justice of England and Wales Richard Susskind explaining the impacts of AI, Gabriel Gatehouse, Deborah Baker, and Leor Zmigrod exploring why conspiracy theories can be so seductive, and Deborah Frances-White tackling how to have difficult conversations.
New World Orders gathers the most authoritative voices across international and domestic politics, conflict, economics, and law to engage with and dissect current affairs. Vince Cable explores the emergence of new superstates and a host of voices including Avi Shlaim, Ilan Pappé, Pankaj Mishra, Penny Johnson, Raja Shehadeh, Anne Applebaum, Omar El Akkad, and Fady Judah unravel the long and catastrophic history between Israel and Palestine, including the most recent and devastating series of attacks.
Brainwaves holds up a magnifying glass to all things cranial, including mental health, neuroscience, and psychology. A host of scientists, psychologists, technologists, and authors offer their insights into the wonders, and limitations, of what lies between our ears (and beyond), including mathematician Marcus du Sautoy’s exploration of the creativity of numbers, Joseph Jebelli’s treatise for the transformative power of rest, and Lucy Easthope’s framework on how to cope with crisis.
The 2025 Festival will also see the return of some of 2024’s most popular programme themes, including How to Live a Meaningful Life, guiding audiences new and deeper ways of creating connection, resilience and hope, amongst the chaos, and the expanded Table Talks series, with top chefs and food writers taking to the stage – or rather around the table – in intimate gatherings with audiences to enjoy delicious food and make memories together.
Music, Poetry and Performance showcases the very best of the poetry and spoken word sphere at the Festival’s Spiegletent, which will return for the second year, including indie songwriter Hamish Hawk with an original and exclusive homage to Scotland’s pre-eminent poet-eccentric Ivor Cutler, andfresh poetic talent alongside well-established voices like Poet Laureate Simon Armitage, Makar Peter Mackay, Karen McCarthy Woolf, Len Pennie and Michael Mullen.
Elsewhere, Olivier Award-winning Harriet Walter gives an overdue voice to the women of Shakespeare, a starry cast including Vanessa Redgrave and Viggo Mortensen perform powerful messages of protest from around the world in The People Speak, and Radiohead bassist Colin Greenwood shares the band’s intimate inside story.
Special Editions also brings a selection of quirky and upbeat events including cabaret, live podcasts, and exclusive talks. Val McDermid unveils the world premiere reading of her brand-new play, And Midnight Never Come, Outlander’s Sam Heughan raises a glass to the art of the cocktail and the moments they’ve marked on his incredible journey, Caroline O’Donoghue’s wildly popular Sentimental Garbage podcast returns with another live Book Festival edition, and comedian Tim Key tells of high tales and low moments in Hollywood.
Audiences will have the chance to take an in-depth look at the little details that make a writer’s work really sing or expand on their own creative skills with an exciting range of Workshops. From How to Become a Bookbinder with Rachel Hazell, to exploring the archives of Muriel Spark and Jackie Kay at the National Library of Scotland (the latter with the author herself) and engaging with some of the most knowledgeable minds around, not least Booker Prize-winning novelist and screenwriter Eleanor Catton.
And our wide-ranging Thought Exercise seriesoffers the chance to engage in deep discussion with figures including Pulitzer Prize finalist Deborah Baker, author and psychoanalyst Josh Cohen, diplomat and former Ambassador to Afghanistan, Azerbaijan and Russia, Laurie Bristow, and economist John Kay.
The Festival will also debut a brand-new Young Adults programme with events tailored to audiences aged 30 and under (but open to anyone young at heart!). Highlights include Alice Oseman, creator of the smash-hit Heartstopper series, returning to the Festival, model and activist Munroe Bergdorf discussing everything from beauty standards to cancel culture, and Caroline O’Donoghue showcasing her new YA sci-fi fantasy romance.
The strand will also harness the power of the online literary sphere, byincluding a collaboration with the brilliant House of YA, Sad Ghost Club’s Lize Meddings, a special Festival edition of the Bookshop Crawl UK, and the first Scottish edition of the Insta-popular Buffy’s Book Club with Lizzy Hadfield.
