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What is the most stylish and sustainable way to celebrate our 10th anniversary? We started with Ten out of Ten – a series of events with traditional dance roots across Edinburgh in autumn 2024 highlighting the diversity and breadth of activities by our 200+ members. Then we were invited to be the national charity of choice for this year’s ReFashion Edinburgh – a sustainable slow fashion event curated by our Pomegranates 2024 festival fashion designer-in-residence Alison Harm of Psychomoda. This now traditional annual event returned for a third time to the Leith Arches on 17 November 2024 and together with 200 guests we were wowed by the sustainable fashion creativity of the nine Edinburgh designers, supported by 18 models, including a dancer, a collective of makeup and hair professionals, as well as an excellent light, sound, video, photo and welcome team – all working for free to bring us this event. We were overjoyed to hear that this spectacular ReFashion Edinburgh night raised £2,000 from ticket sales towards our charity. We couldn’t be more grateful for this generous and glamorous birthday gift marking our 10th anniversary. Thank you, ReFashion Edinburgh! This donation will enable us to continue embedding diversity and sustainability in traditional dance across Scotland.

How did it all come about? It was in April 2024 when we curated Vengefully Changed Allegiance – Alison Harm‘s first solo exhibition in a public institution exploring sustainable fashion and the role of tartan in traditional dance as part of our third annual Pomegranates Festival – Scotland’s third International Trad Dance Festival. Her work was on display at the Scottish Storytelling Centre in Edinburgh and Edinburgh Central Library and thousands of our festival visitors were stunned by her designs. For the last 30 years her work has been challenging the living tradition of the tartan cloth still used in the Highland Dress dance costume and the kilt with all its accessories by mixing different tartan patterns together and upcycling industry scraps, vintage cloth and broken jewellery.

In 2022 Alison’s passion for upcycling led her to founding the ReFashion Edinburgh fashion show – an antidote to fast fashion shining a spotlight on local designers who strive for sustainability and ethical creativity. A collective of nine designers showcased their latest collections at the event this year, supported by 18 local models and as many members of the back stage team, all united by Alison’s passion and the message: sustainable fashion doesn’t need to cost the Earth. Alison’s words with which she addressed the audience will continue to resonate with us all:

“It’s well known by now that fast fashion is the second worst polluter of the planet and since its rise in the1980s we’ve seen a terrifying dystopian future emerge, one with mountains of nasty cheap discarded clothing which will never degrade, covering beaches and lakes, depletion of natural resources and indigenous cultures, as globalism takes over. Human trafficking, child labour and slavery go hand in hand. These are the problems.

At ReFashion Edinburgh we are joining our voices to the growing counter culture of a slower, more thoughtful way of expressing ourselves through the media of clothing. By taking part, designers are encouraged to find sustainable solutions. And the audience is given food for thought, how to have fun with your wardrobe but keeping it sustainable. The fashion industry is elitist and has a structural hierarchy almost impossible to penetrate. When they get their favourites, they stick with them, leaving it very difficult for micro businesses to succeed. Events are usually run on a profit-making basis and you might be surprised to learn that they can cost hundreds and even thousands of pounds for designers to participate. They also usually have a competitive theme, an award for example. Often they are only open to graduates or international companies. Recently, I was dismayed to learn that the Scottish Fashion Awards held no category that I could even enter.

ReFashion Edinburgh seeks to offer an alternative. We are a supportive environment, celebrating each other’s achievements. We are inclusive. The ranges in age from 18 to (cough) mid 60s. Seriously, I’m up near the top end. Never been known for keeping my mouth shut in the face of unfairness, I decided to take matters into my own hands and this is the result. Our receiving charity is the Traditional Dance Forum of Scotland, who do a lot of great work supporting dance projects locally nationally and internationally. Our intention is to support local businesses, nurture sustainable creativity and raise money for charity.”

Alison Harm

At this year’s ReFashion Edinburgh award-winning slow fashion designer Jen Byrne presented the collection Junk Nouveau: waste textiles meet vintage fabrics, reborn as artful garments. Jen breathes new life into forgotten fabrics and her one of a kind garments are crafted in house with an attention to detail that redefines luxury. With a commitment to sustainability and creativity, Jen’s pieces embody the essence of mindful fashion and showcase the beauty of reuse.

Alison Curr is a Scottish design treasure. As a knitwear and crochet designer specialising in accessories for the home and person, her work is about style rather than dictated by fashion and her new collection included knitwear and a wide range of hats, mittens and other cosy stylish items in a wide range of colours. At ReFashion Edinburgh she presented two collections Lust for life: inspired by the music of the 1970s, crafted from repurposed materials and garments, as well as Moonlight and Roses: each garment celebrating the beautiful rose.

Séverine Fouché’s designs are steeped with refences to La Belle Epoque and known under her label Needlebow. A French designer, dressmaker and hand-embroiderer based in Edinburgh, Severine presented her latest collection Modern Love: romantic exploration of style using couture techniques combining different textures and decorations such as see-through fabrics with cut-out fabrics using up-cycled garments and second-hand materials.

