09 May 2025 Lorraine Pritchard's Fascination with the Intricate Detail and Transformative Power of Venetian Masks

15th May 2025

Feet Together and Take a Bow. Successful Year for Pomegranates

2025 was another successful year for the Pomegranates Festival, which ran from 25th to 30th April. The packed five-day programme of traditional dance, saw ticket sales up by 40% on 2024; a sold-out Ceilidh Plus event mixing Scottish, Hungarian and Polish social dancing; and a packed house for Charlotte McLean’s new not for glory dance theatre gig piece, brought to life by the incredible sure footing of Irish traditional dancer Jack Anderson and music from Malin Lewis.

Emma Ready, and Sean Edwards performing in Hidden Faces – this year’s festival finale

The Pomegranates Festival celebrates Scottish and world traditional dance practised by anyone, including cultural migrant communities across Scotland. Now in its fourth year, the festival has grown from a two-day showcase of work performed by local dancers, into a five-day festival of workshops, exhibitions, walking tours, debates and a showcase for new work.

Marking UNESCO International Dance Day on 29 April, this year’s festival finale Hidden Faces, was a powerful example of the strength of workshopping that the festival has anchored in its programme from the outset. The piece – a hip hop dance theatre tribute to the masked trad dances from around the world – was created across 2 intensive days, choreographed by 2 guest artists – hip hop dancer and clowning theatre practitioner Sean Edwards, and Scotland’s only professional B-girl Emma Ready; performed by 15 dancers and 3 musicians all based in Scotland; and produced with direction from Jonzi D, founder of Breakin’ Convention, MC, spoken word artist and hip hop dancer.

Other new work that premiered this year was the festival commission Sequins – a hip hop piece fused with Congolese traditional Luba dance by Kalubi Mukengela-Jacoby, a Belgian Scot dance artist with Congolese heritage who choreographed and performed her solo to another festival commission Sequins of Poems to Dance To, a set of 10 poems written and spoken by broadcaster Ian McMillan with a haunting soundscape by Robert Russell.

One of the festival themes this year was masks, and the dancers took inspiration from the exhibition Masks by Lorraine Pritchard which was on display in the Storytelling Centre and the Edinburgh Central Library. The exhibition included handcrafted Venetian style masks, books on the Venice Carnival and a collection of photos and newly-commissioned documentary film by Franzis Sánchez shot at this year’s Carnival and at various locations across Edinburgh.

Audiences also enjoyed a lively discussion following the screening of ten short films by home-grown and international teams of choreographers and cinematographers with an innovative focus of traditional dance on screen; a fantastic new piece of contemporary dance rooted in traditional dance and music Socratic Circles workshopped with pupils from Royal Mile and Abbeyhill local primary school, and postgraduate dance students from Moray House School of Education and Sport, University of Edinburgh; and a new podcast and a sold-out walking tour of Edinburgh with historian and dancer Alena Schmakova exploring Mary, Queen of Scots’ passion for dance.

Wendy Timmons and Iliyana Nedkova, co-curators and producers of the Pomegranates Festival said:

“We couldn’t be happier with this new edition of Pomegranates. It is really rewarding, also on behalf of the 100s of the dance artists featured and our new and returning guests, to know that the festival has earned its unique place in Edinburgh’s cultural calendar and is treasured by anyone passionate about trad dance and its links to poetry and art, film and fashion, craft and heritage. We are proud that through this year’s 3 festival themes – trad dance, masks and intangible cultural heritage – we were able to focus on the fine examples of already recognised living heritage, such as the Hungarian Csardas and Buso, Polish Polonaise, Chinese Yi cultural dance and the world heritage site of Venice and its Carnival. We are determined to build on the festival success of convening Scotland’s first-ever gathering about traditional dance and UNESCO Intangible Cultural Heritage Convention. Watch this space as we continue to explore the opportunities this 2003 UNESCO Convention opens up for Scotland’s traditional dances in an international context.”

The Pomegranates Festival plans to return in spring 2026 with a new five-day programme of Scottish and world traditional dance. Dates to be confirmed.

The Pomegranates Festival is initiated and curated by Traditional Dance Forum of Scotland and presented and produced in partnership with Traditional Arts and Culture Scotland, Moray House School of Education and Sport, University of Edinburgh, Edinburgh City Libraries, Dance Base and the Scottish Storytelling Centre. Supported by Creative Scotland’s multi-year funding programme through TRACS (Traditional Arts and Culture Scotland) and Edinburgh Local Community Fund through the University of Edinburgh,

#PomegranatesFestival

More information visit https://www.tdfs.org/pomegranates/

Traditional Dance Forum of Scotland

Established in 2014,Traditional Dance Forum of Scotland is the only national organisation of its kind dedicated to the advancement of all forms of traditional and social dance. It advocates for and supports the diverse Scottish and world trad dance forms practised in Scotland ranging from Ceilidh to Old Time, Swing to Hip Hop as an integral part of our global intangible cultural heritage. It provides free membership to over 250 traditional dance artists and organisations and supports them through three major routes – productions, residencies and festivals such as Pomegranates. A registered charity (SCIO SC045085) and a founding member of Traditional Arts & Culture Scotland (TRACS) www.tdfs.org

TRACS (Traditional Arts & Culture Scotland) (SCIO, SC043009) is a co-operative network which champions our shared traditions of music, song, storytelling, dance, crafts, customs and local languages. TRACS celebrates the local distinctiveness of Scotland’s places: our intangible cultural heritage. TRACS brings together the Traditional Music Forum (SCIO SC042867), the Scottish Storytelling Forum (SCIO SC052330) and the Traditional Dance Forum of Scotland (SCIO SC045085). Supported by Creative Scotland and The City of Edinburgh Council. www.tracscotland.org

Moray House School of Education and Sport has been making a major contribution to the fields of education and sport for 175 years. Moray House staff, students and alumni have influenced, improved and transformed learning, teaching and policy worldwide. The innovative and unique Master’s in Dance Science and Education gives dancers the scientific theory and specialist skills to push the frontiers of dance and dance education.

Moray House School of Education and Sport

Centre for Research in Education, Inclusion and Diversity (CREID)

MSc Dance Science and Education

Creative Scotland is the public body that supports culture and creativity across all parts of Scotland, distributing funding provided by the Scottish Government and The National Lottery, which, now in its 30th year, has supported over 14,600 projects with more than £501.9 million in funding through Creative Scotland and its predecessor, the Scottish Arts Council. Further information at creativescotland.com and the social media channels on Facebook, LinkedIn, and Instagram. More about the value of art and creativity in Scotland at www.ourcreativevoice.scot

07 May 2025 Scottish Nature Writing Competition 2025

15 May 2025 Feet Together and Take a Bow. Successful Year for Pomegranates

9th May 2025

Lorraine Pritchard’s Fascination with the Intricate Detail and Transformative Power of Venetian Masks

Exhibition Review by Catherine Coutts

Do I really want to go to see an exhibition about masks? At the start of the decade, masks (the ugly type with elastic bands, which cannot be recycled and were often to be found littering almost everywhere) were a topic of significant discussion. How effective and necessary were they in reducing the spread of COVID-19? Would high-grade masks have been better? What scientific evidence was there to support prolonged use? And why could I never find one in a nice toile de jouy fabric?

Thankfully, we seem to have left those face covers in the past and today finds me looking at an exhibition of altogether more attractive, entertaining and honestly priced masks.

Lorraine Pritchard of Rainemaker Studio is the artist-in-residence at this year’s Pomegranates Festival and the exhibition is curated by Iliyana Nedkova and Wendy Timmons of the Traditional Dance Forum of Scotland. The curatorial emphasis is on the role of masks in traditional dance, one of the themes that define this year’s Pomegranates. The exhibition also focuses on the Venice Carnival – a prime example, recognised by UNESCO, of our global intangible cultural heritage, another of the festival themes. As the only Scottish artist performing at the Venice Carnival for the last four years, Lorraine is also the only local artist who completed a course in Venetian mask making with master sculptor and mask maker Agostino Dessi in Florence, Italy. Her fascination with the intricate detail and transformative power of masks led her to collaborate with the Traditional Dance Forum of Scotland and complete a set of 15 newly-commissioned masks which came alive on the stage at the Pomegranates Festival dance theatre finale Hidden Faces.