Our youngest audience members can enjoy a brand-new Kids Zone, providing a much-needed hub for families amongst the hustle and bustle of Edinburgh’s festival landscape.
This year’s children’s programme will also include more than 100 exciting events for young readers, including from legendary children’s authors such as Michael Rosen, Jacqueline Wilson, and How to Train Your Dragon’s Cressida Cowell.
There are also dozens of free, drop-in events, including the return of the popular Are You Sitting Comfortably? and Bookbug storytimes, a chance to go wild with National Museums Scotland, and the opportunity to meet beloved characters including Pikachu, the Gruffalo, and Supertato.
Community-driven events are also aplenty, with Stories and Scran celebrating the dynamic and thought-provoking work created by communities across Edinburgh and beyond, and Together We Repair challenging local writers and poets to respond to the Festival’s core theme.
During August, the Festival’s Communities team will also facilitate off-site learning events with leading writers in 9 prisons across the city, 3 workshops with patients at Edinburgh’s Royal Hospital for Children & Young People, and 2 interactive sessions with users of Streetreads, the library for the homeless community of Edinburgh.
For the second year, the Book Festival will also present its flagship industry event, Global Ink: Discover the Power of International Collaboration– uniting publishing professionals from around the world for thought-provoking discussion, followed by a vibrant drinks reception to spark new connections.
In addition to the Festival’s main base at EFI, there will be events at McEwan Hall and Elliott’s Studio, as well as special offerings at the National Library of Scotland and Dynamic Earth.
For those who cannot attend in person, 100+ events will be livestreamed and available on demand to audiences across the world to watch wherever and whenever they prefer, including to libraries in twelve Scottish local authorities. And for the first time, in addition to dozens of events being live captioned, the Festival will use AI to bring the number of captioned events to 500, meaning that an additional 400 events will be more accessible than ever before.
As well as reduced ticket prices for students, anyone over 60 and guests with access requirements, the Festival also introduces a special new ticket pricing for Under 30s, and £5 tickets for many events for those receiving low-income benefits, to tackle economic barriers to engagement.
The Edinburgh International Book Festival is made possible thanks to the support of a range of funders and supporters including Creative Scotland, Edinburgh City Council, Players of People’s Postcode Lottery among others.
As part of National Storytelling Week, Edinburgh 900 invites people and communities to share their connection with the capital city.
As part of National Storytelling Week, the Edinburgh 900 programme invites individuals, communities, and historians to share and explore their unique connections to the city’s fascinating past.
The Edinburgh and Scottish Collection at Central Library boasts one of the world’s largest and most unique collections of materials on Edinburgh, including rare books, maps, prints, photographs, and more.
Through a dedicated website users can access images and maps from the collection online. Our Town Stories features curated stories across various themes and partners with organisations to highlight Edinburgh’s rich and diverse past.
As part of the Edinburgh 900 celebrations, Our Town Stories offers an engaging and interactive journey through the city’s heritage with dynamic maps and timelines. These tools highlight significant objects, photographs, and people from the collections of Libraries, Archives, Archaeology Services, and Museums and Galleries. Over the coming months, more Edinburgh 900 themed captivating stories will be unveiled that span the centuries, offering new insights into Edinburgh’s evolution from the 1100s to the modern-day.
Some highlights already published include:
Lord Provost Robert Aldridge, said: “These stories delve into the pivotal moments in Edinburgh’s history, shedding light on the people, places, and events that have helped shape our extraordinary city.
“Our Town Stories makes exploring Edinburgh’s past easy—its interactive map brings the city’s rich history to life with images and maps from our collections. Whether you’re zooming in on a familiar street or discovering hidden corners of the city, this tool connects you with Edinburgh’s heritage in an accessible way.
“If you’re inspired and have a personal, historical, or cultural story to share that could enhance our understanding of Edinburgh’s past, we’d love to hear from you. Your contribution could become part of our ongoing narrative, helping to celebrate the city’s identity, creativity, and resilience, ensuring that Edinburgh’s 900-year story is preserved for future generations.”
