Latest news with #EIF
The Herald Scotland
9 hours ago
- Entertainment
- The Herald Scotland
EIF bosses clash with city council over event permits
Organisers said they were "disappointed" at the outcome but hoped an upcoming review of licensing charges by the authority would bring costs down in future. City of [[Edinburgh]] Council's fee structure for public entertainment licences (PELs) - permits for events open to the [[pub]]lic required to ensure safety and compliance with regulations - provides discounts for some some groups including charities. However the council says this is not applied "where there is clear commercial activity". On Monday, less than two weeks before the start of the Edinburgh International Festival (EIF), councillors considered an application by the EIF Society, which is a registered charity, seeking a partial refund of licensing costs for events at the University of Edinburgh's Old College Quad and Ross Bandstand in Princes Street Gardens. Read more The value of the discount sought was not made public, however PELs range from £1,454 for a venue with capacity of up to 200, to £5,808 for a capacity of up to 10,000. Lebanese-French dance company Maqamat are due to perform at the Old College Quad over four nights in August with tickets priced at £30. The Ross Bandstand will host a free 'big singalong' event featuring Dougie Maclean on August 3 to mark the start of festival season in Edinburgh, followed by Norwegian folk ensemble Barokksolistene alongside Scottish musician Donald Shaw and his ceilidh band the following night, costing £20 a head. Council reports by head of regulatory services, Andrew Mitchell, said these were ticketed events and the licensing department "understands that any monies raised will go back to the Society". He said charges for licence applications "are used to offset the significant costs which are incurred in dealing with licensing issues in the city". However a spokesperson for EIF said events at the Ross Bandstand and Edinburgh College Quad were not being run on a commercial basis "and will not generate a profit". They said: "They are deliberately programmed to engage a broader audience, with an average ticket price of just £25, and thousands of people will attend events in Princes Street Gardens completely free of charge. "As a registered charity, we operate on a not-for-profit basis and subsidise these events significantly to ensure wide public benefit. "Any reduction risks setting a precedent. However, the committee has the discretion to waive fees where it considers this appropriate." Councillors on the licensing sub-committee unanimously refused the fee reduction on the advice of officers. An International Festival spokesperson said: 'We're disappointed by the decision of the Licensing Sub-Committee. "We understand the basis for licensing charges will be reviewed at the upcoming Culture and Communities Committee meeting and we look forward to that discussion.' More from our Edinburgh correspondent It follows a decision by councillors last month to turn down a similar request by the Edinburgh Festival Fringe Society, also a charity, for a discount on its £18,163 PEL bill for fringe performances on the Mound Precinct and High Street. Officials said in a report published last month the Fringe Society was yet to pay its licensing fees and the council was "processing these applications without payment". They added: "This is not normal practice - irrespective of any request to reduce a fee, payment must be made at the time of application." They said the Society has paid commercial licensing application rates since at least 2012 and discounts "operates commercial arrangements whereby it allows other businesses to sell goods from stalls within the licensed footprint. "It is the understanding of the Directorate that these arrangements are strictly commercial."
The Herald Scotland
2 days ago
- Business
- The Herald Scotland
Edinburgh Festival faces new demands to drop Baillie Gifford