Pritchard’s first work from her Florence training is also in the exhibition. Named Pierrot, it is made in the traditional Venetian style. It radiates the sadness that one would expect from the clown, but I quickly move on to some more playful works, including Carmen, an elaborate wearable wall mask with bronze relief detail and flamboyant headdress. The humour continues with Tynie, a specially commissioned Heart of Midlothian mask, on loan from a private collection, resplendent in the Hearts tartan, a golden tassle and at least four maroon jingle balls that I could see (a quick look at the Rainemaker website shows that other football teams are available).

The 20-plus masks featured in the exhibition all have their own personalities and stylistic mannerisms as they burst off of the walls of the Scottish Storytelling Centre. Hatter, Disco Lizard and others are cleverly displayed in frames and on mirrors. Particularly attractive are the half masks – the mask is covering the eye area (rather like Batman’s Robin) but with beautiful flowers, feathers and other adornments above it.

Other highlights include Lilibet (inspired by the late Queen’s platinum jubilee), Taggart (Lorraine’s first Harris Tweed Jolly mask, linking Scotland with Venice but still emanating an air of menace) and Maneki, a golden painted cat mask.

I leave the exhibition with a smile on my face having looked at so many beautiful and intricately crafted things. There were too many masks to really go into any detail here, so why don’t you go along yourself and choose your favourites?

Masks by Lorraine Pritchard at the Scottish Storytelling Centre is on from 3 April – 12 May 2025 daily between 10am and 6pm and until late on performance nights at the Scottish Storytelling Centre, High Street, Edinburgh. Entry is free and no registration is required. Masks was complemented by the Venice Carnival exhibition by Lorraine Pritchard, showing at Edinburgh Central Library. Further details here

22 April 2025 TRACS Is Looking for a Board Chair

09 May 2025 Lorraine Pritchard's Fascination with the Intricate Detail and Transformative Power of Venetian Masks

7th May 2025

Scottish Nature Writing Competition 2025

The Scottish Wildlife Trust, in association with the Scottish International Storytelling Festival, returns with the successful Words of the Wild nature writing competition.

What’s the theme?

The competition – which this year is themed ‘From source to sea’ – invites participants to create original written works about Scotland’s freshwater and marine habitats. Entries can be in the form of poetry, short stories, journalistic articles, essays, letters or even song lyrics and can be written in English, Scots or Gaelic.

Win a fantastic prize

An adult and junior winner will be selected for each language, with over £2,000-worth of prizes to be won. Adult prizes include a pair of binoculars from Viking Optical and a selection of nature books from Canongate. Junior prizes include a snorkelling set from Arran Active and a £100 wildlife equipment voucher for NHBS.

Meet the judges

The competition judging panel includes notable names from the worlds of literature and conservation, including renowned Scots poet, Len Pennie; Chair of the Scottish Wildlife Trust, Dr Kenny Taylor; and former Scots Scriever, Susi Briggs.

When will winners be announced?

Competition entries are limited to one per person and can be up to 1,000 words in length. The closing date for submissions is Saturday 12 July and the winners will be announced at the Scottish International Storytelling Festival in October.

For more information, including how to enter the writing competition head to the Scottish Wildlife Trust’s website.

10 April 2025 Celebrating Traditional Dance on Screen

07 May 2025 Scottish Nature Writing Competition 2025

22nd April 2025

TRACS Is Looking for a Board Chair

TRACS (Traditional Arts & Culture Scotland) is looking for a committed, dynamic and experienced Chair to lead its Board of Trustees from Autumn 2025.

TRACS is a co-operative network which champions our shared traditions of music, song, storytelling, dance, crafts, customs and local languages. We have recently been awarded Multi-Year Funding from Creative Scotland to deliver a 3-year programme celebrating and advocating for Scotland’s traditional arts in communities across the country. During this period, we seek to advance our role as a recently-appointed expert NGO advisor to UNESCO on Intangible Cultural Heritage. Find out more from our website www.tracscotland.org.

The Chair has a leadership role and is responsible for convening and chairing board meetings, focusing the board on strategic matters, setting high standards of governance and ensuring TRACS is meeting its charitable objectives. To the Chair is also delegated the line-management of TRACS’ CEO.

The role of Chair is an unpaid position but is a crucial part of governance and leadership within TRACS.

In Brief

Role Title: Board Chair
Member of/elected by: Board of Trustees
Reports to: Board of Trustees
Main staff contacts: TRACS Chief Executive Officer
Term of Office: Three years; with up to 2 re-elections (max. 9 years)
Position: Voluntary (unpaid); reasonable expenses

Could this be me?

The TRACS Board is looking for an enthusiastic, energetic and effective advocate for the traditional arts and the part they play within the life of Scotland and of all its people.

Among other attributes they will have:

A personal understanding of and involvement in the range of traditional arts communities in Scotland
Experience of performance, promotion, administration or governance within the arts sector
Direct experience of working across sectors in forming and nurturing partnerships and the ability to facilitate or lead multi-stakeholder development processes
Engagement with national political processes in Scotland and/or internationally
Demonstrable experience of networking and communications at a strategic level
Knowledge of fundraising and advocacy work

How much of my time would it take up?

Board Meetings: The Chair convenes and chairs up to 6 full TRACS board meetings per year. These are held in person or online and generally last around 2 hours.
Other meetings: The Chair also plays a crucial role on 2 of the 3 Board Committees – Finance & Risk, Governance & Constitution – which meet additionally throughout the year, as well as convening meetings of the Board Chairs of TRACS’ three member organisations (Scottish Storytelling Forum, Traditional Dance Forum of Scotland and Traditional Music Forum of Scotland).
Line Management: Regular check-ins with the TRACS CEO.
Other commitments: Additional time is required for preparing agendas, in consultation with staff and other trustees, and reviewing papers in advance of board meetings; liaising with fellow office bearers and other board members/staff; and attending occasional board training sessions.

How to apply

If you’re interested in leading the board of TRACS through a crucial and exciting time in the charity’s development, please:

Download the TRACS Board Chair application pack here
Send an email to recruitment@tracscotland.org outlining your interest and providing details of the relevant skills, experience and/or qualifications you would bring to the role.

TRACS has a strong commitment to Equality, Diversity and Inclusion and to Fair Work. We welcome applications from individuals of all ages, genders, ethnicities, disabilities, sexual orientations, gender identities, socio-economic backgrounds, religions and/or beliefs.

If you would like any further information or to have an informal conversation with current Board Chair Andrew Bachell before applying, please email him to arrange a suitable time.

Deadline for expressions of interest: 17:00, Friday 30th May 2025

17 April 2025 Pomegranates Festival is Produced through a Major Academic Partnership

24 February 2015 Seeking Songwriters: Songs for Scotland

17th April 2025

Pomegranates Festival is Produced through a Major Academic Partnership

Initiated and curated by us at the Traditional Dance Forum of Scotland, the Pomegranates Festival of world trad dance is produced through collaboration. In particular, our major academic partner, Moray House School of Education and Sport at the University of Edinburgh.

Since its inaugural edition in spring 2022 until its current fourth iteration in 2025, Pomegranates couldn’t have been possible without this partnership. In particular, our partnership with the innovative and unique Master’s in Dance Science and Education course, which gives professional dancers the scientific theory and specialist skills to push the frontiers of dance and dance education, including traditional dance.

