As Others See Us

As Others
See Us
What Makes Scotland’s

Cultural Sector Distinctive?
Results and findings of an international survey
A companion report to:
‘To See Ourselves’: Cultural Assets and Attributes of Scotland
Rachel Blanche and Bryan Beattie

IMAGES: (clockwise from top left) Glasgow Women’s
Library, The Gorbals Youth Brass Band & Tom Mudd project,
Counterflows [photo Duncan Marquiss], Isaac Julien, Lessons
of the Hour, 2021. Installation view at the Scottish National
Gallery of Modern Art, Co-commissioned by Edinburgh Art
Festival and the National Galleries of Scotland [photo Sally Jubb
Photography], The Burrell Collection exterior image at night
[photo © CSG CIC Glasgow Museums Collections], Pier Arts
Centre, Stomness, Orkney [photograph courtesy of the Pier Arts
Centre], St Magnus Festival [photo Tom O’Brien]
Contents
IMAGE: [photographer panitanphoto]
Introducing This Study
1 7
A bout this document, the study and our analysis
2 11
The survey dataset: Who responded?
Key Survey Findings

Part One: Capturing perceptions of Scotland’s sector
3 15 Key words associated with Scotland’s sector
4 17 Core values associated with Scotland’s sector
5 21 The international reputation of Scotland’s sector
6 26 What international partners are most curious about, impressed
by and surprised by
7 34 Summary of perceptions: Key attributes
Part Two: Identifying cultural assets

8 36 Elements of Scotland’s sector seen as unique
9 43 What are perceived to be Scotland’s most significant
cultural assets?
— Profile 1: Scotland’s cultural policies as a cultural asset
— Profile 2: Exploring a cultural asset: Scotland’s arts for children
and young people
— Profile 3: Scotland’s disability arts sector as a cultural asset
Part Three: Understanding the global significance of Scotland’s sector

10 56 What Scotland’s art and culture sector contributes to the world
11 63 Models from Scotland distinguished as ‘different, distinctive
or excellent’
— Profile 4: What makes the Edinburgh (and Scotland’s other
festivals distinct?
— Profile 5: Scotland’s arts funding environment as an
international model
12 70 Models from Scotland that have been replicated or adapted in
other countries
Conclusions
13 76
Collected insights on Scotland’s cultural attributes and assets
Appendices
I. 82
Contributors
II. 86
Attributes and assets
IMAGES: ‘To See Ourselves’ and ‘As Others See Us’ -

companion reports authored by the Creative Services
(Scotland) Ltd, and Queen Margaret University, published
by the British Council and Creative Scotland.
Introducing
this Study
6 Introducing this Study

1
About this Document, the Study and
our Analysis
This document presents results from our international survey ‘What
Makes Scotland’s Cultural Sector Distinctive?’ which ran during May and
June 2021, gathering perspectives from culture sector professionals and
policymakers in 23 countries in addition to Scotland.
It should be read in conjunction with our narrative report ‘To See

Ourselves’: Cultural Assets and Attributes of Scotland which presents
combined findings from the overall study that this survey is a part of. Desk
research and a series of focus groups were undertaken alongside the survey
in order to identify and explore distinctive aspects of Scotland’s arts and
culture sector that stand out within the UK and internationally.
The research was commissioned by British Council Scotland and Creative

Scotland to identify aspects of Scotland’s arts and culture sector that
might be characterised as the country’s cultural attributes and assets.
The objective of this overall research is to inform how we understand the
Scottish sector and share its story internationally.
About the survey

The primary purpose of the survey was to gather international perspectives
on Scotland’s arts and culture sector to supplement insights gained from
the focus groups, which were composed predominantly of Scotland-based
respondents from across the arts and cultural sectors at all levels (for
further details of the focus groups, please see ‘To See Ourselves’: Cultural
Assets and Attributes of Scotland). The survey explored what sector
professionals outside Scotland see and experience of the sector in Scotland.
We wanted to capture perceptions of the profile and nature of Scotland’s
arts and culture sector, and to understand the contribution it makes in the
international arena.
The main question explored through the survey was: what do we do in

the Scottish arts and culture sector that is distinctive?
The survey asked respondents to describe Scotland’s sector, and the values
and reputation they associate with it. They were asked what they think
are Scotland’s greatest cultural assets, and to name specific examples and
models of Scottish practice that are renowned in other countries.
The external viewpoint is an important component in identifying what

stands out on an international stage. Perspectives were sought from
professionals and policymakers around the world working in or engaging
with the sector in Scotland at a variety of levels and across artforms,
As Others See Us – What Makes Scotland’s Cultural Sector Distinctive? 7

heritage and creative industries contexts. To be eligible for the survey,
respondents needed to have direct experience of Scotland’s arts and culture
sector as a practitioner, policymaker or other sector observer. The source
of their knowledge of Scotland’s sector was captured in the survey and is
reported in Chapter 2.
It was recognised that perceptions would vary between those outside

looking in and those inside the sector. In order to provide a baseline of
‘home’ perspectives and responses from the Scottish sector that would
enable direct comparison with international responses, the survey was
also purposefully circulated among Creative Scotland’s Regularly Funded
Organisations (RFOs) as well as to selected organisations across Scotland’s
creative industries who were encouraged to contribute.
The survey ran during May and June 2021 and was circulated in the first
instance to:
Creative Scotland’s 121 RFOs across the arts and creative industries,
for their responses and to disseminate onwards to their own current
international artform contacts
key creative industries and regional agencies identified by the
researchers, to supplement the RFO list
British Council regional offices around the world to disseminate to
local practitioners and policymakers who have engaged in recent years
with Scottish arts, culture and creative industries
international alumni of Queen Margaret University’s MA programme
in Arts, Festival and Cultural Management, who have graduated since
2011 having engaged closely with the sector in Scotland during their
studies. All but one of the responding alumni is currently working
professionally in related sectors around the world.
Our analysis of the survey data gathered seeks to capture the essence
of how Scotland’s culture sector is perceived at home and abroad and to
highlight where these viewpoints converge or diverge.
Approaches to balancing our analysis and findings

