Humane World for Animals UK (formerly known as Humane Society International UK) will take its campaign to ban farrowing crates to Edinburgh today (14 April) by installing a life-sized animatronic pig named Penny to highlight the harsh reality faced by tens of thousands of mother pigs on industrial farms.
Penny will appear inside a metal crate like those used to confine sows while they give birth and nurse their piglets. The striking installation is designed to show the severe restriction endured by mother pigs kept in these systems.
You can meet Penny at the Mercat Cross today from 10am – 2pm.
As of 2025, Scotland is home to 25,600 sows, about half of whom are kept in indoor pig farms that keep mother pigs in these cages. Under current laws, they can be kept for up to five weeks confined in narrow metal cages every time they give birth, typically two or three times a year.
The cages are so restrictive that the animals are unable to turn around and have little opportunity to engage in natural behaviours such as nest-building or moving freely with their piglets, damaging their physical and mental health.
Polling commissioned by Humane World for Animals UK revealed that 84% of the Scottish public reject the use of farrowing crates for mother pigs.
Over half of respondents (54%) stated they would be willing to pay more for meat from crate-free pigs, indicating opportunities for farmers to benefit from the highest welfare standards financially.
Claire Bass, senior director of campaigns at Humane World for Animals UK, said: “Many people are shocked that such extreme, prolonged confinement is still legal in Scotland.
“Farmers must end cruel caging, not replace old cages with new ones that would condemn millions more pregnant and nursing pigs to future decades of misery. A cage is a cage, and public opinion is clear: mother pigs don’t belong behind bars.
“With the Scottish election fast approaching, our tour is turning public compassion into political pressure. Voters in Edinburgh and across Scotland are demanding change and joining our call for the next Scottish Government to support farmers to put an end to pregnancy cage cruelty.”
The Real Mary King’s Close is celebrating International Women’s Day with a specially curated Herstory Tour. The underground experience invites visitors to journey underneath The Royal Mile and learn all about the incredible lives of the women who once lived and worked on the now hidden streets of Edinburgh.
The one-hour tour will include fascinating revelations about some of the most famous women in Scottish history. The tour is guided by a former resident of The Close, including Janet Chesney, a member of the last family to leave the historic street behind.
Guests will even get to meet Mary King herself and find out how she obtained voting rights nearly 300 years ahead of her time. They will also hear how revolutionary thinkers like Sophia-Jex Blake and the other medical students who formed the Edinburgh Seven pioneered gender equality.
The Herstory Tour shares stories of the women who faced suppression and persecution over the centuries but also of how Auld Reekie’s most influential women shaped the city’s history and impacted our lives today.
Mary King’s Close is known for having been “a haven for independent women” with 45% of properties having a female head of the household.
The Close is the perfect place to celebrate International Women’s Day, learning about the achievements of the women of the Close.
Paul Nixon, General Manager at The Real Mary King’s Close, said: “Telling stories of the past, shining a light on Edinburgh’s history and those who came before us are things we are extremely passionate about.
“We are delighted to be sharing the less popular stories of some of the remarkable women who once occupied the Close.
“We can’t wait to welcome everyone on the Herstory Tour and explore a hidden world together.”
Tours will run on Sunday March 8th at 1400 and 1600.
Prices are £30 per adult / £24 per child (5 to 15yo – no under 5 allowed).
One of Scotland’s oldest visitor attractions has turned Edinburgh’s Royal Mile into the ultimate aisle. From sightseeing to ‘I do’, last year the iconic location saw more than 10,000 people put a ring on it at its unique marriage machine.
This Valentine’s Day, Camera Obscura & World of Illusions is once again setting the scene for love, laughter, and unforgettable memories with its famous AutoWed Machine.
The fully automated ceremony is one of only two of its kind in the world, with the other located in the USA. Created by the innovative Cornwall-based company ConceptShed, AutoWed first captured the public’s imagination after appearing on the BBC TV show Dragons’ Den. The novelty wedding vending machine delivers a fun, tongue-in-cheek ceremony at the push of a button, with couples receiving rings and a personalised keepsake wedding certificate.