Gerry Gapinski is known for painting large-scale interior canvases and murals. For the last three years, he has been applying the techniques he uses for his artwork, onto upcycled and vintage clothing, creating one-off, mixed-media wearable street art. Each piece in his ReFashion Edinburgh collection Street Talking Graffiti: recycling of Beatnik, Hippie, Hip hop and Punk offered a fusion of street art, popular culture, and musical influences that spans from the rebellious spirit of punk rock to the vibrant colours and patterns of the psychedelic 1960s.

Alison Harm, the founder of ReFashion Edinburgh, presented a fresh new take on her Pomegranates Festival solo exhibition Vengefully Changed Allegiance: post-punk and historical mash-up made from kilt industry scraps and found fabrics. Alison has over 45 years of experience in creating clothing for all occasions, including sustainable garments made from remnants and antique cloth, vintage and recycled jewellery, as well as knitwear. Her collections of history-inspired garments use both pre and post-consumer fashion waste.

Claire Pattison of Clara Textiles brought her new collection Typical Girls to ReFashion Edinburgh. It was inspired by the inventive, riotous passion and fury of women’s art and activism in the 1970/80s and the relevance that these artistic acts of activism still have on women’s place in society today. Claire makes bold, textured and playful designs, reusing and repurposing pre-used fabrics and found objects.

Carina Rose made her debut at ReFashion Edinburgh this year and presented her new collection Echoes of the Rebellion drawing deeply from the Jacobite Rebellion with a focus on the symbolic Jacobite rose which is intricately woven throughout. Each piece embodied both heritage and innovation, tying it to the narrative of courage, loyalty and sacrifice. The colour palette featured rich reds, deep greens and blues, touches of white and silver, with signature ruffle details crafted from offcuts and deadstock fabrics.

Fawns Reid of Fabhatrix label presented her collection Fantastical Felt Hat Whimsy: uniquely devised shapes and techniques made from traditional blocked hat waste. Using off-cut waste her works featured fantastical whimsical shapes and the ever-popular tweeds.

Rita Szentivanszki’s collection The Little Blue Dress focused on basic silhouettes you can combine with your existing wardrobe. As a recent Textiles and Costume Design graduate, Rita has learned a lot about good design and focuses on the colour blue. Her key material is reclaimed jeans chosen for their durability and timeless appeal. The size limitation of this pre-loved material forces Rita to think creatively and she seeks to design a patchworked capsule collection you can enjoy wearing every day.

The third ReFashion Edinburgh finale was a real blast with an art collection and a timely message encouraging us all to buy less and upcycle more this Christmas. The designers were given the option of making an art piece that expressed the theme of sustainability by using only waste products. It’s not fashion and doesn’t have to be something you could wear, but it does have to be actually wearable. The results were varied. Some are truly amazing and others, like Alison’s own complete with a placard, were just a bit of fun. Although the theme was serious, the costumes were not. What an absolute honour to celebrate our 10th anniversary alongside such incredibly talented designers, both new and established, amongst audiences who not only loved the designs but will stop and think next time they buy a new outfit and look for a sustainable alternative.

Our way of saying thank you to Alison Harm and all who made ReFashion Edinburgh 2024 such a runaway success and trusting us, the Traditional Dance Forum of Scotland as this year’s chosen charity, is to invite the ReFashion Edinburgh team as special guests to our new series of Ceilidh Plus events open to all at Edinburgh’s King’s Hall which blend Scottish Ceilidh with dances and tunes from Greece and Italy (7 December 2024) or from Ireland and Bulgaria (22 March 2025) and more to be announced soon.

Further details about our Ceilidh Plus series here.

Words by Iliyana Nedkova. Images courtesy of 244 Studio and ReFashion Edinburgh 2024 team.

TRACS (Traditional Arts and Culture Scotland) is seeking to appoint a new Director to take forward and lead on the work of the Traditional Music Forum (TMF), one of its key member organisations.

The TMF Director will represent the TMF membership publicly and advocate on behalf of the traditional music sector in Scotland. Supported by the TMF Development Officer, the Director is responsible for creating and putting into practice the TMF’s strategic vision and development plan, in consultation with the TMF board and wider membership. Collaborating with the TRACS team and the other artform forums for dance and storytelling, the Director will support the delivery of the overall TRACS Business Plan for 2025-28.

More information about the TMF can be found at traditionalmusicforum.org

Hours: 0.4 FTE, delivered flexibly

Contract: Permanent, PAYE

Salary: £15,000 per annum (£37,500 pro rata)

Location: TRACS office at the Scottish Storytelling Centre, Edinburgh

Application Deadline: 17.00 on Friday 6th December 2024

Interviews: Week beginning Monday 16th December 2024

Could this be me?

Our ideal candidate will be someone with a strong background in traditional music in Scotland, with demonstrable experience in advocacy, leadership and strategy.

You will have experience of project and budget management, knowledge of traditional music education, in formal and/or non-formal sectors, and an appreciation of the importance of Gaelic and Scots languages in the cultural sector.