In approaching our analysis of the international perspectives gathered in
this study, we acknowledge the likely existence of default optimism bias
and comparative optimism (to borrow and loosely apply these cognitive
psychology and medical terms). It is recognised that people who’ve
experienced the sector through Scotland’s international showcase and
delegate programmes have been invited and facilitated to see selected
events and organisations. They are witnessing policy support in these
specific contexts; they are likely to observe examples of collaboration and
interconnection; they are on the lookout for models of interest: under
such circumstances it is understandable that they should report positive
perceptions. The enthusiasm and warmth of many of their contributed
statements is noticeable nevertheless.

Likewise, it is understood that external observers tend to see finished
products, showcases and visible outcomes and are less exposed to
underlying processes and environmental challenges/circumstances, a useful
distinction raised by a Scotland-based performance artist in one of our focus
group discussions.
These circumstances should be considered by the reader while engaging

with this reporting. They are perhaps particularly pertinent to our findings
in Chapter 6 which report what international peers are most curious about,
impressed and surprised by, and Chapter 5 which explores what those
engaging internationally with Scotland’s sector tend to expect from the
sector. It should be noted that not all of the international respondents in
our survey have visited as a delegate or attended showcase events; however,
in such cases these respondents have themselves worked alongside Scottish
peers. It is clear from the depth of comments provided in the survey that
the majority of international respondents have engaged deeply with this
topic and are speaking from an experience of close contact with the sector
in Scotland.
The comparative element is important to acknowledge also. Many of the

international respondents are quite specific in highlighting what they
admire in the Scottish arts and cultural context that they don’t experience
in their own countries as a result of different policy, funding and value
systems. While the political and social values that characterise Scotland’s
culture and cultural output appear to be lauded across the board (including
by Scottish survey respondents and in our parallel focus groups), we do not
seek to imply that these represent perfection in cultural policy and practice.
Documenting imperfections within Scotland’s arts and culture system

is not the intended focus of this research, but their existence should be
acknowledged. As another of our focus group participants noted, the
praise from international peers documented in our survey findings is well-
deserved, but it doesn’t automatically follow that the culture sector in
Scotland is in optimum condition or that there isn’t more to achieve across
many contexts including its cultural infrastructure, equality, diversity and
inclusion (EDI), etc. Where more cynical and balancing comments have
been offered in the survey – mainly by respondents based in the sector in
Scotland – we have made an effort to present these in this report.

Exploring attributes and assets
Our survey questions were designed to Our approach to distinguishing
stimulate thinking and elicit nuanced attributes and assets in this study
responses on people’s engagement with
Scotland’s arts and culture and their To identify the main ‘attributes’ of
relationships with those working in the Scotland’s sector, we explore its:
sector. We sought to uncover details of why
values / reputation / key descriptors
and how the perceptions exist: what it is / general character and nature /
about Scotland’s sector specifically – as quintessential and unique elements.
opposed to practice in general or in other
countries – that stands out as distinctive? In We consider ‘assets’ to denote:
this way we aimed to uncover core attributes
and characteristics of Scotland’s sector, its specific components of the sector /
approaches and outputs. distinctive approaches and models of
practice / characteristic elements held
The purpose of our wider study is to identify in international renown.
key assets that the sector in Scotland
possesses, and how and why these are seen
to contribute to the international cultural
arena. This survey report generates insights into this question.
Data analysis
The nature of our investigation means that our dataset is largely qualitative
in nature. With a total of 111 international and Scotland-based survey
respondents providing answers to our questions, many in impressive detail,
the full survey dataset is substantial and rich.
In order to identify themes among the responses, this report makes use of
word cloud software to help us ‘count’ word frequencies within the data,
generated from our main qualitative questions. These also enable us to
provide an accessible visual representation of key words and themes arising
from the responses received on key issues. To generate the word clouds, key
words/concepts were manually extracted from responses and processed using
the software. Readers are encouraged to inspect the small print in the word
clouds, which displays a myriad of creative practitioners and organisations
name-checked in people’s responses to our questions about Scotland’s arts
and cultural sector.
To help us delve further still into the responses we received, and to draw
out more nuanced themes, we have also applied thematic coding to parts of
the survey dataset to distinguish elements highlighted by respondents that
describe what we have categorised as philosophical, practical or quintessential
attributes and assets. Data from our parallel focus group discussions has been
coded in the same way to enable us to read across all the material gathered.
Readers will see several themes profiled in the document, pulling together
survey testimony on a particular topic that stands out among the survey data
as a whole.

In framing our overarching conclusions for this survey report we collate
insights and analysis to pinpoint predominant attributes and assets. These
findings have fed into the broader narrative offered in our companion
report, ‘To See Ourselves’: Cultural Assets and Attributes of Scotland, which
also reflects the deeper discussions by the focus groups.
2
The Survey Dataset: Who Responded?
A total of 111 survey responses were contributed by cultural practitioners
and policymakers in Scotland and around the world.
For the purpose of analysis, we have streamed their responses into two
datasets representing:
eople who are based in Scotland and work in the sector in Scotland:
p
‘the Scottish dataset’, 48 respondents (n48)
people offering external and international perspectives on the basis
of their professional engagement with the sector in Scotland: ‘the
international dataset’ (n63).
Who responded in Scotland?