The entire AutoWed ceremony lasts around 60 seconds / minutes, making it one of the quickest ways to celebrate love in the capital city.Last year, Olympic diver Tom Daley was amongst the many visitors to take the plunge and get ‘AutoWed’ with his husband, Oscar-winning Hollywood screenwriter Dustin Lance Black.
Andrew Johson, General Manager at Camera Obscura said; “The AutoWed Machine has become one of our most-loved experiences, and it’s incredible to see just how many people choose to tie the knot here.
“This Valentine’s Day, we’re inviting even more couples to come and celebrate their love in a fun and memorable way, and we can’t wait to welcome more visitors this February.”
In addition to the AutoWed, couples can explore over 100 interactive, hands-on exhibits that challenge the senses and dazzle the mind. From bewildering optical illusions to breathtaking views of Edinburgh from the Rooftop Terrace.
One of Edinburgh’s leading visitor attractions, The Real Mary King’s Close, has reported another record-breaking year after welcoming 296,726 guests in 2025, marking continued year-on-year growth and reinforcing its position as one of the Capital’s most popular experiences.
The latest figures represent an impressive 5% increase on 2024, when the attraction welcomed 282,525 visitors, making 2025 the third consecutive record year for The Close. Located beneath Edinburgh’s historic Royal Mile, the attraction continues to draw strong interest from both domestic and international audiences keen to explore the city’s hidden history.
Traditionally one of Edinburgh’s peak summer months, July saw 38,079 visitors undeterred by warmer weather, instead choosing to step below the Royal Mile to uncover Auld Reekie’s rich heritage, hidden streets, and stories from the city’s past.
Over the course of the year, The Real Mary King’s Close welcomed visitors from 147 countries, underlining its global appeal. International guests travelled from as far afield as the Åland Islands, Belize, French Polynesia, Kyrgyzstan, Mauritius, Namibia and Nepal, alongside key tourism markets in Europe, North America and Asia.
The visitor site’s reputation is further reflected in its online performance, now boasting over 5,780 reviews across Google and Tripadvisor, with 93% rated four stars or higher, positioning it among Edinburgh’s highest-rated cultural experiences.
Alongside its core offering, The Real Mary King’s Close continued to expand and diversify its programme in 2025, launching two new tours while seeing strong ongoing demand for its established special experiences. Introduced in April, Carnage and Contagion: The Plague Tour welcomed 574 guests; Coffee & Closes, in partnership with John’s Coffee House, attracted 884 guests in its first year.
These new additions sat alongside the continued success of specialist and limited-run experiences, which allow returning visitors the opportunity to delve into different facets of Scotland’s history, including the Dr Arnott Experience, which welcomed 3,043 guests, and four Underground Unlocked free-flow events that together welcomed 976 guests.
Retail performance also remained strong, with historically inspired merchandise proving particularly popular. Best-selling items included the Plague Dr Shopper bag, with 5,363 units sold, and the Plague Ducktor, which sold 3,538 units during the year.
Paul Nixon, General Manager at The Real Mary King’s Close said: “Achieving another record-breaking year is a fantastic milestone and demonstrates the overwhelming appetite for immersive, high-quality historical experiences in our Capital City. Our dedicated team welcomed nearly 300,000 guests in 2025, from 147 different countries.
“We are continuing to evolve our offering through new tours and experiences while staying true to what makes The Close distinctive – its powerful storytelling, authenticity and a deep connection to Edinburgh’s past. It’s so encouraging to see consistent growth across both the peak and shoulder seasons, and we’re excited to build on this momentum.”
For more information about The Real Mary King’s Close and bookings please visit:
This month, The Lost Close invites you to experience Burns Night in a way few ever will – an intimate evening of Scottish heritage, exceptional whiskies, and captivating storytelling in two of Edinburgh’s most exclusive private spaces.
On 24th and 25th January 2026, only 20 guests per night will step inside a private luxury apartment overlooking St Giles’ Cathedral, Mercat Cross, and Parliament Square; a venue rarely open to the public with incredible views.
From the moment you arrive at 6pm to the sound of the pipes, the evening unfolds as a celebration of Scotland’s culture and history. Guests will be welcomed with a glass of fizz before the ceremonial “Address to a Haggis,” performed by a bagpiper as the haggis is led in.