A good communicator, you will be able to work across a team, sharing knowledge and working collaboratively to plan and deliver work in a timely manner. You will have a clear understanding of the political landscape in Scotland as it applies to traditional music, while supporting the sector to foster inclusion, diversity, fair work and equal opportunities.

How to apply

Download the full job description here
Send your CV with a covering letter to recruitment@tracscotland.org

If you require an application form in another format, please email recruitment@tracscotland.org

All applicants must be eligible to work in the UK.

TRACS commits itself to meeting the aims and commitments set out in its Equality, Diversity and Inclusion Policy. This includes not discriminating under the Equality Act 2010 and building an accurate picture of the make-up of the workforce in encouraging equality and diversity.

TRACS is an accredited Living Wage Employer, committed to paying a wage based on the cost of living to our staff.

The application deadline is: 17:00, Friday 6th December 2024

Multiple sell-outs and packed performances were enjoyed by audiences and participants at the 35^th Scottish International Storytelling Festival (18-31 Oct), thanks to support from Creative Scotland and the Scottish Government’s Festivals EXPO Fund.

The festival’s programme of live storytelling, music, art, and song, held at the Scottish Storytelling Centre in Edinburgh enjoyed a 9% increase in ticket sales as audiences gathered online and in pubs, gardens and other venues across the city, to hear local and international voices.

This year there were over 130 events including more than 50 in the festival’s Go Local programme, which runs until the end of November and takes place in village halls, churches, castles, and venues across Scotland. Many of the festival’s Go Local events coincide with the dates of other storytelling festivals in Orkney, Aberdeen, Dumfries and Alloa and included guest appearances by international storytellers from India, and from Ireland who were able to take part thanks to the support of Culture Ireland.

There were also multiple events included as part of the Edinburgh 900 celebrations which continue throughout November and will culminate with a weekend of talks exploring Edinburgh’s rich theatre history on (Sat 30 Nov and Sun 1 Dec) and a performance by Michael Daviot as Duncan Macrae in A Noble Clown. This new solo play tells the gripping public and private story of the man considered to be Scotland’s greatest actor and celebrates the renaissance of Scottish Theatre in the mid-20th century.

The festival’s 35^th year also coincided with 35 years since the fall of the Berlin Wall and another of this year’s real highlights was guests from the Storytelling Berlin sharing stories and films from their divided and reunified city ahead of their own celebrations, thanks to support from the Goethe-Institut.

Donald Smith, Director, Scottish International Storytelling Festival said:

“The response to this year’s theme was exceptional. Between languages, cultures, generations and historical divides, the storytellers built bridges of imagination and invited us to walk over. It felt as if in its 900th official year Edinburgh had become a city bridging Scotland and the world, stories and dreams.”

Dates for 2025 are to be announced.

Another Story, the festival’s new podcast series hosted by Daniel Abercrombie, Associate Director, Scottish International Storytelling Festival, is still available online – https://podcasters.spotify.com/pod/show/another-story

Reflections by Xiaoxuan Zhong

Participating in the first-ever Ceilidh Plus was a vibrant and enriching experience that included traditional Scottish Ceilidh dancing, Chinese square dancing and American line dancing.

From the moment I stepped onto the dance floor, I felt an energetic and enthusiastic atmosphere. The lively Ceilidh music set the tone for the event, creating a dynamic environment where participants of all dance levels could easily connect with one another. The Chinese square dance aka Guangchang Wu segment was also very invigorating with an emphasis on the collective and team movement. The traditional square dance steps were enjoyable and highlighted the importance of synchronization and cooperation. Witnessing people from different countries participate, I felt a deep sense of unity that transcended language and cultural boundaries. The American line dance portion was another highlight. The movements provided a different rhythm and flow, and the repetition of the steps helped participants build confidence. I noticed that by the end, many people were left wanting more.

One of the most meaningful aspects of the Ceilidh Plus activity was its promotion of cultural exchange. Through these dances, participants gained greater insight into the cultures of three countries across three continents, enriching our understanding and appreciation of each dance form. Additionally, the event featured numerous interactive segments that not only facilitated cultural exchange and friendship among different nations but also promoted dialogue and social interaction among participants. I found myself chatting with others about their backgrounds and dance experiences, deepening our connections beyond the activity, itself. It was heart-warming to see how dance, as a universal language, can bridge cultural divides and foster friendships.

In conclusion, with a room for improvement, the first-ever Ceilidh Plus event was a resounding success, creating an unforgettable experience for participants and in serving as an excellent opportunity for engagement and cultural exploration.

Reflections by Zhounan He

At the Ceilidh Plus dance event on 2 November 2024 at Edinburgh’s King’s Hall, I had the chance to experience three distinct types of dance: Ceilidh, Chinese square dancing and American line dancing. Each dance brought a unique cultural flavour and a sense of community, making the whole experience very enjoyable.