The 48 survey respondents in our ‘Scottish dataset’ represent arts and
cultural sector organisations across Scotland, many of which represent
multiple artforms and contexts and, across their respective remits, all of the
sector categories we sought to include in the study. Specifically:
artforms: crafts, dance, Gaelic arts, literature and poetry, music,

physical performance and circus, storytelling, theatre, traditional
arts, visual arts – and the arts contexts of disability or inclusive arts,
participation or creative learning, as well as additional categories
highlighted by respondents as: public art, placed-based art and
socially engaged art
creative industries: architecture, digital media and preservation,
fashion and textiles, film, TV and radio, photography, product or
graphic design, publishing, software, video and computer games
heritage contexts: archives, libraries, galleries, museums, historical
places and sites, conservation.
The Scotland-based survey responses came predominantly from practitioners

or managers in the sector (43 of the 48 respondents) – mainly artistic or
managing directors of RFOs. Five Scotland-based respondents work in policy
or funding for the sector; they include representatives of specific artform or
regional arts agencies, as well as one local authority. This representation
is consistent with how the survey was distributed to supplement our focus
groups engaging the broader Scottish sector in intensive discussions.

The Scottish dataset represents organisations around the
country, with respondents based in: In addition to Scotland,
the countries
Aberdeen (n3), Aberdeenshire, Dumfries, represented in this
Dundee (n2), East Linton, Edinburgh (n13), survey are:
Glasgow (n19), Inverness (n2), North Ayrshire, St
Argentina (n10) in
Andrews and Wick, and the islands of Mull, Skye
Buenos Aires
and South Uist. Australia (n2) in
Melbourne, Adelaide
It should be noted that our Scottish dataset includes Bahrain (n2) in Manama
some people of other nationalities who are working in Brazil (n3) in São Paulo,
organisations in Scotland and reporting their viewpoint Rio de Janeiro
from the within the Scottish political and cultural Canada (n11) in Toronto,
environment. Seven respondents from Scotland-based Ceap Breatainn, Nova
organisations stated a non-British nationality, all European. Scotia, Mabou, Halifax,
Montreal, Edmonton
Colombia (n1) in Bogotá
Who responded internationally?
Egypt (n1) in Cairo
A total of 63 culture sector contacts from outside Scotland
Germany (n7) in
returned responses to the survey. Mainz, Munich, Berlin,
Waldshut-Tiengen,
These include two people identifying as Scots based Dusseldorf
internationally, both in Canada. For the purpose of Hong Kong (n1)
distinguishing external perspectives from outside the India (n2) in Mumbai,
sector in Scotland, we elected to analyse three responses Delhi
received from professionals in London as part of the Indonesia (n1) in
overall ‘international dataset’. Yogyakarta
Ireland (n2) in Dublin
Japan (n1) in Shizuoka
The remainder of the respondents in this dataset are
Malta (n1) in Valletta
international practitioners and policymakers reporting Mexico (n2) in Mexico
their perspectives from 23 countries around the world City, Morelia
across Europe, North America, South America, the New Zealand (n1) in
Middle East, Africa, Asia and Australasia. Wellington
Nigeria (n1) in Abuja
The majority (n50) of the international respondents to Norway (n1) in
this survey are current practitioners or managers in Hammerfest
their cultural sector (79 per cent) with 11 working as Palestine (n1) in Beit
policymakers or funders for the sector (17 per cent). Five Jala
Portugal (n1) in Porto
respondents perform volunteer roles in the sector, and two
Rwanda (n1) in Kigali
are currently studying in the sector. Singapore (n1)
rest of UK (n3) in
London
USA (n6) in Washington
DC, New York City,
Detroit, Yakima
(Washington State),
Jackson (NH), Becket
(MA)

The survey asked respondents from outside Scotland: what is the nature
of your personal experience and knowledge of Scotland’s arts and culture
sector? International respondents’ knowledge of Scotland’s cultural sector
stems from …
Visiting or observing Scotland’s arts and culture sector as a delegate:

39 respondents (62 per cent)
Experiencing Scotland’s arts and culture sector abroad as an audience

member: 29 respondents (46 per cent)
Working internationally with organisations or individuals from Scotland’s

sector: 28 respondents (44 per cent)
Previous work or study in the sector in

Scotland: Diagram 1. Respondents were asked to say what
19 respondents (30 per cent) parts of the cultural sector they are involved
with, selecting as many as applied (n111)
Areas of the cultural sector represented Music

Theatre
in the survey dataset Visual arts
For the purposes of this survey we Dance

Participation or creative learning
categorised artforms and creative Storytelling
Physical performance and circus
industries based on definitions commonly Literature and poetry
used by the Scottish Government and Disability or inclusive arts
Film, TV and radio
Creative Scotland. As can be seen in Traditional arts
Diagram 1, everything on our list was Museums

Galleries
represented among the practitioners Publishing
and policymakers who responded Digital media and preservation
to our survey, both in Scotland and Gaelic arts

Archives
internationally. Libraries
Historic places and sites
Photography
Predominant sectors include the artforms Something not listed here
of music, theatre, visual arts and dance. Architecture

Product or graphic design
Fashion and textiles
Prominent contexts for respondents’ work Video and computer games
include participation or creative learning, Conservation
and disability or inclusive arts, as well as

festivals the world over.
Museums and galleries, libraries, archives, historic places ‘Something not

and sites, and conservation (including digital media and listed here’:
preservation) are also visible in the dataset. Festivals
Events
Representatives of creative industries are present in the survey Public art
Placed-based art
dataset in Scotland and overseas. These industries include
Talks
software, video and computer games, design, product and
Digital artworks
graphic design, and architecture, with film, TV and radio, and Socially engaged art
publishing being the most prominent groups.