Throughout the night, storytelling takes centre stage. Expert hosts will share tales of Robert Burns and the poet Robert Fergusson, whose work profoundly influenced him, alongside stories of Parliament Square, St Giles’ Cathedral, and the fascinating history of The Lost Close itself.
Between these moments, guests will enjoy a three-course Scottish dinner, with each dish paired with an exceptional whisky introduced by The Lost Close’s whisky expert.
The tasting features four remarkable Scotch whiskies, including Annandale Distillery’s Man O’Words, a single cask expression from the two-century old Scottish distillery, and An Edinburgh Dram, distilled in 1991 at North British and matured for over 33 years.
The evening concludes underground at The Lost Close, where guests will savour The Lost Close 2, a single cask release exclusive to the venue, bottled at 57.6% ABV with only 190 bottles ever produced.
After the final dram, guests are welcome to linger in the atmospheric underground setting until 11pm.
This is not just a Burns Night supper – it is an immersive journey through Scotland’s poetry, history, and craftsmanship in a setting few will ever experience.
Strange Town’s December 2025 performances are the perfect way to celebrate the festive season. With seven shows across three days — Friday 12th to Sunday 14th December — at the Scottish Storytelling Centre on the Royal Mile, there’s something for everyone. Why not book a ticket and see for yourself?
In challenging times, access to creativity, connection and the arts is a necessity, not a luxury. Leith-based charity Strange Town works to ensure no young person misses out on the chance to get creative, offering free and subsidised opportunities to those who need them most.
Recently affected by the well-publicised funding cuts from the Edinburgh Integrated Joint Board (EIJB), Strange Town is working hard to sustain its vital support for young people.
Local people and businesses are encouraged to get involved — by buying a ticket to the show, joining ‘15 for 15’, Strange Town’s regular giving programme, or getting in touch to discuss other ways to help.
This support is crucial in securing the future of accessible arts opportunities, ensuring young people continue to benefit from high-quality creative experiences regardless of financial circumstance. Regular contributions also provide the stability needed during these uncertain times.
This December’s shows promise festive energy, fresh stories, lots of laughter and a brilliant showcase of young talent. Audiences can enjoy something new, feel festive, and know they are supporting a good cause — all at a family-friendly price.
Thank you to everyone who has donated already this year, it is much appreciated.
A design by Leonardo da Vinci for a fantastical dragon costume is one of more than 80 drawings by 57 different artists that are now on display as part ofthe widest-ranging exhibition of Italian Renaissance drawings for over half a century in Scotland.
Drawings by Leonardo, Michelangelo, Titian and more are among 45 works going on display in Scotland for the first time as part of Drawing the Italian Renaissance at The King’s Gallery at the Palace of Holyroodhouse in Edinburgh.
Following a critically acclaimed showing in London, the exhibition explores the variety and range of drawings in this period, from preparatory studies for paintings and altarpieces to designs for sculpture and elaborate drawings which were made as gifts.
Drawings were often discarded after they had served their purpose, with only a small proportion surviving, but the works on display have been carefully preserved in the Royal Collection for centuries, allowing them to be enjoyed almost as vividly as when they were created.
Lauren Porter, curator of the exhibition, said ‘This is a remarkable opportunity to share so many of the Italian Renaissance drawings from the Royal Collection, with over half being shown in Scotland for the first time.
“As works on paper cannot be permanently displayed for conservation reasons, this exhibition offers a rare opportunity for visitors to view these drawings up close, giving a unique insight into the minds of the great artists who made them.’
Reflecting the continued importance of drawing today, the Gallery is hosting its first artist residency, in collaboration with Edinburgh College of Art.
Edinburgh-based artists Phoebe Leach and Dette Allmark, both alumni of the School, will respond to the masterpieces on display by drawing in the Gallery throughout the exhibition. Their creations will form a changing display for visitors, who are encouraged to take inspiration and try drawing themselves, with materials freely available.
A highlight work on display is an example of one of Leonardo’s anatomical studies drawn from a real-life dissection. The double-sided drawing which shows the muscles of a man was created in c.1510–11 and shows his detailed, personal notes in his left-handed ‘mirror-writing’.