As the only charitable organisation of its kind in Scotland, advocating, supporting and safeguarding all Scottish and world traditional dance forms practised across the country, we were one of the contenders in the Scottish Charity Awards Partnership of the Year 2024 due to the strength of this academic partnership with Moray House School of Education and Sport at the University of Edinburgh. Also, in part due to this academic partnership, our Pomegranates Festival made it to the #ListHot100 as one of the 100 most influential cultural events of 2024 across Scotland. In 2025, the festival was praised for its dynamic curation that challenges outdated stereotypes about ‘traditional dance’.

How and when did the academic and the traditional dance world of the Pomegranates Festival converge to enable this partnership to thrive?

It was back in 2018 when the Traditional Dance Forum of Scotland and the Moray House School of Education and Sport at the University of Edinburgh joined their efforts for the first time to secure funding from Creative Scotland which led to the year-long joint residency of the outstanding US percussive dance artist Nic Gariess (pictured above) with Scotland-wide public events throughout 2019. This residency continues to yield its legacy by saving Scottish Step dance from extinction. Going forward, our ambition is to award at least one 12-month-long joint residency per year.

Since 2018 we have continued to offer year-round placements for postgraduate dance students-in-residence at the Traditional Dance Forum of Scotland with curatorial mentorship and hands-on experience of world trad dance across Edinburgh. Since 2022, these placements have been culminating at the Pomegranates Festival. Most recently, in 2023-25 we hosted not one but three residencies of the postgraduate students and dance artists per year, including those of Yingzhou Xie, Lingqiao Hong, Jiarui Liao, Xiaoxuan Zhong (pictured below), Jingyin Cai and Yu Xie.

The predecessor of the Pomegranates Festival?

In June 2019, to celebrate Nic Gareiss’ residency we jointly co-produced the mini-festival for global percussive dance which we staged across Edinburgh. This gave us the confidence to work together with our academic partner and aim for bigger and bolder collaborative projects. Fast forward to April 2022, when co-launched Pomegranates – Scotland’s first and only annual festival of Scottish and world traditional dance forms practised up and down the country.

The first four years 2022-25 of co-producing the Pomegranates Festival of Scottish and world traditional dance not only featured the cohort of postgraduates on the festival stages and screens. We were reassured that our partnership makes a huge difference in the professional development of 50+ students and academic staff, as well as the 250+ members at the Traditional Dance Forum of Scotland.

We also know that the Pomegranetes Festival impacts positively on the health and wellbeing of all our other festival participants and audiences. Every year Pomegranates has become the platform for our diverse Forum members, alongside students and staff to teach, learn and perform. We couldn’t have done this without the in-kind access to the world-class hybrid facilities at the St Leonard’s Land Dance Studio, Moray House School of Education and Sport or the pro-bono expertise of the academics and dance scholars at the Institute for Sport, Physical Education and Health Sciences, including Dr Wendy Timmons, as well as the Head of the Centre for Research in Education, Inclusion and Diversity (CREID) John Ravenscroft, who said:

“I am very pleased to continue to forge our strategic academic partnership with the Traditional Dance Forum of Scotland which dates back to 2018. Great to see the return of the Pomegranates Festival choreographer-in-residence Jonzi D who delivered the seminal Decolonising the Curriculum keynote lecture at Moray House School of Education and Sport as part of last year’s Pomegranates Festival. I am also excited about the opening festival show Socratic Circles which is part of the wider campaign advocating for the diverse forms of world traditional dance becoming a primary ingredient of our children’s primary education. This campaign is run by the Traditional Dance Forum of Scotland in conjunction with our Centre and our School while Socratic Circles is funded by the University of Edinburgh through the Edinburgh Local Community Fund.”

In addition, every year the Pomegranates Festival provides a wider public showcase for the range of our artists’ residencies and dance theatre productions open to new and returning audiences, including families and young people. From the outset Pomegranates was recognised as an innovatively curated and affordable festival with equality, diversity, inclusion and internationality is at its core, not an add-on. It is also an integral part of TRACS (Traditional Arts and Culture Scotland) major festivals and we are aiming to celebrate the 5th anniversary of the Pomegranates Festival in 2026.

Year-round, we will continue to advocate for the vibrancy and visibility of Scottish and world trad dance practised across the country as part of our global intangible heritage through our three major routes at Traditional Dance Forum of Scotland – festivals, residencies and productions, all of which rely on our academic partnership with Moray House School of Education and Sport, University of Edinburgh. Our ambition is together to develop world trad dance courses and provide certified continuous professional development opportunities to dance artists across Scotland and beyond. We hope to facilitate the signing of a Memorandum of Understanding between the Traditional Dance Forum of Scotland and Moray House School of Education and Sport at the University of Edinburgh.

In the meantime, join us to experience the outcome of our latest collaborative efforts at five of the Pomegranates Festival events 25-30 April events – free or Pay What You Can at https://www.tdfs.org/pomegranates/

Socratic Circles

The latest example of our unique way of co-devising new dance theatre through Socratic Dialogues between students and pupils – students undertaking their Master’s Degree in Dance Science and Education and Primary 6 pupils at Edinburgh’s Abbeyhill and Royal Mile Primary Schools.

Part of our joint campaign for Scottish and world trad dance as a primary ingredient of our children’s primary education.

World Trad Dance on Screen

The opening festival programme of 10 short dance films, which features the first and the second in our trilogy of screen dance co-productions, namely The Bright Fabric of Life and To Begin the Dance Once More.

Part of our joint campaign to put traditional dance in the frame of the global screen dance movement which is dominated by contemporary and classical dance.

Ceilidh Plus

The fourth in our collaborative series of multicultural community ceilidhs where Scotland meets the world through mixing the Scottish Ceilidh with at different social traditional dance and music cultures.

Part of our joint campaign to make the Scottish Ceilidh tradition inclusive to the multi-ethnic communities which make up contemporary Scotland.

Dance Around the World with Masks

The fourth of our day-long continuous professional development workshops for students and dance artists from across Scotland held at St Leonard’s Land Dance Studio.

Part of our joint campaign to develop world trad dance courses and provide certified continuous professional development opportunities to dance artists across Scotland and

beyond.

Hidden Faces

The fourth of our Pomegranates Festival finales celebrating International Dance Day with a new hip hop dance theatre co-choreographed (for a second festival year!) by the father of hip hop dance theatre Jonzi D, plus a dozen of students, dancers and musicians from across Scotland. Also, a curtain raiser solo Sequins by Kalubi Mukengela-Jacoby – a recent graduate of the Master’s Degree in Dance Science and Education.

Part of our joint campaign to fill in a gap in Scotland’s performing arts landscape of dance theatre for the stage rooted in traditional dance.

Established in 2014, Traditional Dance Forum of Scotland is the only national organisation of its kind dedicated to the advancement of all forms of traditional and social dance. It advocates for and supports the diverse Scottish and world trad dance forms practised in Scotland ranging from Ceilidh to Old Time, Swing to Hip Hop as an integral part of our global intangible cultural heritage. It provides free membership to over 250 traditional dance artists and organisations and supports them through three major routes – productions, residencies and festivals such as Pomegranates. A registered charity (SCIO SC045085) and a founding member of TRACS (Traditional Arts & Culture Scotland) www.tdfs.org

Moray House School of Education and Sport

Centre for Research in Education, Inclusion and Diversity (CREID)

MSc Dance Science and Education

Creative Scotland is the public body that supports culture and creativity across all parts of Scotland, distributing funding provided by the Scottish Government and The National Lottery, which, now in its 30th year, has supported over 14,600 projects with more than £501.9 million in funding through Creative Scotland and its predecessor, the Scottish Arts Council. Further information at creativescotland.com and the social media channels on Facebook, LinkedIn, and Instagram. More about the value of art and creativity in Scotland at www.ourcreativevoice.scot

12 April 2025 Traditional Dance as Intangible Cultural Heritage

24 February 2015 Seeking Songwriters: Songs for Scotland

12th April 2025

Traditional Dance as Intangible Cultural Heritage

We are delighted that this year’s Pomegranates Festival (25-30 April 2025) is themed around traditional dance and intangible cultural heritage, especially at a time when Scots are soon to be invited to nominate their favourite traditions to be included on an official living heritage list. Later this year, submissions for the list will be encouraged from all sectors of society, including the traditional dance communities and people who have brought dance traditions from overseas to the UK.