Key Survey
Findings
14 Key Survey Findings

Part One:
Capturing perceptions of
Scotland’s sector
3
Key Words Associated with Scotland’s Sector
To start, respondents were asked to list key words that they associate
with Scotland’s arts and culture sector. The word cloud diagrams used
throughout this report represent key words provided by either our Scottish
or our international respondents. The frequency of a word or concept’s
appearance in the dataset is reflected in its size on the cloud.
From the external/international perspective captured in Diagram

2, dominant key words are innovative, vibrant, diverse, inclusive,
contemporary, open, experimental, open-minded, welcoming, professional
and dynamic, with very many other concepts showing a rich, and
overwhelmingly positive, perception of Scotland’s sector. All of these are
mirrored in the Scottish responses reflected in Diagram 3.
We can also see many other overarching themes as offered by both

international and Scotland-based observers: forward-looking, progressive,
yet rooted in tradition; outward-looking, high quality/excellent;
connected, inclusive, diverse, community-focused; bold/challenging, risk-
taking, cutting-edge; self-organised. The sector is recognised both at home
and overseas as an ambitious and driven sector ‘punching above its weight’
on an international stage.
However commentators based in Scotland working within the arts and

cultural sector raise important operational factors that those outside don’t
necessarily see: a fragile sector that is under-funded, under-resourced,
under-valued and under-appreciated. A system that doesn’t always
seem fair and can seem insular and fragmented from the inside. An
overstretched sector that is hard-working, resilient, and innovative by
necessity as well as by intention. Such themes are important indicators of
realities that lie behind Scotland’s stellar reputation and accomplishments.
These come up prominently throughout the survey in the sector’s
own perceptions of its values, reputation, assets, unique elements and
international contribution. The proud yet self-effacing characteristic
identified by a Scottish respondent speaks to a brand of humility that seems
quintessentially Scottish.

Diagram 2.
Key words
associated with
Scotland’s arts
and cultural sector
by international
respondents (n63)
Diagram 3.
Key words used by
Scotland-based
respondents to
describe the sector
(n48)

Other terms offered by Scottish respondents correlate with the
international perceptions. These include: activist/political, politically
engaged, responsive and relevant (tying in with external perceptions of
a sector saying what it needs to say and challenging conventions), and a
strong social ethos with community and grassroots foundations.
Many of these same themes arise throughout the survey, underpinning the
sector’s core values and reputation and what it brings to the international
arena.
4
Core Values Associated with Scotland’s Sector
Respondents were asked what kind of values (in terms of standards, ideals,
philosophy) they associate with Scotland’s arts and culture sector.
International perceptions
Over 150 key words and concepts were extracted from the responses
received from international respondents to create the word cloud in
Diagram 4.
Diagram 4.
Values associated
with Scotland’s
arts and cultural
sector by
international
respondents (n61)
17
Here are the most dominant themes in our international dataset,
highlighting the Scottish sector’s values:
I nclusivity with respect to: ‘investing in an inclusive expression of the

full spectrum of Scottish culture’; ‘welcoming of international voices and
collaborations’, ‘engaging audiences and community’. Related words used
include democratic, far-reaching and many voices.
I regard Scotland’s cultural sector as one of the most inclusive

and creative I have ever come across. I think that the richness of
the sector comes from the very different people that engage with
it: people from around the world and with completely different
backgrounds. The sector opens its doors to anyone, enabling and
empowering them to engage, create and show, giving them voice
and platforms to tell their stories. That translates into a very unique,
reachable and needed cultural and artistic world. (Arts practitioner
in Germany)
iversity: being representative, respecting diverse languages,

D
representing different voices within Scotland and connecting to
international conversations. Scotland’s sector is perceived to be highly
diverse; however, one international observer notes a minority of LGBTQ+
voices and a continuing lack of some EDI themes.
penness and open-mindedness. Related values include Scotland’s

O
welcoming nature, a tolerance in society and the role of arts and culture
in ‘pushing back hatred’.
oots in tradition: honouring past people, honouring Gaelic and

R
traditional arts, while also being forward-looking and forward-thinking.
alue and care for the arts: the perception from outside is that culture
V
in Scotland is ‘valued’ with ‘strong public policies’ and a commitment to
‘care of the arts’. The arts and culture in Scotland are strongly associated
with social justice values including freedom of expression, fairness and
a sense of egalitarianism whereby ‘the arts and culture are for everyone’.
Observers see a strong community focus in Scotland where the arts are
‘accessible’ and ‘a part of daily life’.
A deep belief in the arts and its role in community and nation building.
Leveraging the arts to push back on hatred of the other. Experimenting
and innovating within the constraints of budgets and beliefs. (Director
of a multi-arts company in India)
uthenticity and attitude: other values that come through from the
A
responses include honesty and authenticity in Scottish work, along with
the sector’s can-do attitude, ability to ‘make it happen’, its ‘stubbornness’
and commitment.

The sector appears to be ‘of a place’, rooted in its cultural heritage yet
forward-looking and ambitious; there is a can-do attitude, a sense of
independence, embracing what is real with an honesty, openness and
a sense of both belonging and welcoming. (Arts policymaker/funder in
Ireland)
Values associated with the sector, by the Scottish sector

The word cloud in Diagram 5 captures the values associated with the
sector by survey respondents working within it. It speaks to the same
key values perceived by international respondents: inclusion, diversity,
openness, collaboration, innovation, tradition. However, the Scottish
responses qualify many of these ideals by stating that they are aspirational
(i.e. ‘aiming for inclusivity’), noting that arts and culture are currently not
always accessible.
Aiming to be inclusive but can be seen as exclusive to many people.