Perhaps lesser known are the anatomical studies of Michelangelo, who reportedly conducted human dissections as a young man.
On display for the first time in Scotland is his study of a male torso in pen and ink, which was likely drawn from a wax model made by the artist, which shows his ongoing interest in human anatomy later in life. This can also be seen in his highly finished black chalk drawing of the resurrected Christ, with the artist capturing the energy of the muscular figure rising from his tomb.
Other striking figure studies on display include two works by Raphael: a vigorous drawing of Hercules slaying the many-headed Hydra, and a red chalk study of The Three Graces that was – unusually for the period – drawn from a nude female model.
Scenes from mythology were common subjects for Italian Renaissance artists and are well-represented in the exhibition. They include drawings by lesser-known artists including Paolo Farinati’s design for a fresco showing the goddesses of fruit and agriculture.
The drawing, which has not been on display before in Scotland, is inscribed with instructions for the artist’s assistants on the height of the figures, telling them they should be around three-feet-high but to ‘do it as you fancy when you are on the scaffolding.’
Other highlights on display include a drawing attributed to the Venetian artist Titian of an ostrich, believed to have been drawn from life, and Leonardo’s design for a dragon costume, which appears to house two men, in the manner of a pantomime horse.
A series of portrait drawings and head studies show therange of subjects, materials, functions and coloursof Italian Renaissance drawings.
The distorted and tormented face of a grotesque mask sketched by Michelangelo, possibly a design for a sculpture, contrasts with the classical features of Leonardo’s red and black chalk drawing of a curly-haired young man which is displayed nearby, with both works on show for the first time in Scotland.
After almost 120 hours of conservation work by Royal Collection Trust conservators ahead of the London exhibition, Bernardino Campi’s cartoon for an altarpiece of the Virgin and Child is on show for the first time in Scotland.
The cartoon, a large-scale drawing made of four pieces of paper joined together, was originally used to transfer the drawing onto a painting’s surface. The conservation work involved painstakingly removing the drawing from its deteriorating canvas backing and supporting sections where the paperhad become as delicate as lace.
The Italian Renaissance saw the range and purpose of drawing greatly expand, resulting in some of the finest works of art in any medium.
Michelangelo’s meticulous drawing A children’s bacchanal marks a highpoint of Renaissance draughtsmanship and is in perfect condition, allowing us to see Michelangelo’s mastery of the art of drawing.
Following a successful launch in 2024, The King’s Gallery will offer £1 tickets for the exhibition to visitors receiving Universal Credit and other named benefits.
Further concessionary rates are available, including discounted tickets for young people, half-price entry for children (with under-fives free), and the option to convert standard tickets bought directly from Royal Collection Trust into a 1-Year Pass for unlimited re-entry for 12 months.
A public garden at the end of the Royal Mile is celebrating its fifth anniversary, having welcomed thousands of visitors and engaged hundreds of local children and adults in events and workshops since it opened in 2020.
The Physic Garden at the Palace of Holyroodhouse, located just outside the monarch’s official residence in Scotland, is a free-to-visit garden that can be enjoyed year-round by the people of Edinburgh and visitors to the Palace. Its fifth anniversary will be marked by an episode of the longstanding BBC Scotland gardening programme Beechgrove Garden, airing this week.
The Physic Garden is located beside the Palace’s Abbey Strand Learning Centre, and over the past five years, more than 360 pupils from schools both local and further afield have taken part in educational sessions, with children learning how plants were used historically as remedies to improve health and wellbeing.
A further 400 ethnobotany students,members of community gardens and nature-lovers of all ages have taken part in guided visits and events, reviving the garden’s centuries-old original purpose of teaching the medicinal properties of plants.
The Physic Garden was opened in 2020 to recreate some of the earliest recorded gardens in the Palace grounds, with three distinct sections each representing different periods in the Palace’s 900-year history.
Raised beds of herbs, flowers, and other useful plants reimagine the physic garden that was established in the Palace grounds 350 years ago by the doctors Sir Robert Sibbald and Sir Andrew Balfour, two founding members of the Royal College of Physicians of Edinburgh.