First we all danced Ceilidh, which created a warm and lively atmosphere. The upbeat music and the interactive nature of the dance brought smiles to everyone’s faces. Even those who were new to Ceilidh could join in without much difficulty, as we all held hands, spun around, and moved together to the rhythm. The group dynamics made this dance particularly joyful and engaging.

Next we tried Chinese square dancing, which featured beautiful fans as props, adding an elegant touch to the performance. The fans contributed a lot to the dance’s aesthetic, showcasing the graceful yet energetic side of Chinese traditional culture. This dance was also an excellent way to promote Chinese culture, attracting a lot of interest from the audience. However, the dance moves were a bit challenging, especially for beginners. Those standing at the back struggled to see the demonstration in the front, which made learning more difficult. Some of the people around me even mentioned that they couldn’t keep up with the steps and eventually stopped dancing.

Finally, there was American line dancing, which was fun and easy to learn. The dance had simple, repetitive steps, allowing everyone to quickly catch on and enjoy the music. The lively and relaxed atmosphere made it accessible to people of all ages and dance experience levels, bringing everyone together in a casual, friendly way.

Overall, the Ceilidh Plus event allowed me to experience different cultural dance forms, each with its own beauty and cultural background. Each dance left a memorable impression and made for an enjoyable and enriching experience.

These reflections were written by Xiaoxuan Zhong and Zhounan He and edited by Traditional Dance Forum of Scotland Curator Iliyana Nedkova.

Xiaoxuan Zhong and Zhounan He are the two dance artists-in-residence on a curatorial placement at the Traditional Dance Forum of Scotland from October to December 2024 as part of their MSc studies in Dance Science and Education at Moray House School of Education and Sport, University of Edinburgh. Their residency is part of our ongoing agreement with this major academic partner which dates back to 2018. More about our partnership growing from strength to strength here.

This first-ever Ceilidh Plus was held on 2 November 2024 at Edinburgh’s King’s Hall. It spotlighted dances from China and the USA alongside the typical Scottish Ceilidh. One of the highlights in our Ten out of Ten series of events with which we mark our 10th birthday in 2024! More details about our Ten out of Ten events here: https://www.tdfs.org/ten-out-of-ten/

This Ceilidh Plus was co-curated and hosted by our dance musician-in-residence Chris Lyons (multi-instrumentalist). This night of multi-cultural dancing was set to live trad music by Chris Lyons, Morag Brown (fiddle) and Lewis Powell-Reid (guitar), Eddie McGuire (Chinese bamboo flute), Chenhao Wang (two-stringed Chinese fiddle) and Tai Shing Lin (Chinese dulcimer percussion). The dances were called by Marina Sharp, Angel Godwin and Yanmei Bowie, supported by Yuxi Jiang and Tony Chen. The Ceilidh Plus-themed pop-up drinks and food bar was provided by the local award-winning establishment Taste of Home. Ceilidh Plus images by Basya Volodarskaya. Portraits courtesy of Iliyana Nedkova, Xiaoxuan Zhong and Zhounan He.

We are grateful for the support from Creative Scotland through TASGADH (Traditional Arts Small Grants) towards this first Ceilidh Plus. All the proceeds from this community Ceilidh Plus are reinvested in our efforts to diversify the traditional dance practised across Scotland and co-curate more events, including our

next Ceilidh Plus blending Scottish, Greek and Italian dances and tunes on

Saturday, 7 December 2024 at the same King’s Hall in Edinburgh.

Book now as we expect a full house. JUST Scan the QR code below or folloW this link: https://www.ticketsource.co.uk/traddanceforumscotland

TRACS (Traditional Arts & Culture Scotland) is looking for an experienced Treasurer to join its Board of Trustees.

TRACS is a co-operative network which champions our shared traditions of music, song, storytelling, dance, crafts, customs and local languages. Find out more from our website www.tracscotland.org.

The Treasurer is responsible for having a clear and detailed understanding of TRACS’ finances and financial policies.

In conjunction with the Finance and Risk Committee, the Treasurer will provide governance-level direction, advice and support on fiscal matters.

In Brief

Role Title: Board Treasurer
Member of/elected by: Board of Trustees
Reports to: Board of Trustees
Main staff contacts: TRACS Chief Executive Officer and Finance & Administration Officer
Term of Office: Three years (with re-election up to 2 further times)
Position: Voluntary (unpaid); reasonable expenses

Could this be me?

Alongside a strong understanding of financial reporting, forecasting, management, policies and procedures, our ideal Treasurer would also have a keen interest in the Traditional Arts.

How much of my time would it take up?

The TRACS board meets 4 times a year for up to 2 hours at a time. Meetings are held in person or online. In the event of an in person meeting, we will reimburse travel expenses and meet any access needs.

The Treasurer plays a crucial role on the Finance and Risk board committee, which meets an additional 4 times a year, around 1 week in advance of board meetings.

Additional time is also required for reviewing papers ahead of meetings (sent at least 1 week in advance) and liaison with relevant staff – in particular regular check-ins with the CEO and Finance & Administration Officer; for our annual Development Day; and for the occasional board training session.