Not always open or approachable. Can be elitist. (Artistic director of a
theatre in Scotland)
There is a real desire to make the arts inclusive and accessible to all.
This feels to me like it is making good progress but probably has a long
way to go. (Respondent from a multi arts and digital creators collective
in Scotland)
Diagram 5.
Values associated
with Scotland’s
arts and cultural
sector by Scotland-
based respondents
(n46)
19
The country’s attributes of fairness and striving for equality, generosity
and social conscience (‘culture for all’, ‘tackling difficult issues’, ‘addressing
barriers to access’) are also recognised in Scotland as values for the arts and
culture sector.
Respondents highlight a specific ethos of fair pay, gender equality and a

growing intolerance of poor employment practices (i.e. zero hour contracts).
Respect for artists and audiences is noted, as well as community focus and
outreach, and a sense of service.
Actively supportive of … fair pay, industry-standard rates of pay and

terms, intolerance of zero hours contracts, no gender pay gap, actively
inclusive and diverse approach to casting/board members/staff/
creatives. (Artistic director of a theatre company in Scotland)
My own experience is of a sector that reaches out to its audience,

making work to challenge, provoke and ultimately enjoy. (Respondent
from a participative youth theatre company in Scotland)
The values of Scotland’s sector are described more than once in our survey
as sharing commonalities with Nordic neighbours to the North:
An affinity for, and links with, other small, rural, northern nations and
cultures. (Respondent from a film development agency in Scotland)
The Scottish sector responds with a strong dose of pragmatism in naming

its own strengths; in this respect the responses themselves symbolise the
brand of open integrity combined with humility or modesty that seems to
be universally associated with the sector.
We are humble to the point that I think we hold ourselves back a little
here. We value humbleness and collective responsibility which I feel as
a community is an important part of who we are but learning how to be
more confident and ambitious on an international stage is something
I’d like to see in the future. (Musician and director from a youth music
organisation in Scotland)
A strong sense of tradition (that can be limiting, too!) Pride and

confidence (but that can be undermined by a ‘cultural cringe’). An
ambition to be inclusive and accessible (not always realised). A strong
emphasis on place and ‘local’ (which needs to counter a tendency
towards a uniform ‘Scottish’ cultural identity). A tendency to have
the part stand for the whole (historically ‘Scottish’ tended to mean
‘Highland’; now, too often, it means ‘Glasgow’). (Respondent from a film
development agency in Scotland)

Cultural value is also flagged by Scotland-based respondents as an issue
with two sides, whereby core values of culture are acknowledged centrally
in policy while being heavily instrumentalised in the service of other
agendas and ascribed a low economic value.
High quality but low monetary value. (Music director at a rural theatre in
Scotland)
Art should be valued of itself and publicly funded. Culture is for all
communities regardless of demographic and wealth. [But] culture is
instrumentalised as an economic driver through tourism visiting our
festivals and events, and the heritage sector. (Local authority cultural
planner in Scotland)
5
The International Reputation of
Scotland’s Sector
The survey sought perspectives on the international reputation of Scotland’s
arts and culture sector, asking respondents what they tend to expect of
something Scottish.
A total of 149 key words and themes arise from the answers from
international respondents (Diagram 6), for whom the most prominent
reputational features of Scotland’s arts and culture overseas congregate
around the following themes:
‘Avant-garde’ work that is innovative, experimental, daring, original,

never-seen-before; embodying new interpretations, resourcefulness and
making things happen.
culture that is modern, contemporary, responsive and relevant, while

A
remaining authentically Scottish, rooted, grounded and traditional.
Excellence, innovation of style and design and form. Once you move
away from the bagpipes and tartan there is a world of deep intellectual
heft and artistic merit. (Director of a multi-arts company in India)
I expect something that is rooted in the history of the land and its
people, but also forward-thinking, innovative and collaborative. (Film
festival coordinator in Canada)

Diagram 6.
Reputation
associated with
Scotland’s arts
and cultural sector
by international
respondents (n63)
I nnovative models particularly in relation to site-specific arts, unexpected

use of venues and experimental practice:
The reputation is very much linked to what I think Scotland’s arts and
culture sector stands for: uniqueness, inclusiveness, internationality and
multiculturality. I have witnessed artforms and platforms I have never
seen in other countries, and an example of this is the use of churches
as libraries and stages. Culture and art are at the core of Scotland’s
society. (Arts practitioner in Germany)
uality, excellence, high standards of practice, and culturally rich work.

Q
Exemplary professionalism and efficiency. ‘Brilliantly executed’ work,
with world-class artists and outputs.
Q: What do you expect of something from the Scottish arts and culture sector?
High quality that leaves me thinking and recreating it in my mind. Gives

value, teaching or showing something new. (Independent producer of
performing arts and creative industries in Argentina)

Brilliantly written and executed, thought-provoking and deeply
touching, simple to observe with layers and layers of depth and
richness. (Local authority arts funder in Australia)
A sector that is proud of its traditional heritage, an industry that has

kept up with the pace of its time, an arts council that is committed
to fund and support artists. The arts are very much alive and refined
in Scotland; the country hosts some of the best-quality art I’ve seen.
(Production manager for theatre and film in Malta)
distinctive personality described as friendly, warm, humorous,

A
hospitable, accommodating, stubborn/committed, spirited and proud.
aying ‘what needs to be said’ through socially liberal work that is

S
against the grain, edgy, genuine, thought-provoking, surprising, shocking.
It might be argued that this is what all arts are here to do: if so, it seems
that in the eyes of the world Scottish arts and culture perform this role
overtly.
I would associate the word ‘brave’ with the culture sector of Scotland.
I would expect something against the grain and not following a trend
in the global art scene but rather something really innovative and an
honest representation of the flavour of Scotland’s arts and culture
sector. (Producer at a multi-arts festival in India)
I expect energy, a spirited experience, embracing what is real, a sense

of humour, what needs to be said will be said and a sense that this is of
and by Scotland. (Arts policymaker/funder in Ireland)
Socially just, with recurring values of culture for all and fairness.
[I expect Scotland’s sector] to acknowledge issues of justice and giving

all people their rights. (Director of a multi-arts organisation in Palestine)
penness, characterised by respondents as a willingness to engage and