In the eve of the UNESCO International Dance Day, Monday 28 April 2025, 6.30pm at our home, the Scottish Storytelling Centre, we are inviting everyone who has contributed and continues to shape the diversity of traditional dance in Scotland to join us for an evening of sharing and discussions. Gather for a blether on all things UNESCO Convention for Safeguarding Intangible Cultural Heritage and the opportunities for traditional dance in Scotland. Find out more through three presentations and ask our special guests in the Q&A session chaired by Wendy Timmons of the Traditional Dance Forum of Scotland. Our presenters:

Rachel Hosker of the Centre for Research Collections, University of Edinburgh and Chair of the UK UNESCO Memory of the World Programme

Árpád Vörös, recipient of the knighthood award for lifetime contribution towards Hungarian folk dance

Steve Byrne of TRACS (Traditional Arts and Culture Scotland)

Sebastian Wanless, Chair Elect of the Royal Scottish Country Dance Society

The evening will also offer an opportunity to enjoy demonstrations accompanied by live music of Scottish Country Dance and Highland, including by teams from the Royal Scottish Country Dance Society and Margaret Rose School of Dance.

Established by Margaret MacInnes, a recipient of the British Empire Medal for services to Highland dancing and the community in Helensburgh, Margaret Rose School of Dance is also home to Eilidh Gammons, Highland Dancing Champion of Champions who is joining us to perform the traditional Scottish Highland Dance Seann triubhas, meaning ‘old trousers’ in Scottish Gaelic. Following Eilidh’s dance, we will be treated to a traditional Highland Sword Dance by Lily and Lucy Clark, also accompanied on the bagpipe by Stephen Clark.

There will be a short display of two examples of traditional dances recently inscribed in the UNESCO Intangible Cultural Heritage Representative List of Humanity in January 2025 and December 2023, i.e. Csardas (Árpád Vörös) and Polonaise (Anthony Carter, Fiona Lynch, Natalia Nowak and Renata Grillanda of Parzenica, Scotland’s Polish Folk Dance Group)

BOOK NOW

Traditional Dance as Intangible Cultural Heritage

Monday 28 April 2025, 6.30pm (2 hours)

Scottish Storytelling Centre

Pay What You Can (£5, £10 or £15)

This year’s Pomegranates Festival also offers an opportunity to learn Csardas and Polonaise while enjoying your favourite Ceilidh dances at our popular Ceilidh Plus event on Saturday, 26 April 2025 6-9.30pm at Edinburgh’s King’s Hall. Find further details, including how to book here: https://www.tdfs.org/ceilidhplus/

Wendy Timmons and Iliyana Nedkova, Festival Co-curators said:

“We are delighted that this year’s Pomegranates Festival is themed around traditional dance and intangible cultural heritage, especially at a time when Scots are soon to be invited to nominate their favourite traditions to be included on an official living heritage list. Later this year, submissions for the list will be encouraged from all sectors of society, including the traditional dance communities and people who have brought dance traditions from overseas to the UK.”

Sebastian Wanless, Chair Elect of The Royal Scottish Country Dance Society (RSCDS) said:

“We are thrilled to participate in the Fourth Pomegranates Festival and to showcase Scottish country dance on the eve of the UNESCO International Day of Dance. For over a century, we have championed the vibrant tradition of Scottish country dancing—an energetic blend of lively music, joyful movement, and deep-rooted culture. More than just steps and tunes, Scottish country dance is a unique social phenomenon that welcomes everyone, everywhere. Together with dancers from around the world, let’s celebrate movement, culture, and unity in the lead up to this special day.”

The move to accumulate suggestions follows the 2003 UNESCO Convention for Safeguarding Intangible Cultural Heritage which the UK ratified only last year. Each member state must now compile a list of their traditions and folklore, performance, customs and craft which tell the national story. Nominations are expected to open later this year. As a founding consortium member of TRACS (Traditional Arts and Culture Scotland), which in July 2024 was officially appointed as UNESCO Advisor on Intangible Cultural Heritage we couldn’t agree more with Scottish Secretary, Ian Murray, who said:

“This is a chance for community groups across Scotland to really have some fun and think about how we celebrate being Scottish through our food, culture, practices and celebrations. We want to include the things that represent our uniqueness, our sense of humour and our pride in our country. A respect for our age-old traditions will be covered, but so too should what’s important to us in modern Scottish life.” Source: The Edinburgh Reporter

ABOUT OUR SPEAKERS

Steve Byrne was appointed as Director of TRACS in 2023. A noted performer, researcher, folklorist and community activist, Steve trained at the School of Scottish Studies at Edinburgh University, before embarking on a distinguished creative career. Steve is a founding member of Scottish folk band Malinky and has contributed to the digitisation of vital early recordings of Scottish music and storytelling.

Rachel Hosker is the University Archivist and Research Collections Manager. Rachel originally trained as an archivist, and now manages archivists, librarians and curators responsible for the University’s cultural heritage collections and welcomes IASH fellows to the Centre for Research Collections at the University. Rachel is Chair of the UK UNESCO Memory of the World Programme.

Árpád Vörös (Budapest) is a dancer and folk dance teacher. He was awarded a Knighthood of Hungarian Culture in 2020 for the care of Hungarian folk dance. From 1990, for ten years, he was a teacher at the Árpád Bókay Elementary School in Pestszentlőrinc, and founded the TÉBLÁB Dance Ensemble. Today, he is the president of the foundation that operates the school and a professional assistant and choreographer of several ensembles in Transylvania, Felvidék and Vojvodina, as well as an ethnographic researcher of the region.

Wendy Timmons is a Senior Lecturer in Dance Science and Education at the University of Edinburgh, and co-producer of the Pomegranates Festival. She has many years of professional arts practice, and is well experienced in teaching and training dance artists, young dancers and dance teachers. Alongside her teaching, research and programme development, Wendy has undertaken many knowledge exchange and applied Dance Science and Education research projects. She is currently Convenor for the Traditional Dance Forum of Scotland and the Health & Wellbeing Trustee at Dance Base.

ABOUT THE FETSIVAL AND FESTIVAL PARTNERS

The Pomegranates Festival (25 – 30 April 2025) is an annual celebration of new dance theatre and screen dance shows, as well as new productions and residencies. This is the fourth edition of Scotland’s annual festival of international traditional dance, initiated, curated and produced by the Traditional Dance Forum of Scotland. It is presented in partnership with TRACS (Traditional Arts and Culture Scotland), Moray House School of Education and Sport, University of Edinburgh, Edinburgh Central Library, Dance Base and the Scottish Storytelling Centre. The Pomegranates Festival is funded by Creative Scotland through TRACS (Traditional Arts and Culture Scotland); the City of Edinburgh Council and University of Edinburgh through the Edinburgh Local Community Fund. For tickets and more information visit https://www.tdfs.org/pomegranates

Established in 2014, Traditional Dance Forum of Scotland is the only national organisation of its kind dedicated to the advancement of all forms of traditional and social dance. It advocates for and supports the diverse Scottish and world trad dance forms practised in Scotland ranging from Ceilidh to Old Time, Swing to Hip Hop as an integral part of our global intangible cultural heritage. It provides free membership to over 250 traditional dance artists and organisations and supports them through three major routes – productions, residencies and festivals such as Pomegranates. A registered charity (SCIO SC045085) and a founding member of Traditional Arts and Culture Scotland (TRACS) www.tdfs.org