Created in 1670 to teach students about the medicinal properties of plants and to provide pharmacists with fresh medicinal ingredients, the Palace’s original physic garden was the first of its kind in Scotland and the forerunner to the Royal Botanic Garden Edinburgh.
The new physic garden contains medicinal and culinary plants that would have grown in the 17th-century garden, including fennel – once used to aid eyesight and as an antidote to poisonous mushrooms – and lavender, bergamot and lemon balm, used for scents, dyes and insecticides.
A flowering meadow of medicinal plants including daisies, previously used for coughs, and mallows, an old treatment for scurvy, evokes the 15th-century monastic gardens of Holyrood Abbey, once one of the grandest medieval abbeys in Scotland, the ruins of which can still be seen today on a visit to the Palace.
The third area delights in late winter and spring with crocuses and tulips planted in geometric patterns, typical of17th-century gardens. With such a variety of plants and styles, the garden has year-round appeal for locals and visitors curious to learn about local history and historic natural remedies.
Abbey Strand gardens Palace of Holyroodhouse Edinburgh.Photograph David Cheskin.
Chris Walker, Learning Manager, Royal Collection Trust, said: ‘The Physic Garden is an oasis at the end of the Royal Mile, providing a welcoming green space in the city centre where locals and visitors alike can get outside, enjoy nature and learn some fascinating local history.
‘We are delighted that almost 800 people have taken part in exciting activities where nature, science and history meet, in addition to the countless others who enjoy this free community garden every day. Like our forebears 350 years ago, we understand the benefits of spending time in nature for our physical and mental wellbeing, and we hope the garden can be enjoyed for many more years to come.’
Tying in with the anniversary, BBC Scotland’s Beechgrove Garden paid a visit to the Physic Garden, with its presenter and gardener George Anderson retracing the garden’s history alongside Emma Stead, Curator at the Palace of Holyroodhouse, and Johanna Lausen-Higgins, Garden History Lecturer at the Education department of the Royal Botanic Garden Edinburgh.
In the episode, which will air on BBC Scotland and BBC Two from Thursday, 17 July onwards (Monday 21 July, 14:00 on BBC Scotland, Thursday 24 July, 06:45 on BBC Two) , Anderson discovers the historic uses of the medicinal and culinary plants still growing in the garden today, including Lady’s Bedstraw (Galium verum), used in the past to repel ticks and lice in bedchambers.
He also views a rare copy of the Hortus Medicus Edinburgensis from the Royal Botanic Garden Edinburgh’s archives – a catalogue of the 3,000 plants growing in the Physic Garden in the 1680s.
Physic garden Abbey Strand building Holyroodhouse,Edinburgh.Photograph David Cheskin.29.09.2020.
Royal Collection Trust will offer a programme of events and school sessions in the Physic Garden celebrate the anniversary:
After a tour of the garden’s flowers, florist and Royal Warrant holder Lottie Longman will show participants how to harvest foliage from the wildflower meadow to create a bouquet to take home.
After a tour of the Physic Garden, Lottie Longman will teach participants how to create beautiful wreaths of freshly picked flowers, which can be dried naturally at home.
In this outdoor learning session, pupils will learn how the canons of Holyrood Abbey lived 900 years ago, growing flowers, herbs and vegetables to eat and concoct natural remedies. Children will learn how to use quills and gather flowers, leaves and twigs to make and record their own remedy.
Available for schools to book in termtime, 2 hours
School groups will learn how Holyrood Abbey’s medieval canons grew medicinal plants to help and heal their local community, before hearing the story of the two 17th-century Scottish doctors who created the Physic Garden and making their own traditional remedy. The visit includes access to the Physic Garden, the Palace of Holyroodhouse Gardens, Holyrood Abbey, and the Abbey Strand Learning Centre.
This summer, the Museum of Edinburgh presents two inspiring exhibitions celebrating the powerful relationship between wellbeing, nature, and place, each told through unique creative lenses:
Nature Through Nurture: Wellbeing and the Natural World in Children’s Books
Thu 1 May to Sun 7 Sep 2025
Developed in partnership between the Museum of Childhood and Scotland’s Early Literature for Children Initiative (SELCIE) at the University of Edinburgh, Nature Through Nurture delves into the enduring presence of the natural world in children’s literature over the past 150 years.