For more information or to contribute your story, please get in touch at informationdigital@edinburgh.gov.uk
You can also join the Edinburgh Collected community archive and contribute your pictures and memories to help shape the city’s collective history.
@TheBookerPrizes | #BookerPrize2024 | thebookerprizes.com
For the fifth time in three years, the Booker Prizes have partnered with Sharon Horgan and Clelia Mountford’s production company Merman Television on a series of short films featuring well-known performers reading extracts from the shortlisted books.
Their release has become one of the most highly anticipated moments in the Booker Prizes’ calendar, with some of the UK’s leading acting and filmmaking talent keen to take part. The previous set of films, published in April, were viewed over 32 million times across the Booker Prizes’ social media channels.
The new films, which showcase the 2024 shortlist for the Booker Prize, the world’s most influential award for a single work of fiction, are directed by writer, director and producer Sebastian Thiel, one of UK television’s fastest-rising stars. His directing credits include the International Emmy-nominated BBC Three comedy Dreaming Whilst Black, and the recent Netflix series Supacell.
The performers featured are: Adelayo Adedayo (The Responder, Some Girls), Nonso Anozie (Sweet Tooth, Game of Thrones), Chipo Chung (Silo, His Dark Materials), Jason Isaacs (Harry Potter, The Death of Stalin), Will Poulter (Dopesick, Midsommar) and Tanya Reynolds (Sex Education, The Decameron).
The films will premiere at a Booker Prize shortlist event at the Times and Sunday Times Cheltenham Literature Festival at 10.30am on Saturday, 12 October, and will be published on the Booker Prizes website (thebookerprizes.com) and social channels (@thebookerprizes) the same day. They will also be shown at the Booker Prize 2024 ceremony, which will be held at Old Billingsgate, London, on Tuesday, 12 November.
The trailer for the films can be watched here.
Gaby Wood, Chief Executive of the Booker Prize Foundation, says: ‘Over the past three years the films we make with Merman have become not only one of the highlights of the Booker year, but works of art in their own right: a project that world-class actors and filmmakers want to be a part of.
‘We couldn’t be more grateful to everyone involved for the impact they have in inspiring more people to read some of the century’s greatest books.
‘Watching extraordinary actors bring fragments of the Booker shortlisted books to life is a huge thrill, and seeing the love the films get from the public once they’re out in the world proves how vivid these stories can be for everyone. We receive countless comments from people saying they want to buy and read the whole book as a result.
‘This time round the six films have been conjured by the artistry of Sebastian Thiel and his talented crew, including Director of Photography Evelin van Rei. Along with the brilliant producers and casting director at Merman, a true dream team!
‘We hope you enjoy these films as much as we have.’
Sebastian Thiel, Director of the film, adds: ‘It was a privilege to direct Booker’s latest videos and be part of a project that celebrates such great literature.
“Working with these remarkable texts and talented actors in an intimate setting inspired me creatively, allowing me to focus on simple yet meaningful visuals. It’s been a truly rewarding experience, bringing these powerful stories to life.”
More about the shortlist
The £50,000 Booker Prize is awarded annually to the best sustained work of fiction written in English by authors from anywhere in the world and published in the UK and/or Ireland.
The 2024 shortlist features five women for the first time, and authors representing five countries, including the first Dutch writer to be shortlisted and the first Australian in a decade. It features stories which transport readers around the world and beyond the Earth’s atmosphere: from the battlefields of the First World War to a spiritual retreat in rural Australia; from America’s Deep South in the 19th century to a remote Dutch house in the 1960s; from the International Space Station to a cave network beneath the French countryside.
The six books – and the performers reading extracts from them in the films – are as follows:
James by Percival Everett – read by Nonso Anozie
Orbitalby Samantha Harvey – read by Will Poulter
Creation Lake by Rachel Kushner – read by Adelayo Adedayo
Heldby Anne Michaels – read by Jason Isaacs
The Safekeep by Yael van der Wouden – read by Tanya Reynolds
Stone Yard Devotionalby Charlotte Wood – read by Chipo Chung
The winner will be announced on Tuesday, 12 November 2024. The announcement will be broadcast live in a special edition of BBC Radio 4’s Front Row at 9.30pm, and livestreamed on the Booker Prizes’ social channels.