TRACS (Traditional Arts & Culture Scotland) (SCIO, SC043009) is a co-operative network that champions our shared traditions of music, song, storytelling, dance, crafts, customs and local languages. TRACS celebrates the local distinctiveness of Scotland’s places: our intangible cultural heritage. TRACS brings together the Traditional Music Forum (SCIO SC042867), the Scottish Storytelling Forum (SCIO SC052330) and the Traditional Dance Forum of Scotland (SCIO SC045085). Supported by Creative Scotland and The City of Edinburgh Council. www.tracscotland.org

Moray House School of Education and Sport

Centre for Research in Education, Inclusion and Diversity (CREID)

MSc Dance Science and Education

05 April 2025 What is Intangible Cultural Heritage?

22 April 2025 TRACS Is Looking for a Board Chair

10th April 2025

Celebrating Traditional Dance on Screen

The opening night of this year’s Pomegranates Festival of international traditional dance (25-30 April 2025), kicks off with a packed programme of ten short films celebrating traditional dance on screen. Traditional dance is rarely presented through the genre of screen dance, and this exclusively curated programme aims to fill in this gap. It honours multiple types of trad dance styles and diverse cultural heritage traditions, including Scottish Step and Highland, Indian Classical, East African, Chinese, Hip Hop, and Breakdance

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World Trad Dance on Screen

Friday 25 April 2025, 18:30 (2hrs) Pay What You Can (£5, £10 or £15)

Scottish Storytelling Centre, 43-45 High Street, Edinburgh EH1 1SR

A curated programme of ten short films addressing the global genre gap of traditional dance on screen. Post-screening discussion and Q&A with Scottish Bgirl Emma Ready, Estonian-Scottish filmmaker Mare Tralla and Canadian filmmaker Kes Tagney.

The programme includes three diverse films directed by award-winning Canadian dance filmmaker Marlene Millar, Firstly, To Begin the Dance Once More – the newly revised Traditional Dance Forum of Scotland’s first-ever screen dance production exploring Scottish and Egyptian stories of motherhood, featuring choreography by Vincent Hantam, and set to the new epic poem about Beira and Bride (the Queen of Winter and the Goddess of Spring) by Scottish storyteller Donald Smith.

Secondly, Offering – inspired by traditional dance processions from the Quebec-based Migration Dance Film collective, world-renowned for their innovative use of vocals and body percussive movement. Offering is directed by Marlene Millar in collaboration with choreographer Sandy Silva with the guest appearance of street dance sensation Omari Motion Carter. And thirdly, Bhairava filmed on the ancient site of Hampi in India, directed by Marlene Millar and Philip Szporer (Mouvement Perpétuel, Montréal) with cinematography by Kes Tagney.

Kes Tagney’s recent short Home featuring Scottish step dancer Sophie Stephenson accompanied by musician Ronan Martin is also featured in the programme.

The Bright Fabric of Life directed by Mare Tralla

Other highlights include The Bright Fabric of Life directed by celebrated Estonian artist and filmmaker Mare Tralla; Deer Dancer by Hanna Tuulikki, originally commissioned by Edinburgh Printmakers for Edinburgh Art Festival 2019, explores the construction of masculinity in dance and is inspired by dances said to imitate deer, including the Highland Fling; two breakdance shorts Autocorrect commissioned by Sadler’s Wells and directed by this year’s choreographer-in-residence MC, hip hop dance artist Jonzi D; and Second Guessing by Glasgow Bgirl Emma Ready which explores the harm experienced by coercive control.

Two other rarely screened films include Chinese short Crowned by Flame directed and performed by Lyuxian Yu; and Echoes of a Taiko Drum which was produced by Billingham Festival Director Olga Maloney, and features a unique fusion of Taiko Drums, Georgian, Irish and Indian Kathak Dance.

This 80-minute shorts film programme will be followed by a Q&A with featured creatives, including Scottish Bgirl Emma Ready, Estonian filmmaker Mare Tralla and Canadian filmmaker Kes Tagney.

Iliyana Nedkova, who together with Wendy Timmons is the co-founder and co-curator of the Pomegranates Festival said:

“I am very pleased that this year’s Pomegranates Festival’s opening evening show is all about world traditional dance and music specifically devised for the camera, not for the stage. I believe that magic happens where cinematography meets choreography. Following years of curating, judging and producing short dance films and screen dance festivals, I always wondered why we don’t have a dedicated platform for trad dance on screen. Well, while waiting for the dance film festival circuit to create such a platform, we decided to launch our own global programme and perhaps sow the (pomegranate) seeds of world trad dance on screen by selecting some of the best and rarest examples in this emerging new genre.”

Mare Tralla, the Estonian-born and Edinburgh-based artist, as one of the creatives featured in the programme said:

“I can’t wait for the launch on the big screen of the latest Traditional Dance Forum of Scotland’s screen dance production The Bright Fabric of Life at the opening night of the Pomegranates Festival. I designed the set and costumes, shot and edited this new film in the summer 2024 with a great team of creatives using the body language of traditional African dance choreographed specifically for the camera by the esteemed Vincent Hantam. The film tells stories of motherhood and kinship, love and loss from Sub-Saharan Africa and Scotland. Also on the night we will celebrate the paperback release of Mhairi Collie’s book which inspired our film. The book, just like the film, explores the dramatic life story of Sylvie, an Ethiopian patient and Juliet – a Scottish surgeon.”

The dance films featured in the World Trad Dance on Screen programme at the Pomegranates Festival are:

AUTOCORRECT (2022, Dir. Jonzi D)
Commissioned by Sadler’s Wells and directed and performed by Jonzi D, AUTOCORRECT features three male hip hop dancers from New York, London and Kampala. The short film takes inspiration from the cerebral poetry of Saul Williams, supported by Soweto Kinch’s textured soundscape.

Bhairava (2017, Dir. Marlene Millar and Philip Szporer)
This short evokes facets of Shiva, the Lord of Dance, as both the destroyer of evil and the guardian of time. Carried by a strong and deeply evocative musical score and by the singular energy of the ancient site of Hampi, dancer and choreographer Shantala Shivalingappa embodies the presence and distinctive qualities of Bhairava. With her technical mastery and refined expressivity, she alternates between moments of precise symbolic gestures and more abstract body language surging from the powerful and omnipresent persona of Bhairava, creating a vivid incarnation of the deity.

Crowned by Flame (2024, Dir. Lyuxian Yu)
In this work, the artist uses cigarette boxes (the world’s smallest drum), fire, and the traditional Ji Guan Headpiece (Cockscomb Headpiece)—key symbols of the Chinese ethnic minority Yi culture—to tell a powerful story about navigating cultural heritage and personal freedom. The performance contrasts black modern props with vibrant, traditional ethnic objects, creating a striking collision between cultural pride and the push for liberation.

Deer Dancer (2019, Dir. Hanna Tuulikki)

This cross-artform project grew from research into traditional dances said to imitate deer – the Yaqui Deer Dance of Sonora and Arizona, the Scottish Highland Fling, and the Staffordshire Abbots Bromley Horn Dance. Each dance conjures the antlered male deer, from the capering fawn to the rutting stag, yet these evocations of ‘wild nature’ are at odds with the reality of vulnerable ecologies. Examining the dances’ relationship to hunting and the impact of colonial, patriarchal forces on their narratives, Tuulikki’s work begins with a question: ‘Is it possible to honour folk traditions sensitively, yet de-stabilise problematic stories?’

Devising her own deer dance in a space between wild-deer-ness and performed male-ness, five archetypal male characters, each played by Tuulikki, dance, pronk, rut, and stalk one another across two screens. Unravelling the striking connections between toxic masculinity and the ecological emergency, Tuulikki’s Deer Dancer is a contemporary life-crisis ritual for a damaged planet.