Flowers, trees, animals, insects and birds feature heavily in children’s books, set in both the real world and imaginary worlds. Children’s books from the last 150 years will be on display with beautiful illustrations, poetry and information about how to find green spaces throughout Edinburgh.
The positive influences of nature on mental health and wellbeing will be examined alongside a programme of public events for children and families.
Dr Sarah Dunnigan, Senior Lecturer, School of Literatures, Languages and Cultures at the University of Edinburgh and co-founder of SELCIE said:“The partnership between SELCIE and the Museum of Childhood for the Nurture through Nature exhibition beautifully highlights how children’s books can connect young readers to the natural world.
“This collaboration brings together literature, history, and nature in a way that we hope will inspire visitors to explore Edinburgh’s green spaces and reflect on the links between nature and well-being.
“The project has also made accessible many previously uncatalogued books from the Museum of Childhood collection, with several being displayed publicly for the first time. This collection is of great significance, and we look forward to continuing our partnership in the future.
Wellbeing in the City: Feel-Good Places in and Around Edinburgh
Thu 10 Apr to Sun 31 Aug 2025
Created by participants of photography and creative writing courses run by Access to Industry, this exhibition offers personal and heartfelt reflections on the places in Edinburgh that inspire calm, joy, and connection.
Each member of the photography course has chosen a place in and around Edinburgh that makes them feel good. The group visited every place nominated to take photos and have selected their favourites to present in the exhibition.
The creative writing group have produced short pieces of writing about places or activities in Edinburgh that make them feel well.
Helen Murray, Encompass Caseworker from Access to Industry said: “Access to Industry are delighted to have been able to work with Museums and Galleries Edinburgh on the joint project, Wellbeing in the City – feel good places in and around Edinburgh.
“We support clients with complex barriers to employment, many of whom have suffered trauma, isolation and marginalisation. This project has been run with our wellbeing through photography group, PAGE, and our Creative Writing group.
“It has enabled participants to enjoy improved wellbeing on trips they have chosen and reflect on what makes them feel well. We are now extremely pleased to be able to share these places and that sense of wellness with local residents and visitors from far and wide.
City of Edinburgh Council Leader Jane Meagher said: “These exhibitions beautifully highlight how nature and place shape our sense of wellbeing from childhood through adulthood.
“By showcasing stories, creativity, and lived experience, this summer the Museum of Edinburgh invites us all to reconnect with the natural world and discover the restorative spaces that exist all around us.”
Pic Greg Macvean 27/04/2025
City of Edinburgh Council – reception at City Chambers for the Arts Festivals Summit
215 festival specialists gathered this week in Edinburgh for the European Arts Festivals Summit 2025.
Hosted by the Edinburgh International Festival, Festivals Edinburgh, and the City of Edinburgh Council, the Arts Festivals Summit 2025 of the European Festivals Association’s (EFA) welcomed over 200 festival professionals for a four-day conversation about festivals, arts, and the role of arts festivals today.
With 215 delegates participating from 44 countries, it has brought diverse perspectives, questions, and themes forward on how festivals can assume a responsible role towards their artists, audiences and societies in an ever-changing world.
Edinburgh International Festival Director, Nicola Benedettiopened the Summitwith a keynote talk on her experience of taking on the role and how her perspective as a performing artist has shaped her approach to curation, collaboration and connection.
Ms Benedetti shared reflections on the importance of holding in balance a deep respect for the past whilst providing a fertile ground for daring innovation, risk and unbridled creativity.
Delegates heard from a range of different voices and perspectives to gain a greater understanding of the interaction between festivals and their city, particularly in the case of Edinburgh, and explored the different aspects that contribute to Edinburgh’s success story.
They had the chance to meet the network of Festivals that exists in Edinburgh and the eleven festivals that contribute to Edinburgh’s unique reputation as The Festival City.
Fittingly Edinburgh is one of the founding members of the recently established EFFE Seal for Festival Cities and Regions, run by EFA which was developed by seven cities – Belgrade, Bergen, Edinburgh, Ghent, Krakow, Leeuwarden, and Ljubljana – to build on the achievements of the EU-funded Europe for Festivals, Festivals for Europe – EFFE programme and sets out to build co-operation between cities and their festivals across Europe.