How to apply

If you’re interested in joining the board of TRACS at a crucial and exciting time in its development, please send an email to recruitment@tracscotland.org outlining your interest and providing details of the relevant skills, experience and/or qualifications you would bring.

A full role profile can be downloaded here.

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

TRACS has a strong commitment to Equality, Diversity and Inclusion and Fair Work. We encourage applications from candidates regardless of sex, race, disability, age, sexual orientation, gender reassignment, religion or belief, marital status, pregnancy, or maternity.

We also welcome applications from young people or those interested in applying for their first position as a Board Member.

Deadline for expressions of interest: 17:00, Monday 2nd December 2024

This week, storytellers and audiences are invited to gather at the Tree of Memory in the Storytelling Centre to hear stories of our great tradition bearers, and add a leaf to honour their elders and celebrate their own memories of lives well lived.

The Tree of Memory by artist Katie Warner is created from willow forms the centrepiece to four Tree of Memory events during this year’s Scottish International Storytelling Festival:

Mon 28 Oct, 4pm
Edinburgh-based storyteller Claire McNicol hosts a celebration of Irish and Scots storyteller Audrey Parks who has been described as the founding mother and grandmother of Scotland’s storytelling renaissance.

Tues 29 Oct, 4pm
Liz Tulloch hosts a celebration of her father, well-known Shetland storyteller Lawrence Tulloch who was a familiar voice on BBC Radio Shetland and wrote for many magazines and newspapers.

Wed 30 Oct, 4pm
Storyteller Tim Porteous and Festival Director Donald Smith host a celebration of Edinburgh storytellers Jack Martin and John Fee. Jack Martin who died in 2023, became a storyteller after a lifetime as an entertainer, puppeteer, and stand up comedian. John Fee who died aged 80 was known as a master of storytelling and performed regularly at the Waverley Bar’s Guid Crack Club and on the Netherbow stage.

Thu 31st Oct, 4pm
Douglas Mackay hosts a celebration of David Campbell with a basket of blessings to all absent friends. David Campbell is a writer, broadcaster, poet and an acclaimed international storyteller whose repertoire ranges from ancient Celtic epics of Ireland and Scotland through stories of adventure, romance, faith, love and quirky comic tales.

Donald Smith Director of the Scottish International Storytelling Festival said:

“Stories are passed between the generations. Our Tree of Memory honours the elders – those who are preciously still with us, and those who have passed on. We invite everyone who wishes to honour a storyteller in their life to add a leaf to our Tree.”

The Tree of Memory events are presented in partnership with To Absent Friends and Good Life, Good Death, Good Grief and are supported by the Scottish Storytelling Forum.

The Scottish International Storytelling Festival continues until 31 October

Next week, guest storytellers from Berlin arrive in Edinburgh to share stories and films from their divided and reunified city to mark 35 years since the fall of the Berlin Wall. This milestone coincides with the founding year of the Scottish International Storytelling Festival, which runs until 31 October and takes place at the Storytelling Centre, and various venues in Edinburgh and across Scotland, thanks to support from Creative Scotland and the Scottish Government’s Festivals EXPO Fund.

The Festival’s German strand kicks off with West-East-West – Stories from a Still Divided Germany on Tuesday, 29 Oct, 8pm. Supported by the Goethe-Institut, guest storytellers Carsta Zimmermann, Kristin Wardetzky, and Peter Hofmann will be sharing stories of their experiences in, and since, the early 1990s in Berlin.

Curated by Rachel Clarke who currently lives in Berlin and works in theatre, these guest storytellers include actress Carsta Zimmermann who moved to a squatted house in the newly reunified East Berlin in the 1990s where she and her brother, director Jan Zimmermann, built a theatre and performed Shakespeare in the summer and Grimm’s fairy tales by the fireside in winter; Kristin Wardetzky, a storyteller and professor of theatre in education, who moved from East to West Berlin and introduced a storytelling course to the University of the Arts; and Peter Hofmann, who went from being at home in the cosy independent music scene of 1980s West Berlin, to playing his part in the emerging club scene in the East of the city.

This event will be complemented by a screening of a documentary film by Horst Edler on Wednesday, 30 October, 5.30pm, How to Bring About a Peaceful Revolution?, illustrating the peaceful revolt that was witnessed during the fall of the Berlin Wall when people brought down the power of the Stasi using music, caricatures and satirical slogans. The footage includes unknown stories told by eyewitnesses at the original locations, pictures of current actions, events, and posters to commemorate the Peaceful Revolution. Some of footage shown will also be from scenes at the Zion church or Zionskirche 35 years ago. This patriotic landmark stands at the highest point in Berlin and was a meeting place for opposition groups in the mid-1980s, it was also where vigils were held for members arrested by the Stasi, and as a result, became the home of the civic movement that campaigned for the end of the GDR.