Echoes of a Taiko Drum (2022, Dir. Olga Maloney)
A new short screen dance and music film, produced by Billingham Festival Director Olga Maloney, featuring a unique fusion of Taiko Drums, Georgian, Irish and Indian Kathak Dance. Winner of the Best Audience Award at the European Short Film Festival in Berlin in 2022.

HOME (2024, Dir. Kes Tagney)

Shot in Scotland and Cornwall, HOME premiered last year at the Inverness Film Festival. It features Scottish step dancer Sophie Stephenson accompanied by musician Ronan Martin. Inspired by Stepheson’s love for Scotland, at its heart is a real sense of belonging and feeling of deep connection with the place you call Home.

Offering (2023, Dir. Marlene Millar)
Using traditional dance procession choreography, Offering creates a meaningful and joyful conversation between the body percussion artists featured in all Migration Dance Film Projects to date and new emerging artists from street, hip hop and gigue dance and circus arts. Special guest appearance by the British hip hop artist OmariMotion Carter.

Second Guessing (2023, Dir. Emma Ready and Therese Lynch )
Second Guessing investigates coercive control from the victim’s perspective. Emma Ready is a Bgirl, choreographer, and creative educator. During her 25 years of breaking, Emma has established an international reputation as an inspirational, and empathetic motivator.

The Bright Fabric of Life (2024, Dir, Mare Tralla)

Using the body language of traditional African dance choreographed specifically for the camera, The Bright Fabric of Life tells stories of motherhood and kinship, and love and loss from Scotland and Sub-Saharan Africa. It captures the poignant story of Sylvie – a beautiful Ethiopian girl, whose dreams are destroyed when a disastrous childbirth leaves her broken both emotionally and physically, facing rejection and isolation.

To Begin the Dance Once More (2023, Dir, Marlene Millar)

Four international dancers based in Scotland and Egypt reimagine the mythological world inhabited by the Celtic and Egyptian mothers of Earth. A beautifully compelling and vital piece of storytelling and movement for the screen. Featuring choreography by former Scottish Ballet Principal Dancer Vincent Hantam, and set to a new epic poem about Beira and Bride (the Queen of Winter and the Goddess of Spring) by Scottish storyteller Donald Smith.

Featured images include videostills from The Bright Fabric of Life directed by Mare Tralla, HOME directed by Kes Tagney and Bhairava directed by Marlene Millar and Philip Szporer (Mouvement Perpétuel, Montréal) with cinematography by Kes Tagney

Established in 2014, Traditional Dance Forum of Scotland is the only national organisation of its kind dedicated to the advancement of all forms of traditional and social dance. It advocates for and supports the diverse Scottish and world trad dance forms practised in Scotland ranging from Ceilidh to Old Time, Swing to Hip Hop as an integral part of our global intangible cultural heritage. It provides free membership to over 250 traditional dance artists and organisations and supports them through three major routes – productions, residencies and festivals such as Pomegranates. A registered charity (SCIO SC045085) and a founding member of Traditional Arts and Culture Scotland (TRACS) www.tdfs.org

Moray House School of Education and Sport

Centre for Research in Education, Inclusion and Diversity (CREID)

MSc Dance Science and Education

Deer Dancer, 2019

Performed and directed by Hanna Tuulikki
Dramaturgy – Peter McMaster
Movement direction – Will Dickie
Sound composition – Hanna Tuulikki
Sound mix – Pete Smith
Director of photography – Andrew Begg
Edit – Laura Carreira
Costume design – Hanna Tuulikki
Costume fabrication assistance and wardrobe management – Lydia Honeybone
Production management – Amy Porteous

Developed through conversations and interviews with tradition bearers and academics, Felipe Molina (Yaqui tradition bearer/ translator), Larry Evers (American Indian Studies, The University of Arizona), Jack Brown (Abbots Bromley Horn Dance tradition bearer/ historian), Doug and Joyce Gilbert (Trees for Life); by observing a number of dances and participating in rituals, including the Yaqui Deer Dance (Pascua Yaqui Easter ceremonies, Old Pascua, Tucson, Arizona, March 2018), Abbots Bromley Horn Dance (Abbots Bromley, September 2017/2018); and direct learning with Sandra Robertson (Highland Fling), Indalecio ‘Carlos’ Moreno Matuz (Yaqui Deer Dance), Gary Faulkenberry (animal tracking, March, July 2018), Allan Common (deer stalking at Trees for Life, Dundreggan, autumn 2017/2018).

Commissioned by Edinburgh Printmakers, for Edinburgh Art Festival 2019, supported by Creative Scotland. Research and development supported by Magnetic North’s Artist Attachment, funded by Jerwood Foundation and Creative Scotland. Additional support from Hope Scott Trust, The Work Room, University of Arizona Poetry Center, Trees for Life, University of Glasgow, Glasgow School of Art, and CCA: Centre for Contemporary Arts, Glasgow.

01 April 2025 Trad Dance, Venice Carnival and Masks or Lorraine Pritchard's exhibition at this year's Pomegranates Festival

10 April 2025 Celebrating Traditional Dance on Screen

5th April 2025

What is Intangible Cultural Heritage?

Everyone is talking about “Intangible Cultural Heritage”, but what is it and why is it important? We’ve put together a Wee Guide to Intangible Cultural Heritage to answer some of the frequently asked questions.

A Wee Guide to Intangible Cultural Heritage

What is Intangible Cultural Heritage (ICH)?
Simply put, you might know it as “tradition”. It’s our knowledge as communities and societies which is passed down through generations. This includes traditional songs, dances, storytelling, customs and rituals of everyday life, how we celebrate at different times of the year, traditional foods, and traditional ways of making things. Very often, these practices are expressed in local languages, such as Scots or Gaelic.

Sometimes these skills relate to buildings or making physical items, but it’s the traditional knowledge – which you probably learned from someone else in your community – that is key.

Where does the concept of ICH come from?
Since the 1970s, countries started to recognise that most international policy was geared towards physical or tangible heritage in the built environment, as captured in UNESCO’s list of World Heritage sites. Who was looking after the folk songs, the dances, the stories and other cultural expressions of humanity? In 1989, UNESCO published its Recommendation on the Safeguarding of Traditional Culture and Folklore, which paved the way for the 2003 UNESCO Convention on the Safeguarding of Intangible Cultural Heritage.

Just like built heritage, UNESCO has an international list of recognised ICH practices from around the world, including those at risk of being lost.

Countries who sign up are asked to make their own ‘national’ lists or inventories of the ways of life and cultural expressions that are important to them. There are also multiple examples of similar practices found in more than one country, which countries collaborate on to list together, such as the use of henna paste, or the art of dry stone walling.

Why are we using such a fancy term?
Words like ‘folklore’ or their translations in other languages can often have a negative connotation for historical or political reasons; to avoid any misunderstandings, a more neutral term was decided upon at UNESCO.

Some people would call it ethnology or public folklore, some might call it simply local traditions, others might use folkways or folklife.

Recognising the ‘technical’ nature of the official name, in recent years UNESCO has also adopted the term Living Heritage.

Why do we need to look after our Living Heritage?
At TRACS we think it is important to acknowledge and celebrate local differences and distinctiveness that form part of our identities as individuals, families and communities, through our songs, stories, dances, customs and local practices. Sometimes these are seen as everyday expressions or skills, “just something I do”, so they can often be taken for granted, and in time, become lost or forgotten.

No matter where they started off, we believe that local traditions are great tools for helping communities feel confident in themselves, better equipped to recognise local diversity and to positively engage with cultures from other parts of the world.