More about the Booker Prizes’ films
The Booker Prizes have worked with Merman on its shortlist films since 2022. The previous sets of films were directed by Charlotte Hamblin, Hannah Berry George and Kevin Thomas, and featured performances from Dua Lipa, Eleanor Tomlinson, David Jonsson, Tobias Menzies, Anya Chalotra, Antonia Thomas, Anna Friel, Jarvis Cocker, David Harewood, Nikki Amuka Bird, Prasanna Puwanarajah, Sharon Horgan, Adjoa Andoh, Aisling Bea, Jessica Brown Findlay, Toby Stephens, Michelle de Swarte, Osy Ikhile, Caitríona Balfe, Alfred Enoch, Bel Powley, Paterson Joseph, Susan Lynch and Nina Wadia.
The most recent set of films, produced for the International Booker Prize 2024 and directed by Charlotte Hamblin, was viewed over 32 million times across the Booker Prizes’ Instagram and TikTok accounts. The films produced for the Booker Prize 2022, directed by Kevin Thomas, won in the Culture category of The Drum Awards for Marketing EMEA 2023.
The director of photography for the new films is Evelin van Rei, a Dutch autistic artist working in photography and cinematography. Evelin is a full member of BAFTA and the Netherlands Society of Cinematographers, and received the Angénieux Special Encouragement Award at Cannes Film Festival in 2022. The executive producer is Joshua Buckingham.
Jenny Brown has worked with many of the biggest names in Scottish literature
A leading figure in Edinburgh’s book scene, and founding Director of the Edinburgh International Book Festival, has been recognised with an Honorary Doctorate from Edinburgh Napier University.
Jenny Brown established the literary agency Jenny Brown Associates in 2002, and previously served as Head of Literature at the Scottish Arts Council and presented book programmes for STV.
She is now Vice-Chair of Edinburgh International Book Festival, a Fellow of the Royal Society of Edinburgh and an Honorary Fellow of the Royal Society of Literature.
Jenny was awarded her new title of Doctor of the University, and collected her Honorary Degree, during Edinburgh Napier’s graduation ceremony at the Usher Hall today (Wednesday), in recognition of her major contribution to literature and publishing.
Jenny said: “I’m absolutely thrilled to be receiving this Doctorate – it’s a real honour. I’ve had a long association with the University. I’ve talked to the publishing students, I’ve had lots of interns at my literary agency from the publishing course, and I’ve been to the creative writing studios quite a number of times. So it’s a lovely honour.
“It’s thrilling to have somebody who has worked in literature all their life recognised this way. I’m not an academic, I’m somebody who believes in the power of reading and power of writing – and somebody who believes very strongly that Scottish writing has got a lot to offer on the international stage.”
Giving her laureation, David Bishop, creative writing lecturer at ENU’s School of Arts and Creative Industries, said: “If anyone who knows the value of a story, it’s Jenny – a woman who revolutionised the way Scotland thinks about reading, writing and publishing.
“A 40-year career in the arts, festivals, publishing and literature has given Jenny a unique perspective on the ability of writers to move and inspire us, and on the power of stories to entertain, to educate and to enthral.
“There is no doubt Jenny’s involvement has been a significant part in the renaissance of Scotland’s writing and publishing industries.”
Jenny was born in Manchester but grew up in Edinburgh. At the age of 24, she was given six months to pull the first Edinburgh book festival together in 1983. It proved so successful it returned two years later and became the annual fixture it is today.
Today she runs an acclaimed literary agency in Edinburgh with a roster of bestselling and multi-award-winning authors. She has worked with William McIlvanney, the godfather of Tartan Noir, and helps keep alive the work of acclaimed writers such as George Mackay Brown and Alasdair Gray.