O
collaborate internationally, an openness towards sharing practice, ideas
and expertise, and an eagerness to embrace ideas.
We have always got what we’ve expected from our Scottish peers:
respect, creative collaboration, human connection and open dialogue.
(Respondent from a charitable arts funding body in Mexico)
Reputation from the viewpoint of the Scottish sector

The Scotland-based commentators who gave their impressions on the
external reputation of the sector (n46) highlight themes that correlate with
what international respondents said: Scottish arts and culture are seen to
be high quality, representing excellence at all levels of work, producing
world-class, award-winning work of international renown and ‘punching
above our weight’ as an ‘outward-looking’ small nation. The innovative,

Diagram 7.
Reputation from
viewpoint of
Scotland-based
respondents (n46)
ingenious and experimental outputs tend to be seen as distinctive and

forward-thinking.
The work itself is progressive, authentic, relevant and challenging. It is

‘rooted in tradition’ yet holds a mirror to contemporary society. It reflects
Scotland, is strongly related to place and community and is perceived as
inclusive. Reputational attributes of humour, friendship, hospitality and
kindness are also recognised by the Scottish sector about itself.
Where international observers highlighted festivals in great numbers, they

and the Scotland-based respondents also point to the country’s music,
literature, museums, galleries, architecture, visual arts and theatre, noting
a strong reputation for producing, artistic expertise, creative learning
and participation, for work with/for children and young people, and for
volunteer/community arts.
Where the Scottish responses vary from international perspectives is in

the recognition that much cultural activity is driven by other instrumental
policy agendas, most notably tourism, from where common stereotypes and
nostalgic sentimentalities arise (i.e. the tartan and shortbread culture).

Work that has integrity and wears its heart on its sleeve. A culture of
making/producing that has a very high bar in terms of quality, but is
created through ingenuity and determination with limited resources.
(Respondent from a community arts organisation in rural Scotland)
A mirror of Scottish society taking in aspects of language, culture

and traditions unique to Scotland but also a reflection of the many
influences on contemporary Scotland. (Respondent from a Gaelic arts
agency in Scotland)
I expect visual arts coming out of Scotland to be of a very high quality.

This is largely due to how extremely hard Scottish artists work. (Director
of a visual arts organisation in Scotland)
For a small nation we punch far above our weight. In my own area of
work for children and young people there is an expectation of quality,
innovation and expertise with a broad appeal to audiences. There is an
expectation that time spent at Scottish [culture] will be time well spent.
(Respondent from a participative youth theatre company in Scotland)
Scotland has a reputation for producing world-class cultural work at

all levels, from bands playing in small venues to the National Theatre of
Scotland producing acclaimed theatre which tours the world. In my view,
art and culture produced in Scotland is known internationally as high
quality, challenging, reflecting the communities of Scotland and the issues
faced socially, economically and politically in a way that can be identified
with around the world. (Local authority cultural planner, Scotland)
Some negative observations were made in relation to the sector’s

external image and reputation.
These acknowledge the existence of below-excellent work and a sense of

parochialism …
A mixed bag. I think there is truly excellent work of international

standard being made in Scotland but, like everywhere else in the world,
there is also work that is not ready, or just not good. I don’t think that
I can say that something will be either good or bad just because it is
Scottish but I certainly think that, as a nation, we can and do hold our
own in the global marketplace. I think (hope) that the time has passed
when things were not programmed in London or beyond because
they were Scottish (or too Scottish) but I also worry that it is still the
case that actors’ agents, for instance, don’t feel that there’s any point
to sending their clients to work in Scotland. (Theatre director and
producer in Scotland)
Mediocrity, confusion of quantity with quality, below the benchmark.

(Practitioner in music, video, and computer games/software in Scotland)

… as well as an often-intentional reliance on Scottish stereotypes which can
send mixed messages out into the world.
On the bad side: sentimental, couthy [cosy], playing to stereotypes,

reliant on a handful of key figures (Burns, Scott, Billy Connolly,
Bill Forsyth), nostalgic, too ready to play to external expectations.
(Respondent from a film development agency in Scotland)
Our artists and producers are known for creating work that is ambitious
and contemporary – as proved by winning numerous Turner prizes
and other awards across artforms. However, there is still a ‘tartan and
shortbread’ part of Scotland’s cultural reputation fuelled by tourism
which is hard to reconcile with the cultural identity felt by most
residents and artists working here. If that’s confusing for Scots in the
sector, it may also be confusing internationally. (Local authority cultural
planner in Scotland)
6
What International Peers are Most [I’m curious about
Curious About, Impressed by and

the] professional and
organisational way of
Surprised by
working: how do my
Scottish colleagues
combine culturally
The survey asked external and international respondents relevant contents with
what they are: a) most CURIOUS ABOUT, b) most excellent organisational
IMPRESSED by, and c) most SURPRISED by when skills? (Practitioner from
visiting or liaising with Scottish arts and culture the literature, libraries
institutions. Scotland-based respondents were asked to and publishing sectors in
comment on the basis of their experiences interacting with Argentina)
peers from outside Scotland.
What international peers are most CURIOUS ABOUT

In answer to the question of what they are most curious [I’m curious about]
about when engaging with the sector in Scotland, a number working outside the
of core themes are highlighted by international respondents capital cities, touring
(n56). These relate to: and capacity building
for independent artists
he nature of differences from England/UK in terms
T and how to strengthen
of models, ‘vibe’, working culture and ethos: ‘I’m curious the independent
how Scottish arts organisations work in international contemporary
connection and collaboration, especially the differences dance sector in the
from London-based arts organisations’ (arts development regions. (Director of a
funder in Hong Kong). contemporary dance
centre in Norway)

ow the sector in Scotland operates to a high
H I enjoyed discovering a
professional standard with high quality outputs. unique culture and way
to do things, in Scotland.
inding out more about Gaelic and Scots, keeping
F I feel it is different from
traditional arts and culture alive and contemporary. the rest of UK or EU. I also
like the UK and EU, but
at’s in the North and the regions, and what’s
Wh Scotland is different and
happening at community level. Regional touring great. (Artistic director of
structures: ‘While festivals come to mind, I’m more a dance organisation in
curious about the work being done independently/ Canada)
on a community level’ (independent theatre producer,
Singapore).
he processes of creating and managing world-class