What are the categories of Living Heritage?
While there are 5 broad categories or ‘domains’ at UNESCO, the UK has, like some other countries, expanded upon this. Here are some examples in the Scottish context:

Oral Expressions storytelling, bothy ballads, waulking songs, the Traveller languages Cant and Beurla Reagaird, the piping notation system called Canntaireachd
Performing Arts traditional music, song, dance, storytelling, clàrsach, piping traditions, Scottish stepdance, folk drama such as Galoshins
Social Practices First footing, the Burry Man of South Queensferry, town galas, guising, traditional foods, wedding ‘blackenings’ in fisher communities, Hogmanay, Beltane
Nature, Land, and Spirituality superstitions of fisherfolk, plant lore, harvest traditions, weather predictions
Crafts instrument making, basket weaving, dry stane dyking, knitting traditions, boatbuilding, straw working, roof thatching
Sports and Games Ba Games in the Borders and Orkney, shinty, skipping or playground games, highland games, curling
Culinary Practices local foodstuffs: tablet, shortbread, cranachan, stovies, soup making, clootie dumpling, porridge making

Some of the above is captured in online resources like Tobar an Dualchais / Kist o Riches.

Who decides what should be added to the Living Heritage inventory?
Communities themselves decide on what they want to celebrate and safeguard as part of their local traditions. They can choose to put them on their national inventory and if they want to submit a particular practice to UNESCO for its world list of intangible cultural heritage. Ireland, for example, has its musical traditions of harping and uilleann piping inscribed on the world list, along with the traditional Gaelic sport of hurling.

Who has signed up? What has Scotland / the UK done about it so far?
Better late than never! The UK ratified UNESCO’s 2003 Convention on Intangible Cultural Heritage in spring 2024, joining 183 other countries. It came into force on 7 June, with the Department for Culture, Media and Sport (DCMS) engaging in a range of public consultations.

TRACS is part of the ICH Scotland Partnership with other key national bodies – Museums Galleries Scotland, Historic Environment Scotland and Creative Scotland – working to celebrate and safeguard ICH in Scotland. In 2021, the Partnership published a landmark report mapping Scotland’s intangible heritage.

Collectively the partnership will continue to host an annual conference on ICH, while working to develop an inventory of ICH in Scotland and a national approach to ICH safeguarding which is rooted in local communities.

ICH creates opportunities for Scotland on the world stage, as we join global networks to promote and safeguard local cultural practices.

What is TRACS’ role?
In 2024, TRACS was recognised by UNESCO as an accredited advisory organisation on ICH, with its vast expertise and networks in traditional arts, working with practitioners and communities.

TRACS supports Living Heritage through the programmes of its three forums for traditional dance, music and storytelling, the Scottish International Storytelling Festival, and the People’s Parish project.

As a UNESCO-accredited adviser, TRACS is working closely with DCMS and partners as the UK’s ICH engagement process develops. We will be running a range of information sessions and roundtables during 2025 to include as many different ICH practices and communities as possible.

Are you a practitioner, fellow organisation, or simply interested in ICH? Please get in touch by emailing info@tracscotland.org

24 March 2025 Scottish International Storytelling Festival - Invitation for Storytelling Proposals

05 April 2025 What is Intangible Cultural Heritage?

1st April 2025

Trad Dance, Venice Carnival and Masks or Lorraine Pritchard’s exhibition at this year’s Pomegranates Festival

We are delighted to announce Masks – this year’s Pomegranates Festival exhibition, which features over 20 hand-crafted Venetian and world dance masks created by Edinburgh-based artist Lorraine Pritchard. The exhibition is complemented by a new documentary film by Franzis Sánchez from this year’s Venice Carnival. The exhibition reflects the dual focus of our Pomegranates Festival of international traditional dance in 2025 – masks and intangible cultural heritage. The Venice Carnival is a significant example of Intangible Cultural Heritage, recognized by UNESCO as a living tradition encompassing various practices, expressions and knowledge passed down through generations, including masquerade balls, street performances and the unique cultural identity it embodies.

Specifically curated for the Pomegranates Festival by the Traditional Dance Forum of Scotland, Masks is Lorraine’s first solo exhibition in a public institution. An accomplished mask maker in the Venetian style, Lorraine originally studied model making at Glasgow College of Building and Printing and in 2018 completed a course of study in Venetian mask making with master sculptor and mask maker Agostino Dessi in Florence, Italy. There, she learnt the traditional techniques of this heritage craft that have been passed down through generations. Ever since her fascination for the intricate and transformative power of masks deepened.

Masks exhibition is free and open to all. No need to book in advance. It could be viewed daily 10am to 6pm, and until late on selected nights from Thursday, 3 April to Monday, 12 May 2025 at the Scottish Storytelling Centre, 43-45 High Street, Edinburgh EH1 1SR. Please note that access to the exhibition area may be temporarily closed for other events due to the public nature of the space. Plan your visit here.

PREVIEW EVENT Saturday, 5 April, 5pm. Free but ticketed. Register here

The exhibition Masks continues with a display entitled Venice Carnival featuring over 10 masks and books about Venice and the Venice Carnival. It is within walking distance of the Scottish Storytelling Centre. It can be viewed at the Edinburgh Central Library, in the Victorian Display Area up the Main Stair. Free and open to all. No need to book in advance. Showing from Tuesday, 1 April until Wednesday, 30 April 2025 from Monday to Saturday, 10am to 5pm and until 8pm Monday to Wednesday. Plan your visit here.

Lorraine Pritchard at Venice Carnival 2025 wearing her Azura mask. Costume made in collaboration with Edinburgh-based sustainable designer Alison Harm of Psychomoda. Image by Uwe Hamhaber

Venetian masks have a rich history dating back to the Middle Ages when they first became an integral part of Venetian culture and the Venice Carnival. Originally, masks allowed wearers to conceal their identity and social status enabling them to interact freely across different social classes. However, when Napoleon banned the Carnival and the wearing of masks in 1797 the tradition almost disappeared until it was revived in the late 20th century by artisan makers who still practice today. Lorraine recently showcased her masks at this year’s Venice Carnival (22 February to 4 March 2025) and was the only Scottish artist to be represented at the event.

To complement the exhibition, Spanish photographer Franzis Sánchez filmed Lorraine at this year’s Venice Carnival, her Edinburgh studio and across iconic Edinburgh sites. The short documentary is showing as part of the exhibition alongside a collection of other photographs also taken at the Carnival. Franzis is a professional photographer based in Edinburgh who recently completed his HND in Photography at Edinburgh College. In addition, there are a series of fine-art prints by Franzis and other world photographers.

Lorraine Pritchard at Venice Carnival 2025. Image by Franzis Sánchez

Artist Lorraine Pritchard said:

“I am beyond excited to be exhibiting my work at the fourth Pomegranates Festival. Masks have always played a pivotal role in dance performances, providing endless possibilities as a powerful conduit in the storytelling of traditional dance. As an artist, mask maker, and model, my passion for masks is deeply intertwined with my love for Venice Carnival and the rich heritage craft of mask-making. Through my masks, I aim to create a dialogue between the past and the present, drawing on those historical influences while celebrating the beauty of transformation. I hope that everyone who visits this exhibition will be inspired to see the world through a different lens and embrace the beauty of transformation.”

Wendy Timmons and Iliyana Nedkova, Pomegranates Festival Co-curators said:

“No doubt about it, if there’s anything responsible for bringing the world of masks and traditional dance into our minds, it has got to be the Carnival in Venice. Ask someone to describe a dance mask, they’re likely to answer with a general description of these Venetian masks that have been around since the 13th Century. We are so pleased to present this collection of work by Edinburgh’s own Venetian Carnival mask master Lorraine Pritchard complemented by some recent footage from the Carnival event, alongside the series of brand new world dance masks we commissioned specifically for the Pomegranates festival finale Hidden Faces”

Lorraine’s masks can also be viewed as part of Venice Carnival curated by the Traditional Dance Forum of Scotland at the Edinburgh Central Library (1-30 April 2025). This display includes some of Lorraine’s Venetian masks and moulds alongside a spectacular array of books about Venice and the Carnival selected from the collection at Edinburgh Libraries. One of the highlights is a costume and mask inspired by Giacomo Casanova (1725-1798) reflecting his flamboyant style and adventurous spirit. This year’s Carnival in Venice celebrated the 300th anniversary of Casanova’s birth and Lorraine’s mask, crafted using traditional Venetian techniques, symbolizes the intrigue and mystery that surrounded his life.