In addition to her storied career in literature, Jenny has been a consultant for the creation of Edinburgh Napier’s acclaimed BA English programme, taken on students from the Publishing Masters as interns, and been a frequent guest speaker on the University’s Creative Writing programme.
Edinburgh Napier’s autumn graduation ceremonies are being held between 24-26 October at Edinburgh’s Usher Hall. Once again the nearby Shakespeare’s pub, on Lothian Road, is being renamed The Napier Graduate for the occasion.
Creative Scotland recently made a submission to the Scottish Parliament Culture Committee’s ongoing inquiry into culture budgets in Scotland – read the submission on the Scottish Parliament website
In that submission, we stated the following regarding our Grant in Aid budget from the Scottish Government for 2023/24:
“While we welcomed the Scottish Government’s decision in February 2023 to reverse the 10% cut to our Grant in Aid Budget which was originally announced in December 2022, it should be noted that the £6.6m this cut related to has not yet been confirmed in Creative Scotland’s budget.”
We are extremely disappointed to report that the £6.6m budget has not been included in the Autumn Budget Revisions.
This has been confirmed in writing by the Cabinet Secretary for Culture, Angus Robertson, in a letter to our Chief Executive, Iain Munro on 20 September.
This relates to Grant-in Aid funding that we receive from the Scottish Government and that we use to support 119 cultural organisations across Scotland through Regular Funding.
Given the extensive messaging and advocacy regarding the pressures on culture budgets and risks to the culture sector that we, and many others have been making, this is a concerning development.
To address this reduction, the Creative Scotland Board agreed on 27 September, to use £6.6m of our National Lottery reserves to prevent us having to pass it on to the Regularly Funded Organisations, especially given the next payments are due in 2 weeks’ time.
Whilst the unprecedented pressures on public finances are understood, we are disappointed that the Scottish Government has taken this decision. However, Creative Scotland is acting swiftly and pragmatically to help stabilise the situation in the short term.
This step of using our National Lottery reserves in this way will only happen once. The budget for 2024/25 will not be decided by the Scottish Government for some months yet but should the Scottish Government choose to sustain this reduction, we will require to pass it on to the sector.
Creative Scotland appeared before the Culture Committee at the Scottish Parliament on yesterday (Thursday 28 September) to give evidence as part of the Committee’s ongoing inquiry into culture budgets in Scotland.
David Watt, chief executive of Culture & Business Scotland, said: “At a time when Scottish Government ministers repeatedly speak about the importance and value of culture to our society and economy, the reinstatement of the £6.6M cut to Creative Scotland’s annual budget for the current year is unfathomable.
““Just yesterday (Thursday September 28), I, alongside other cultural representatives, gave budget evidence to the Constitution, Europe, External Affairs and Culture Committee to hopefully ensure that this shortsighted budget decision does not extend into the 2024-25 budget for culture settlement.
“Investment in culture is essential for society, local communities, tourism, the economy and Scotland’s international reputation. The ongoing challenges of the legacy impact of Covid, Brexit and the cost-of-living crisis, are very real, with many arts and culture organisations operating on a knifes edge.
“These issues are exacerbated as the majority have a lack of unrestricted reserves and continue to struggle to build these up due to slow growth in ticket sales and increased overheads due to high energy prices.
“A reduction in public funding will rapidly increase the firefighting our culture organisations and venues are facing against challenge after challenge. If this budget pattern continues, with little opportunity to ensure future sustainability, there will be an inevitable shrinkage of the culture sector, and the economic and social impact of this will be significant for us all.”
As part of the Autumn budget review, the Scottish Government has re-instated a 10% cut to Creative Scotland’s 2023-24 annual budget (totaling approximately £6.6m), which following mass campaigning from the cultural sector, was overturned earlier this year (writes SMIA Interim CEO and Creative Director ROBIN KILPATRICK).
As the organisation which exists to strengthen, empower and unite Scotland’s music industry – representing a diverse membership of over 4,000 people working across all music genres and industry subsectors – we’re compelled to highlight the devastating impact of this decision; not just to music and culture, but to Scottish society at large.