The Herald told last year how Baillie Gifford had more than £60 million worth of shares in the owner of Rosyth Dockyard in Fife, which has previously worked with state-owned Israeli arms manufacturers. Read more: The group, which has called on Scottish arts organisations to sign up to a cultural boycott of Israel, has suggested that the EIF is being 'funded by genocide' just days before the first performances are due to get underway. Baillie Gifford was dropped by the Edinburgh International Book Festival weeks before last year's event was due to be held following a prolonged campaign over the company's links with the fossil fuel industry. The Edinburgh International Festival was instigated in the aftermath of the Second World targeting of the EIF has emerged weeks after the festival backed an open letter from arts organisations across the UK warning of the impact of 'relentless negativity' over corporate sponsorship. Francesca Hegyi, chief executive of the EIF, has suggested there has been a 'wholescale collapse of arts sponsorship' since Baillie Gifford was targeted over its links with fossil fuel companies. Baillie Gifford is currently the biggest corporate backer of the EIF, which recently secured record Scottish Government of £11.75m for the next three years, compared to annual funding of more than £2.3m in recent years. In a statement launching the new campaign, the pro-Palestine group highlighted the EIF's support for Ukraine and Ukrainian companies following the invasion by Russia three years ago. At the time, the festival severed its links with the Russian conductor Valery Gergiev, who was made an honorary president of the event in 2011. The EIF also joined forces with the Scottish Government to stage a free concert by a newly-formed "Ukrainian Freedom Orchestra." [[Art]] Workers For [[Palestine]] has stepped up pressure on arts organisations in recent months, including the Glasgow Film Theatre and the Fruitmarket Gallery in [[Edinburgh]]. The Centre for Contemporary Arts in Glasgow has been closed since a large-scale protest was staged on June 24. Its board and management have faced calls to resign over the handling of an "intended occupation" of part of the building, which saw the police called to break up the protest. The pro-Palestine group said: 'After nearly two years of meetings, emails, and statements our ask to the Edinburgh International Festival has changed. 'We are no longer asking the EIF to merely speak to Baillie Gifford. We are demanding they cut ties. Why? Because EIF refuses to act in good faith. "Their own letter to us shows this clearly: 'We do not intend to adopt public political positions on international conflicts.' 'But the EIF has previously taken political positions. They promoted Ukrainian work with hashtags, programming decisions and marketing campaigns. So why is Palestine the exception? 'They're not neutral — they're complicit. Baillie Gifford is one of the EIF's biggest funders. They invest in Babcock International, a UK arms company supplying Israel. 'In plain terms: Palestinian death is making Baillie Gifford rich. And the EIF chooses to accept that money. This is blood money. This is the profits of the Palestinian genocide being used for 'art.' 'Our updated demand: EIF must cut ties with Baillie Gifford. No more conversations. No more delay. "This is about the right to live — not institutional comfort. This is about Palestinian liberation." Baillie Gifford is one of the main supporters of the Fringe Society and the National Galleries of Scotland, which is working in partnership with the Edinburgh International Film Festival next month. Earlier this month the campaign group issued a statement warning Scottish arts organisations: "Transparency, accountability and ethical leadership are non-negotiable." The latest statement targeting the EIF states: "Art is never neutral. Art can either resist — or it can enable. "This is our collective call. This is our line in the sand. We will continue to support artists taking action. We will no longer spend unpaid energy convincing the EIF of the obvious. That art funded by genocide is artwashing.' A spokesperson for the Edinburgh International Festival said: "We share public concern about the ongoing violence in the Palestinian territories, and other areas enduring conflict. "The right to speak out, to demand change, and to protest these issues is fundamental to democracy. "The Edinburgh International Festival gives voice to artists for important ideas, questions and stories to be freely presented and debated with nuance and empathy. "Our 2025 programme tackles this and other important global issues head-on, from a range of perspectives. "Our responsibility is to ensure the future of the festival, so that we can continue to offer public benefit and offer audiences transformational experiences. "To do this we must secure funding from a balanced mix of public and private sources. "Support from long-standing donors such as Baillie Gifford enables us to sustain our artistic ambition, remain accessible to the widest possible audience, and contribute meaningfully to Scotland's cultural life. "Following a rigorous review, our board of trustees agreed to maintain the support from Baillie Gifford, which continues to endorse all that the festival does, from the August festival programme to our year-round work with Edinburgh's communities."