Cecylia O’May, Acting Library Supervisor in the Edinburgh, Scottish and Reference Collections at the Edinburgh Central Library said:

“Following the success of our last year’s Pomegranates Festival exhibition “Dance Around the World” which we hosted at our exhibition space on the Mezzanine, we are delighted to once again be collaborating with our friends at the Traditional Dance Forum of Scotland. Great to be able to extend Lorraine’s festival exhibition to our Victorian display space located on the main stairway. We would like to encourage our visitors and readers to get up close and personal with Lorraine’s exquisite Venetian masks, as well as unmask the secrets of the mask-making heritage craft, plus browse through books about Venice and the Carnival.”

In addition to the masks and books, the exhibition features nine fine-art prints by four photographers – Attilio Bruni, Franzis Sánchez and another – Margaret Ann McKennan and Gianluca Moretto. These fine art prints were kindly provided by Giclee UK, Edinburgh through an innovative partnership.

Darren Livingstone of Giclee UK said:

“We are proud to be the official sponsor of the Pomegranates Festival exhibition by Lorraine Pritchard across the two sites – the Scottish Storytelling Centre and the Edinburgh Central Library. As a leader in fine art printing and artwork digitization, Giclee UK is dedicated to preserving and enhancing the beauty of artistic expression. By partnering with the Traditional Dance Forum of Scotland towards this beautiful exhibition of masks and books, photographs and films, Giclee UK brings a commitment to excellence, ensuring that each piece of photographic artwork is presented in its finest form. Join us in supporting the artist, their vision, and the transformative
power of art, while enjoying exclusive visibility and recognition throughout the festival.”

Please find further details about Lorraine Pritchard’s practice here: https://rainemakerstudio.uk/

Established in 2014, Traditional Dance Forum of Scotland is the only national organisation of its kind dedicated to the advancement of all forms of traditional and social dance. It advocates for and supports the diverse Scottish and world trad dance forms practised in Scotland ranging from Ceilidh to Old Time, Swing to Hip Hop as an integral part of our global intangible cultural heritage. It provides free membership to over 250 traditional dance artists and organisations and supports them through three major routes – productions, residencies and festivals such as Pomegranates. A registered charity (SCIO SC045085) and a founding member of Traditional Arts and Culture Scotland (TRACS) www.tdfs.org

Moray House School of Education and Sport

Centre for Research in Education, Inclusion and Diversity (CREID)

MSc Dance Science and Education

Giclee UK is a leading company specializing in fine art printing and artwork digitization. It ensured the fusion of cutting-edge technology and artistic mastery, showcasing a stunning collection of works that celebrate creativity and craftsmanship. With over 20 years of industry experience and a dedication to staying at the forefront of
emerging trends, Giclee UK maintains the highest quality for our customers. Beginning in 2025, the company is enhancing its operational capabilities and expanding its service offerings by moving to the UNIT 69 at Peffer Place in Edinburgh. Further details: www.gicleeuk.com

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Spotify https://www.tdfs.org/trad-dance-cast/

12 March 2025 Mixing the Traditions with the Ceilidh Plus

01 April 2025 Trad Dance, Venice Carnival and Masks or Lorraine Pritchard's exhibition at this year's Pomegranates Festival

24th March 2025

Scottish International Storytelling Festival – Invitation for Storytelling Proposals

SISF 2025 will take place from Wednesday 22nd October to Saturday 1st November. This year we look to our northern cousins under the theme ‘Lights of the North’.

SISF now invites two kinds of proposals for consideration:

SISF 2025 programme: Storytelling event proposals aligning with this year’s theme and meeting SISF’s core purpose, aims and values.
The Andy Hunter Storytelling Bursary: Storytelling project proposals fulfilling the aims of the Andy Hunter Storytelling Bursary for SISF’s Go Local programme 2025 and/or 2026.

SISF 2025 Programme

The Scottish International Storytelling Festival (SISF) explores the traditional art of live, oral storytelling in contemporary society. It takes place annually each October in Edinburgh and across Scotland, with local community events extending through November. SISF encourages collaboration with other artforms, including music, song, dance and traditional crafts. It also works in partnership with other festivals and cultural organisations.

The programme includes adult events, family events, workshops and digital offerings.

SISF is committed to:

Equality, Diversity and Inclusion
Scotland’s Languages, including BSL
Cultural Safeguarding
Environmental Sustainability
Fair Work

Storytellers are invited to submit a storytelling event proposal aligning with this year’s theme and meeting SISF’s core purpose, aims and values (as outlined above). If selected, the event will be featured in the SISF 2025 programme and presented in Edinburgh and/or another local venue in Scotland.

The Andy Hunter Storytelling Bursary

The Andy Hunter Storytelling Bursary is a fund set up to commemorate the life and work of storyteller, cycling guide, and advocate for our natural environment, Andy Hunter, who died in 2015.

The bursary aims to facilitate a continuation and development of Andy’s passion for the earth, the people in it and live oral storytelling, giving other storytellers the resources to progress their own storytelling journey. The bursary is rooted in the ethos of traditional storytelling, seen as a culture of gifting and sharing, and as a creative practice where meanings are co-created by tellers and listeners: an artform that connects people on an equal basis and beyond boundaries.

The fund has been generously provided by Andy’s widow, fellow storyteller Anne Hunter, and is administered by TRACS.

8 bursaries to the value of £2,500 each will be awarded. For more information about the Andy Hunter Storytelling Bursary, click here.

Storytellers are invited to submit a project proposal that expresses some aspects of Andy’s legacy (as outlined here). Selected projects will contribute to the Scottish International Storytelling Festival’s Go Local programme in 2025 and/or 2026.

They may include:

a performance (i.e. a story walk or a storytelling event in a local venue)
a community event
a workshop (i.e. learning how to combine traditional crafts and storytelling)

Submitting your Proposal

Eligibility

Creative practitioners of 18 years of age or over, who are living and working in Scotland and are rooted in the traditional artform of live, oral storytelling.

Collaboration with other artforms and/or international artists is also welcomed.

How to apply

Eligible artists (see above) are invited to make one submission only – for either the SISF Programme or the Andy Hunter Storytelling Bursary
Please complete and submit the relevant Google form (1b or 2b linked below) by Monday 21st April:

SISF Programme
1. Preview of questions (PDF) – for information only
2. SISF Programme Application Form (Google Form)
The Andy Hunter Storytelling Bursary
1. Preview of questions (PDF) – for information only
2. Andy Hunter Storytelling Bursary Application Form (Google Form)

You will receive an acknowledgement email from the Festival team as soon as possible, confirming receipt of your proposal
All applicants will receive a final decision on their proposal by Friday 30th May

Access

We will provide any required support to make this process as accessible as possible. Please address any access requirements to storytellingfestival@tracscotland.org.

Enquiries

Any general enquiries should be addressed to storytellingfestival@tracscotland.org in the first instance.

TRACS (Traditional Arts & Culture Scotland, SCIO SC043009) is a co-operative network which champions our shared traditions of music, song, storytelling, dance, crafts, customs and local languages. TRACS brings together the Traditional Music Forum (SCIO SC042867), the Scottish Storytelling Forum (SCIO SC052330) and the Traditional Dance Forum of Scotland (SCIO SC045085). Together we celebrate the local distinctiveness of Scotland’s places: our intangible cultural heritage. TRACS and the Forums have their registered office at the Scottish Storytelling Centre, 43-45 High Street, Edinburgh EH1 1SR. The Storytelling Centre is a partnership project between the Storytelling Forum and The Church of Scotland (SC011353).