Daniel Abercrombie, Associate Director, Scottish International Storytelling Festival said:

“We are delighted to welcome our international guests from Berlin and the Storytelling Arena to take part in this year’s festival. Our theme this year is ‘Bridges Between’ and it feels even more fitting than ever that at a time where literal, figurative and societal walls continue to be constructed everywhere we try to look beyond these boundaries and continue to build bridges between us using the universal power of storytelling.”

Hanna Dede, Director of Goethe-Institut Glasgow said:

“Storytelling is the ideal medium for exploring complex narratives from various perspectives. When we learned the Scottish International Storytelling Festival shares its founding year with the fall of the Berlin Wall 35 years ago, we felt it was the perfect opportunity for the Storytelling Festival and Goethe-Institut to team up in commemorating this event.

We are excited to cooperate with our partners in bringing storytellers from Germany to Scotland to share their stories about this pivotal point in German history, which set off the process of unification – still ongoing and shaping the public debate to this day. Horst Edler and Storytelling Arena delve into the topic by including perspectives from East and West Germany, thus creating an atmosphere to listen and learn from each other – a prerequisite for anyone truly committed to building bridges. We hope the Storytelling Festival will continue with this remarkable work for many more years.”

Kate Deans, International Officer, Creative Scotland said: “As the Scottish International Storytelling Festival celebrates its 35th anniversary, it continues to connect local and global stories. Creative Scotland welcomes the Scottish Government’s Festivals Expo Fund, supporting new commissions and uniting storytellers and musicians from Scotland and abroad, covering regions as diverse as Andalucia, Siberia, the Celtic Isles, and India.

This year marks an exciting moment as the festival hosts UNESCO City of Literature delegates from around the world. As Edinburgh celebrates 20 years of its UNESCO designation, these delegates will also be able to explore the festival’s rich programme of events during their time here.”

Other international guests performing this year include Jeeva Raghunath who shares stories from the folk lands of India, and Irish guest storyteller and broadcaster Nuala Hayes who founded the Dublin Storytelling Festival, and will be joined by Irish musician Aoife Granville for two events celebrating the life of storyteller, seanchaì and author Peig Sayers thanks to support from Culture Ireland.

For the full programme, visit sisf.org.uk

Birgit Ellinghaus is Director of Alba KULTUR, an organisation based in Cologne, Germany which specialises in global music cultures ranging from classical, non-Western music and orally transmitted traditional music, to contemporary fusion and crossover projects, that all express the concept of cultural diversity in a globalised world.

Birgit was a speaker at the 5^th European Folk Network Conference, Kaustinen, Finland, 24 September, 2024.

“We spoke a lot about Intangible Cultural Heritage (ICH), yesterday and today, mainly in rural, peaceful territories: the Nordic Countries, Scotland. We saw all these great examples. And today the majority of the European population lives in urban regions of very pluralistic societies due to migration of many different kinds: we have “recruited skill workers” who came and who are still coming to Europe, we have blue card holders, we have international students, we have displaced people from war zones or, in the future, maybe because of climate change, refugees coming to the Nordic zones, because they can’t survive any more on the small islands in the Pacific or the Indian Ocean. So, they all have different cultural identities, they have different kind of food, languages, music, instruments, rituals, religions, understanding of the universe and nature. This is the cultural baggage they carry along here to this European territory.

So, I’m going to start with some questions about the term “new Europeans”. Are there new Europeans and old Europeans? And who are the old Europeans and could we really use this term? Do we really have a European identity? Would the communities from the rural North identify themselves first as Europeans? Or do they have their local identity and the term European is put as a political identity on top? And do we want really ask to migrants from non-European territories to assimilate in Europe and to have an European identity? And in this case, what kind of European culture do we ask from them? And do we really want to name them “new Europeans” and ignore and reject by this attitude their own roots in other (non-European) cultures? Or is there a new grown identity by a community of people living in urban pluralistic societies in Europe that we could name, now or in the future, European? All these are very dynamic and multifaceted questions. I would just pledge to avoid in this debate Eurocentric views or post-colonial wording and classification.

And all this is in a broader context which has given us, not only the convention on ICH, but also the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, which stands for the diversity of individuals and their rights to be recognized equally through their cultural expression and to allow their cultural expressions and identity to flourish and develop freely.

This is why we call the UNESCO Convention of Cultural Diversity the “magna carta for contemporary creation”. This is a convention, which has a different position within all the other UNESCO conventions, because only this convention has a binding power over the ratifying states. All states who have signed up with the UNESCO Convention for Cultural Diversity have to implement this convention and all its rules and knowledge and concepts into their society, into our society and into intergovernmental relationships with other countries. Europe has ratified as an entire network of states and each state within Europe has ratified this convention too [Ed: not the UK]. We have to see that the ICH convention is nice to have, but it has no legal binding power. The UNESCO Convention for Cultural Diversity has this legal binding power. And through this different concept we can say both conventions are sister conventions, and the ICH convention is carried through the Convention on Cultural Diversity into a more powerful meaning, because, through the convention of cultural diversity, the ICH convention gets the relevance of being implemented within the concept of cultural diversity.