The cut directly relates to the funding allocated to support Creative Scotland’s Regular Funding Network, comprising 119 cross-artform organisations (RFOs) that are structurally integral to both supporting and delivering Scotland’s cultural output. The SMIA is one of them.
In the short-term (for the rest of this financial year), Creative Scotland has had to divert to utilising National Lottery reserves to plug the gap and prevent the cuts from being passed on to members of the RFO network.
If this hadn’t been the case, in two weeks’ time when the next RFO funding payments are due, each of the 119 organisations would, in effect, have received a ~40% cut to projected funding.
In the SMIA’s case, this would have been two weeks ahead of the Scottish Album of the Year (SAY) Award Ceremony, and would have put the delivery of Scotland’s national music prize at significant risk.
The cut would have again been replicated in January at the next (and final) RFO payment for this financial year, which in the case of many organisations, would have meant the end. Whilst immediate disaster has been avoided, the use of Creative Scotland reserves at this stage means that they are now significantly depleted for what was their intended purpose.
Last month, Creative Scotland highlighted that over 500 cultural organisations stated their intention to apply for Multi-year funding; a new funding scheme that will replace the current Regular Funding one. From the intentions to apply, the indicative annual request was in excess of £113m – far exceeding what Creative Scotland expects to have available.
Inevitably, this means that Creative Scotland will not be able to support as many organisations on a multi-year basis as they currently do, and the application process will be highly competitive. Causalities are expected and imminent. Cultural organisations across all art forms are worried about their future, and the reserves that Creative Scotland has had to use now means that there’s far less available transitional funding for unsuccessful applicants.
Whilst the future for Scottish culture was looking bleak, there was at least some hope that organisations that are unsuccessful in securing Multi-year Funding would have some time to remain operational, pivot their business model and potentially find an alternative way forward. With Creative Scotland’s reserves now depleted, many unsuccessful organisations will soon vanish from the fabric of our cultural landscape, and with them, many creative opportunities and a significant part of our cultural identity as we know it today.
RFOs have been on stand-still funding since 2018. In the face of high inflation, rising interest rates, cost of living challenges, issues around staff retention and recruitment, the impact of Brexit, the legacy of Covid and a whole myriad of broader problems currently facing our sector, for Creative Scotland’s budget cut to have been re-instated, the future of music and culture in Scotland is now at significant and immediate risk. The foundations upon which it supported are being eroded at an increasingly alarming rate, and unless intervention is made by the Scottish Government, it will have impacts for decades to come.
Outwith the significant economic contribution that music makes to Scotland’s economy (£581m through music tourism alone in 2022, as noted in UK Music’s ‘Here, There And Everywhere’ report – and this is only based on events with 1500+ capacity), it’s important to remember that the value generated by the sector far extends an economic one.
With the Scottish Government has stated that they’re committed to building a well-being economy – which serves and prioritises the collective well-being of current and future generations – it’s fundamental to highlight just how intrinsic music and culture are to achieving that vision.
Culture is our identity; it’s how we see ourselves, how we see our place in the world and how we relate to others. It’s the stories of life in Scotland, and it underpins mental well-being – both collectively and individually – in many different ways. The silences that echoed across 2020 as live music vanished from our lives serve as a firm reminder of this. Unless intervention is made now, we’ll be lucky if there are whispers in the years to come.
We urge the Scottish Government to recognise the desperate situation of a vitally important sector; economically, socially and culturally. It’s essential that Creative Scotland has the resources to both support and preserve it.
You can help directly by signing the Campaign For The Artist Petition against this move.”
Robert Kilpatrick – Interim CEO and Creative Director, Scottish Music Industry Association (SMIA)
The Scottish Government is breaking its promise on arts funding.
In February, thousands joined our campaign against plans for a £6.6 million cut to Creative Scotland, the public body responsible for investing in Scottish arts and culture. Ministers responded by abandoning the cut and instead heralded a “£6.6 million uplift … supporting the arts and cultural sector at this challenging time”.