T [I’m curious] to learn
festivals. more about the way they
create and operate. The
xperimentation: how the Scottish sector produces new
E arts sector in Scotland
things. The dynamics of fusing old with new. is always advancing
something exciting and
In addition, the international commentators say they are new to me. (Performing
curious about: arts producer in Argentina)
long-term relationships between artists and spaces
the interconnectedness within Scotland’s sector and
across artforms
how Scotland relates to and learns from the world
Scotland’s cultural funding environment, sources and models.
Responses from the Scotland-based commentators in our survey (n39)

mirror this list above, adding:
ational identity: ‘How we cope with being a (relatively) small

n
population in a (relatively) large country’ (respondent from a film
development agency in Scotland)
politics and ‘social democratic approach’ of Scottish policymakers
support for artists and talent development: ‘How we support
artists at all stages of their careers’ (respondent from a
contemporary arts centre in Scotland), ‘Development pathways for
young musicians’ (respondent from a traditional arts organisation
in Scotland).
ow inclusion and diversity are facilitated: ‘They think they are only
H
going to see traditional performances, so are curious about the multi-
ethnic nature of our arts scene in particular’ (respondent from an arts
policy/funding body in Scotland), ‘How we engage large and diverse
audiences’ (respondent from a contemporary arts centre in Scotland).
‘How our sector connects to place’; approaches to provision in remote

areas: ‘solutions like the Screen Machine, high-quality centres in
small communities (An Lanntair, Pier Arts Centre, Mull Theatre, etc.)’
(respondent from a film development agency in Scotland).

I nnovative approaches, risk-taking and experimentation: ‘Our
methodologies, our often ground-breaking work e.g. Playful Tiger by
Barrowland Ballet, a game changer in work with neurodiverse audiences.
Our traditions and our journeys’ (respondent from a participative youth
theatre company in Scotland).
What international peers are most IMPRESSED BY

International respondents (n54) highlighted a wide range of things about
Scotland’s arts and cultural sector that have impressed them. These may be
condensed into the following list, reinforcing many points already reported
in relation to Scotland’s external reputation in the eyes of these observers:
A warmth and friendliness experienced when engaging with the sector;

its sense of joy and beauty; a sense of humour; ‘a spirit of
optimism’ (arts policymaker/funder in Ireland). [I’m impressed by] how
organised the sector
The sector’s efficiency and ‘profound professionalism’: is and how the sector
how organised Scotland’s sector is while seeming laid operates with mutual
back. collaboration and long-
term support. Again, I
The number and quality of festivals, artists and think international peers
organisations given the size of Scotland as a country. get very impressed with
the warm reactions from
The depth and breadth of the sector and what it Scottish artists and
produces; ‘a wealth of renowned artists across all partners and the ability
disciplines’ (arts policymaker/funder in Ireland). to cooperate in different
levels and circumstances.
Cross-artform work and an ‘ability to interpret across (Practitioner working
disciplines’ (Highland Games chairman (volunteer) in for an international arts
Canada); a strong sense of community and solidarity; agency in Brazil)
strong sector networks.
Innovative ways of thinking; development processes for

creative work. I am deeply impressed
by the strong network
Transformation of spaces for art and culture; ‘the wide of musicians and of how
variety of cultural spaces and the practices they were all of them manage to
designed to host’ (producer at a multi-arts festival in build the bridge between
India). tradition and modernity.
Especially when it comes
willingness to share practice and information, also
A to folk music, it is breath-
characterised as a form of generosity and openness. taking how the heritage is
woven into contemporary
cotland’s landscapes (rural and urban), the built
S developments.
environment and architecture. (Communications
professional for the culture
sector in Germany)

The Beltane Fire Festival remains I was most impressed by the
one of the most impressive things breadth of the arts ecosystem in
I have experienced in Edinburgh, Scotland, especially the bridging
how a country can combine sectors, research and advocacy.
its history, its rituals with its (Independent theatre producer,
contemporary love for performing Singapore)
arts, and be celebrated by all, is
just out of this world! (Festival
manager and programmer in
Egypt)
International observers are also impressed by what the sector achieves

despite its funding challenges:
The way that arts and culture are presented and executed – even under
the most restrictive conditions. (Cultural manager in Germany)
This is also characterised as resilience by one Scotland-based respondent,

and another flags ‘the quality of work we produce on such limited budgets’
(respondent from a contemporary arts centre in Scotland).
The admiration for the sector’s resourcefulness and business acumen,

highlighted by several international respondents, is mirrored by Scotland-
based respondents citing value for money: ‘value for money: we do
everything on a shoestring’ (community arts curator in rural Scotland).
In addition, international respondents highlight the cultural values

within the sector, underpinned by policy in Scotland, specifically: support
available to artists, and structures supporting international touring,
showcasing and exports.
The sector’s commitment to access and inclusion strongly impresses

international commentators – this is also characterised as ‘care and
attention to all stakeholders’, a ‘commitment to access and disability
inclusion’ and ‘support for mental health’ – as well as community
engagement and local development.