During the Summit, four cities signed up to the EFFE Seal: Nis (Serbia), Budapest II District (Hungary), Coimbra (Portugal) and Tampere (Finland).
The EFFE Seal recognises cities for their commitment to their festival communities and aims to promote creativity, sustainability, internationalism, and resilience through knowledge exchange.
The future of festivals and their place in society focused delegates on how festivals contribute to societal topics such as sustainability, inclusion, well-being and freedom of speech, discussed from the point of best practices, learning from failures, perspectives and innovative proposals.
Inspiring keynotes by Roman Krznaric, author and social philosopher, and Elena Polivtseva, independent researcher and a co-founder of Culture Policy Room, challenged participants to think through the current tests the arts are facing, their vision for the future and the importance of long term thinking.
Nicola Benedetti, Festival Director, Edinburgh International Festival, said: “The Edinburgh International Festival exists to spark dialogue and cultural exchange – not only on our stages, but across communities and borders.
“It was a privilege to host the European Festivals Association’s 2025 Summit at The Hub, our home in the heart of the Festival City – where the International Festival sparked what is now the largest cultural celebration after the Olympics, every August in Edinburgh.
“Being surrounded by such a dynamic gathering of cultural leaders was a powerful reminder that the most enduring festivals and institutions are driven by a deeper desire to change society for the better.
“Coming together with our international counterparts to reflect, challenge, and collaborate on how we can deepen our impact was both energising and essential.”
Jan Briers, President of European Festivals Association affirmed: “The Summit in Edinburgh was full of new information, permanent networking, and making new collaborations and friends.
“It was a wonderful edition during which festivals coming from many different contexts discussed the future and its shape.”
Lori Anderson, Director of Festivals Edinburgh added:“Seeing our European festival colleagues inspired by cultural conversations across the city, and exhilarated by the beauty of Edinburgh, has been not only heartening but deeply moving – and reminds us that, in the current climate of global uncertainly, there is so much that unites us and so much to gain from deeper international relationships”.
EFA Members elected their President giving a continued mandate to its current chair, Jan Briers
Jan BRIERS shared: “I am pleased to continue to chair this wonderful organisation and being elected in Edinburgh is very meaningful for my new mandate.”
Michael Herrmann, Founder and Director of the Rheingau Music Festival, has been appointed as new Honorary Member of EFA.
The Summit concluded with the handing over of Edinburgh to Budva, Montenegro.
“We are excited about the opportunity to host the Arts Festivals Summit in Budva next year. The gem of the Western Balkans has many things to offer.
We are committed to make sure delegates enjoy a fruitful and unforgettable stay.“, said Milena Lubarda Marojević, Director of Theatre City Budva that will host EFA’s next Arts Festivals Summit in April 2026.
During the Summit, 22 new organisations joined EFA, reinforcing EFA’s desire to increase the more diversity of its membership and adding to the Association’s relevance at a geographical and artistic level.
New members include Africa Simply The Best (Belgium), Anibar International Animation Festival (Kosovo), DokuFest (Kosovo), Festival Fabula (Slovenia), Festival Música Viva (Portugal), Food Film Fest Bergamo (Italy), I Suoni Delle Dolomiti (Italy), KotorArt International Festival (Montenegro), Maribor Theatre Festival (Slovenia), Oeiras International Piano Festival (Portugal), ReMusica Festival (Kosovo), SPRING Utrecht Performing Arts Festival (Netherlands), Turkish State Theatres (Türkiye), and Vicenza Opera Festival (Italy). Five Ukrainian festivals have been reconducted in their membership, expressing EFA’s solidarity with the country: Construction Festival, Festival of Contemporary Art “Gogolfest”, Kharkiv Music Fest, Odessa Classics Music Festival, and Ukrainian Festival Association “Art-Ethno Fest”.
Three organisations also joined as collective and affiliate members: Creative Island (United Kingdom), the Association of Asia Pacific Performing Arts Centres (AAPPAC) and the World Federation of International Music Competitions (WFIMC).