But seven months on, the £6.6 million pledged to Creative Scotland hasn’t been delivered. And now the Culture Secretary Angus Robertson has told them that it won’t be.
This extraordinary short-changing of Scottish culture midway through the year has forced Creative Scotland to raid its limited reserves as a one-off, emergency measure. Otherwise, regularly funded arts organisations in Scotland would have seen their funding cut by as much as 40% as soon as next month.
This is absolutely no way to treat Scotland’s arts and culture, let alone in a perfect storm of economic pressures and post-pandemic challenges. This ‘U-turn on a U-turn’ puts treasured venues and companies, thousands of jobs and access to Scottish culture at risk.
We urge the Culture Secretary Angus Robertson to:
The SNP’s 2021 manifesto said “culture is central to who we are as a nation”, and that “the pandemic has demonstrated more than ever how vital it is to our wellbeing, mental health and sense of belonging”.5
But Scotland’s cultural sector has not fully recovered from the pandemic, during which it was one of the hardest-hit sectors. For many, incomes have fallen and reserves have dried up. Now, in the middle of a cost-of-living crisis, costs are rising and uncertainty is rife. This is not the time to cut vital, core funding on which artists and organisations depend.
Economic pressures have already led to the permanent closure of the Filmhouse cinemas in Edinburgh and Aberdeen, the Blue Arrow Jazz Club in Glasgow and the Nevis Ensemble, which worked across the country. We cannot afford to lose any more arts organisations – or the benefits they bring to our lives, communities and society
Creative Scotland’s 120 Regularly Funded Organisations (RFOs) directly employ 5,000 workers, support 25,500 individual artists and provide millions of opportunities for people across Scotland to engage with the arts and culture.
Of these, Edinburgh-based arts organisations include:
(Organisation – Art form – Average annual grant )
Arika – Multi – £200,000
Arts and Business Scotland – Creative Industries – £200,000
Centre for the Moving Image – Screen – £1,066,667
Collective – Visual Arts – £283,333
Craft Scotland – Craft – £333,333
Creative Carbon Scotland – Creative Industries – £150,000
Creative Edinburgh – Creative Industries – £94,667
Curious Seed – Dance – £132,318
Dance Base – Dance – £408,333
Drake Music Scotland – Music – £126,667
Dunedin Consort – Music – £100,000
Edinburgh Art Festival – Visual Arts – £100,000
Edinburgh International Book Festival – Literature – £306,500
Edinburgh International Festival Society – Multi – £2,317,333
Edinburgh Printmakers – Visual Arts – £160,000
Edinburgh Sculpture Workshop – Visual Arts – £233,333
Federation of Scottish Theatre – Theatre – £265,000
Fruitmarket Gallery – Visual Arts – £666,667
Grid Iron Theatre Company – Theatre – £224,400
Imaginate – Theatre – £365,000
Luminate – Multi – £100,000
Lung Ha Theatre Company – Theatre – £146,818
Lyra – Theatre – £100,000
Magnetic North Theatre Productions – Theatre – £100,000
Publishing Scotland – Literature – £307,833
Puppet Animation Scotland – Theatre – £183,667
Red Note Ensemble – Music – £215,000
Regional Screen Scotland – Screen – £206,783
Royal Lyceum Theatre Company – Theatre – £1,210,000
Scottish Book Trust – Literature – £859,931
Scottish National Jazz Orchestra – Music – £216,667
Scottish Poetry Library – Literature – £300,833
Starcatchers Production – Theatre – £100,000
Stellar Quines Theatre Company – Theatre – £176,000
Stills: Centre for Photography – Visual Arts – £147,000
Tinderbox Collective – Music – £100,000
Traditional Arts and Culture Scotland – Multi – £313,333
Travelling Gallery – Visual Arts – £126,667
Traverse Theatre – Theatre – £866,667
Voluntary Arts Scotland – Multi – £130,000
Youth Theatre Arts Scotland – Theatre – £133,333.
SIGN THE PETITION:
https://campaignforthearts.org/petitions/scotland-cuts-reimposed/