This is the concept which gives us access to the cultures from migrants of all kinds, which should be included on an equal basis into our cultural political debate and into our actions. Both conventions are commitments to artistic freedom, for fair working conditions of artists and creatives and other cultural workers, because around each artist you have such activists and many of you reading this are activists as well.

And this diversity convention is a commitment to pay particular attention to vulnerable and marginalised people in all territories. It highlights the systematic inequalities and imbalances in cultural exchange that continue to exist at a local level, at regional, national and global levels. So, this is a tool, the cultural diversity convention, which makes us act in our relationships, and through these relationships we express what we mean with communities.

And I just would like to finish to give you some brand-new information, because last week we all got a new tool to help us act in this diverse cultural landscape in Europe: it’s the Fair Culture Charter, which has been worked out after the World Conference on Cultural Policies and Sustainable Development MONDIACULT in Mexico one and a half years ago by a number of national UNESCO committees from Africa, Asia, Europe, Latin America. All together it was a really collective process that drew down and squeezed some rules, specifically for the cultural sector, from these UNESCO Conventions. But it also brought in international laws, such as those concerned with the status of artists, something which had been recommended already in 1980, by the UN’s Human Rights Declaration, by some UN-approved economic, social and cultural rights laws, and, lately, the Sustainable Development Goals.

This Fair Culture Charter is the complete application of all these diverse tools for the cultural sector and it has been broken down to eight principles. I won’t name them all, but they include: access to diverse culture expressions and resources, non-discrimination and gender equality, local development… These are principles of this Charter which gives us now really power to act. And I call to all of you to get on the internet and the website www.fair-culture.org and to countersign this Charter and to spread the word. Everybody, individuals and organizations, can sign this Charter and this could be a very powerful tool for us, similar to what we know already these many years from the fair-trade movement. So, we would like to start a fair-culture movement with this, which helps to implement our mission in the field of music.”

There’s just one week to go before the world’s largest celebration of storytelling begins.

The 35^th Scottish International Storytelling Festival’s packed programme of over 130 events, taking place in Edinburgh and across Scotland, kicks off next Friday 18 October thanks to support from Creative Scotland and the Scottish Government’s Festivals EXPO Fund.

Since it began in 1989, the festival has been building bridges between cultures, artists and audiences through the power of storytelling. And, this year, to mark its 35th year, which coincides with 35 years since the fall of the Berlin Wall, the festival has invited international storytellers from the Storytelling Arena in Berlin to join them, and share stories and films from their divided and reunified city.

Other international guests also invited to perform this year include Jeeva Raghunath who will be sharing stories from the folk lands of India, and Irish guest storyteller and broadcaster Nuala Hayes who founded the Dublin Storytelling Festival. Nuala will be joined by Irish musician Aoife Granville for two events celebrating the life of storyteller, seanchaì and author Peig Sayers who lived most of her life on The Great Blasket Island off the coast of south-west Kerry. They will also be entertaining audiences with Stories and Songs from Ireland at the Aberdeen & Beyond Storytelling Festival (22 Oct); in Edinburgh as part of the main programme (23 Oct); and as guests at the Wild Goose Festival in Dumfries (18-25 Oct); thanks to support from Culture Ireland.

Unmissable Gaelic highlights this festival include, the premiere of Cath Gailbheach nan Eòin The Desperate Battle of the Birds told by Scottish storyteller James MacDonald Reid in English and Gaelic throughout. This classic Gaelic folk tale will be shared in the traditional manner by James but with a contemporary twist, as it will be intertwined with live electric cello music by Scottish-Korean musician Ryan Williams. Plus, experimental folk duo Burd Ellen will premiere their new multi-media performance Òran Mhòir which explores the Gaelic lore of the intertidal zone and mixes costume, film, folk song, electronic sounds and field recordings, with stories told by Eileen Budd from Angus. Eileen will also be in Angus as part of the festival’s Go Local programme in November, for a weekend of crafts from the glens, Halloween history and folklore, and fireside ghost tales at Balintore Castle.

Other events not to miss include The Dream of Al-Andalus, told by Sef Townsend and Inés Álvarez Villa and accompanied by flamenco guitarist Danielo Olivera and Moroccan musician Omar Afif. Al-Andalus was a vibrant era of cultural diversity in mediaeval Spain, where the interplay of Muslim, Christian and Jewish cultures sparked an artistic and intellectual renaissance. These cultures are fully represented by this group of artists who aim to evoke Al-Andalus, not as a relic of the past, but as an inspiration for a more tolerant future.

The Festival’s opening weekend also coincides with the October school holidays and there are plenty of family friendly events for children this year including; face painting, crafts, storytelling and songs presented by the Beltane Fire Society for Samhuinn; the premiere of a new sensory version of the traditional tale The Bouncy Billy Goats Gruff, suited to children with additional needs, their families and friends with storyteller Ailie Finlay and artist Kate Leiper; A Jaunt Round Auld Reekie with the Ceilidh Crew n’ Co performed with stories, music, comedy and puppetry; and a retelling of an ancient border ballad in Into the Woods: In the Footsteps of Thomas the Rhymer narrated by celebrated actor Julia Munrow and with music composed by multi-instrumentalist John Sampson and played by Pete Baynes.