Scotsman
11-07-2025
- Entertainment
- Scotsman
EIF sets a new standard for accessibility
Festival director Nicola Benedetti and Foysol Choudhury MSP This year's Edinburgh International Festival has taken a significant step toward making culture more inclusive, launching a comprehensive access guide to support neurodivergent, disabled and D/deaf audience members. Sign up to our daily newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to Edinburgh News, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... From detailed venue information to specially tailored performances, the initiative marks a commendable commitment to breaking down barriers and creating a welcoming experience for all. The access guide features detailed listings of accessible performances, including those with audio description, British Sign Language (BSL) interpretation, captioning and surtitles. Advertisement Hide Ad Advertisement Hide Ad It also offers 'relaxed performances,' designed to provide a more flexible environment by keeping lights low, softening loud sounds and creating a welcoming space for neurodivergent audiences and those with sensory sensitivities. These adaptations ensure that people who may otherwise feel excluded are not only accommodated but genuinely welcomed into the cultural fold. I was particularly moved to see a dementia-friendly performance included, demonstrating the festival's thoughtful engagement with audiences who are often overlooked. Accessibility isn't just about physical or sensory accommodation, it's also about ensuring cost isn't a barrier. The EIF is helping to break down financial obstacles by offering a 50 per cent discount on full-price tickets for eligible audiences. Advertisement Hide Ad Advertisement Hide Ad As Shadow Minister for Culture, Europe and International Development, I'm glad to see the EIF take this step forward. By putting accessibility front and centre, they are setting a powerful example for the wider sector. These developments reflect the inclusive society we are working to build. Culture should be accessible to everyone and I applaud the EIF team for embedding inclusivity at the heart of their programming. This approach not only enhances the experience for the public but also strengthens the entire cultural sector by welcoming broader participation. I encourage other organisations to follow this example, ensuring that the arts are not a luxury for the few but a shared experience that reflects and welcomes the diversity of our communities. Let's continue working together to build a Scotland where everyone has the opportunity to enjoy the world-class cultural experiences our city has to offer. To explore the full list of accessible performances, visit Foysol Choudhury, Scottish Labour MSP for Lothian (Region)
Time Out
07-07-2025
- Entertainment
- Time Out
As You Like It A Radical Retelling
Photo: Dahlia Katz Formerly seen in England under its – potentially confusing to Europeans – original name The Land Ackowledgment or As You Like It and now debuting in Scotland as part of the EIF, this deliciously provocative show from Native American performer Cliff Cardinal is best left unspoilered but sees him co-opt Shakespeare's pastoral comedy in a most surprising way to reimagine it as a colonialist critique. By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions. 🙌 Awesome, you're subscribed! Thanks for subscribing! Look out for your first newsletter in your inbox soon! Discover Time Out original video
.jpeg%3Fwidth%3D1200%26auto%3Dwebp%26quality%3D75%26trim%3D398%2C0%2C398%2C0%26crop%3D&w=3840&q=100)
Scotsman
02-07-2025
- Entertainment
- Scotsman
Jack Lowden: Play by Slow Horses star from Edinburgh International Festival to be screened in UK cinemas
The play was originally created by National Theatre of Scotland Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... A play starring Jack Lowden which premiered at last year's Edinburgh International Festival is to be beamed into cinemas around the UK after a sell-out West End run. The Fifth Step, written by David Ireland and created by the National Theatre of Scotland, is one of three plays selected for the new season of National Theatre Live and is the first NTS production to be showcased on the platform. Advertisement Hide Ad Advertisement Hide Ad The play had its world premiere at the Royal Lyceum Theatre in Edinburgh last August as part of the EIF and later played in Dundee and Glasgow. It also stars Martin Freeman alongside Slow Horses star Mr Lowden and is directed by Finn den Hertog, co-artistic director of Scottish theatre company Groupwork and associate artist of NTS. Slow Horses star Jack Lowden | Simon Murphy Mrs Warren's Profession and Hamlet will also be added to the NT Live line-up, as well as the previously announced Inter Alia, starring Rosamund Pike, which will broadcast live from the Lyttelton Stage across the UK on 4 September, with subsequent global screenings from 25 September. Mr den Hertog said: 'It's fantastic that The Fifth Step will be filmed and released through National Theatre Live. I've always been an enormous fan of the hybrid nature of the NT Live work and I feel confident the show will really lend itself to being captured in this way. 'I'm delighted to be able to share the work with a wider audience and I'm particularly proud that a play which started its life with National Theatre of Scotland will not only be seen around the world, but will also be coming home, in a sense, for audiences in cinemas, town halls and arts centres across Scotland.' Advertisement Hide Ad Advertisement Hide Ad Jack Lowden in The Fifth Step | Mihaela Bodlovic The Fifth Step is a critically-acclaimed comic two-hander that follows Lowden and Freeman's characters' journey to sobriety by way of the 12 steps. Indhu Rubasingham, director and co-chief executive of the National Theatre, said: 'From the moment I began this role, I knew that expanding our digital reach would be key to my vision to bring the world to the National Theatre and the National Theatre to the world. NT Live is a powerful way to open not just our work, but the work of our incredible peers in the West End and beyond, to audiences globally. 'This season is a fantastic example of that vision in action: reimagined classics and bold new writing, just as you'll see on our stages in London. It's about accessibility, excellence, and expanding the joy of theatre far beyond our walls and city. It's about breaking down barriers and inviting everyone in.' Advertisement Hide Ad Advertisement Hide Ad