This year there is also a great selection of Edinburgh 900 events to look forward to, including a visit to St Catherine’s ‘Oily Well’ in Gracemount, known for its healing properties with storyteller Jane Mather, and an opportunity to join storytellers Jan Bee Brown and Beverley Casebow at the National Library’s exhibition Renaissance: Scotland and Europe, 1460-1630 to hear true and traditional tales of Stars, Secrets and Sea Monsters. In addition, Edinburgh will celebrate 20 years since its designation as the world’s first UNESCO City of Literature, with a conference from 22-25 October, which aims to bring together all the subsequent cities of literature in the network, and connect them to writers and literary organisations in the city.

Global Lab returns with four online workshops exploring intangible cultural heritage; present day Gaza through the voices of children and young people; stories from India; and Scotland as a slaver nation. In addition, the festival’s in person workshop programme kicks off in week one with Emotional Literacy with Storytelling with Peter Chand, adult ADHD through the lens of folktales with Jacqueline Harris in Slowing Down to the Speed of Light which is also part of the Festival’s latest podcast series Another Story; and how stories can break down inhibitions, build cooperation and celebrate difference in Telling Across the Divide with storyteller Sef Townsend.

The Scottish International Storytelling Festival runs from Friday, 18 October to Thursday 31 October. Tickets to family events cost just £5 per ticket. For those planning on attending multiple events, the Festival Supporter Pass offers discounted tickets to many live festival events, online and at the Scottish Storytelling Centre, as well as a discount at the Scottish Storytelling Centre’s bookshop, Haggis Box Café and an invitation to the Festival launch event.

To purchase tickets and browse the full programme, visit sisf.org.uk.

Sat 26 Oct | 10.30am – 4.15pm
Scottish Music Centre | Glasgow

Trad Talk is the Traditional Music Forum‘s annual event which brings together folk involved in traditional music in Scotland to discuss key issues in the trad scene today.

Roots Not Tethers

How We Got Here – And Where We Go Next:
How the trad scene in Scotland has developed and what the future holds

Keynote Speaker: David Francis

We have a fantastic lunchtime performance by Beatha – a vibrant folk trio hailing from Glasgow. Despite this just being their first year together they have already won awards and plaudits, including a Danny Kyle Award earlier this year. The band brings together the diverse talents of Iona Reid (keys), Kenneth Macfarlane (whistles), and Cam Lawson (bodhrán). Drawing inspiration from across the globe, Beatha infuses traditional folk melodies with a contemporary flair, resulting in a captivating musical experience.

Welcome music will be provided in the morning by the Magnus Turpie Combo. Since coming together to play at the Battle of the Folk Bands final during Celtic Connections 2024, the band have performed at Girvan Folk Festival, Piping Live, and local festivals and clubs in Edinburgh. Magnus helped to pilot the ‘inclusive’ offerings for both ‘Live Music Now Scotland’ and ‘Feis Rois Ceilidh Trail’ during 2023, and in March this year, Magnus and Dom from the band joined ‘Ester and Iseabail’s Kitchen Ceilidhs’ tour of Skye, raising awareness of Down’s Syndrome and challenging stereotypes.

Lunch will be provided.
Free event but ticketed.

Schedule

10.30am – Registration and coffee
Welcome music provided by the Magnus Turpie Combo

11am – Keynote / Q&A
David Francis

11.40am – The Need for Reflection
Jo Miller

11.55am – Panel: Education Formal
Josh Dickson, Rachael Duff, Gayle Brown (Moderator: Pamela King)

12.35pm – Panel: Education Non-Formal
Arthur Cormack, Sarah Northcott, Neil Wood (Moderator: Simon McKerrell)

1.15pm – Lunch

1.45pm – Performance
Beatha

2.15pm – Traditional Music Forum AGM

2.45pm – Panel: Musicians (older)
Martin Hadden, Patsy Sedden, Christine Kydd

Panel: Musicians (younger)
Jenn Butterworth, Sally Simpson, Jen Anderson (Moderator: Lori Watson)

4.05pm – Closing remarks

4.15pm – Close

BOOK YOUR TICKET HERE

ReFashion Edinburgh 2024 fundraises for the 10th anniversary of the Traditional Dance Forum of Scotland

Traditional Music Forum Director

Ticket Sales Up For This Year’s Scottish International Storytelling Festival

Ceilidh Plus: Dancing to Tunes from Scotland, China and the USA

Book now as we expect a full house. JUST Scan the QR code below or folloW this link: https://www.ticketsource.co.uk/traddanceforumscotland

Board Treasurer – TRACS (Traditional Arts and Culture Scotland)

Tree of Memory Honours Storytellers

Marking 35 years with Stories

A Talk by Birgit Ellinghaus at the 2024 European Folk Network Conference

Scottish International Storytelling Festival Kicks Off Next Week

Trad Talk 2024 – Roots Not Tethers