Our Scotland-based survey respondents (n39) cite the same People often remark on
broad themes outlined above, adding further perspectives being impressed that
on what their international contacts are impressed by, everyone in Scotland
specifically: growing up learned to
ceilidh dance, etc. In
ollaboration and interconnectedness: exemplified
C terms of traditional music,
by strong partnerships and supported by impressive internationally we seem
professional networks. The Federation of Scottish to have an impressive
Theatres, Traditional Music Forum and Scottish reputation for innovation
Contemporary Art Network were named in our responses. and extremely high
standards, particularly
he range, quality and impact of art produced in such
T in instrumental
a small country; ‘the quality and ambition of output performance. ‘Virtuosity’
from the sector’ (respondent from an arts and design is often remarked upon
organisation in Scotland); ‘the quality of our work, its in international contexts.
playfulness and the great storytelling’ (respondent from a (Musician and director
participative youth theatre company in Scotland). from a youth music
The talent and professionalism of practitioners.
he ‘vibrancy’ and ‘condition’ of our traditional and local

T
arts scenes, Fèisean, small festivals, the quality of local [International peers are
crafts. impressed by] artist-
led activity and the
he international standard of Scotland’s archives and
T world-class expertise
collections, even at a local level. that resides almost
unremarked in Scotland’s
orkshop and production facilities; the ‘amount of visual
W artist communities.
arts production that happens in Scotland’ (respondent (Respondent from a visual
from a photography centre in Scotland). arts network in Scotland)
Place-based work as a feature of Scottish arts and

culture.
[International peers
Among Scotland-based responses parallel themes of are impressed by] the
government commitment to funding and social values are production facilities, the
highlighted, characterised as: ‘strong government support number of artists, the
for culture’ (respondent from the storytelling sector in closeness between artists
Scotland); ‘commitment to values’ (respondent from a digital and programmers (this
arts organisation in Scotland); ‘sense of social equality’ is influenced by the more
(respondent from a multi arts and digital creators collective prevalent route to curating
in Scotland). in Scotland through art
practice education rather
What international peers are most SURPRISED BY than museum studies).
The things that surprise international peers when they (Director of a visual arts
visit or liaise with the Scottish arts and culture sector production facility in
reveal interesting insights about how the sector subverts Scotland)
or surpasses expectations and preconceptions about the

country, the realms of cultural policy and the way that publics might be
expected to engage with culture.
International respondents in the survey (n47) noted the following elements

of surprise in their dealings with the Scottish sector:
How distinct the sector is: ‘the cultural peculiarities of Scotland and its
people’ (multi-arts curator and programmer in Brazil).
How much I still and continue to prefer Scotland and anything Scottish
to the English culture scene, despite the international stereotypical
perception that London is the next best thing since sliced bread.
(Production manager for theatre and film in Malta)
How distinct it feels, we are very familiar with England’s art from a
colonial education system, but there is a different timbre that genuinely
surprises my peers. (Multi-arts practitioner in Canada)
This is reinforced by testimony from a Scotland-based respondent, who

notes international peers’ surprise at: ‘How different we are from the other
UK nations; how strong our relationship is with Celtic and Nordic nations’
(respondent from a Gaelic arts development agency in Scotland).
he ‘ability to realise great artistic projects in small remote Scottish

T
places’ (artistic director of a dance organisation in Canada).
hat Gaelic is not more prominent across Scotland and ‘afforded

T
more respect’ (traditional musician and dancer in Canada); that ‘Gaelic
language is being lost in communities’ (volunteer manager at a major
Celtic arts event in Canada).
n unexpectedly large number of artists/

A
organisations. The creativity and drive
to foster arts and culture
ow diverse the sector is in terms of content, as well
H with all its facets no
as diversity of talented artists and diverse audiences: matter where, when and
‘The diversity in talent and the fact that the local how. There always seems
audiences were really open-minded to explore the to be a way to create
experimental showcases’ (producer at a multi-arts and present. (Cultural
festival in India). manager in Germany)
Dundee and its strong cultural roots. (Dundee is also

highlighted by a Scotland-based respondent from a different city as
a cultural asset: ‘V&A – as a building it promises a lot, but the big
asset to Scotland is what it represents. It signalled that there is life in
culture outwith Edinburgh and Glasgow, it’s a vote of confidence in

Dundee and the wider North-East’ (local authority cultural planner in
Scotland).
he way the arts are ‘lived’ and are connected to

T
The sustainability of the
‘ordinary audiences’ (respondent from a charitable
sector, the relevance
arts funding body in Mexico).
of projects to the
community, the research
capacity to include/promote the work of artists
A
behind specific social
with disabilities ... although on the issue of diversity
driven agendas, the
in general one respondent notes surprise in an
responsibility the sector
LGBTQ+ context at a ‘lack of representatives and
has around embracing
diversity in performers and voices’ (arts management
inclusion and participation
graduate in USA who studied in Scotland).
across all the sector.
(Practitioner working
International respondents also express surprise at:
for an international arts
agency in Brazil)
Scotland’s socially driven policy agenda
the nimbleness, flexibility, adaptability of the sector
how contemporary and forward-thinking the sector is.
Testimony from our Scotland-based survey respondents (n39) on what

their international contacts are surprised by reiterates many of the
elements listed above, specifically:
t he sector’s small scale and high connectivity,

yet comprising a surprising number of In our sector, theatre,
professional artists and practitioners, and range of international peers are
organisations, for the country’s size often surprised by just
levels of innovation and forward-thinking how collegiate we are,
‘the rise of place-based community arts’ how much we help each
(respondent from a traditional arts organisation in other, how much we work
Scotland), and together, how much we
attention to engaging diverse audiences. care about each other and
want everyone to succeed.
They also feed back the following observations from peers (Theatre director and
overseas who are surprised by: producer in Scotland)
‘the work that is going on throughout the country and

beyond the high-profile city festivals’ (respondent from an artist-led dance
‘that traditional culture in Scotland is living and breathing and

continues to be creatively active and innovative’ (respondent from a Gaelic
arts organisation in rural Scotland)
‘that wellbeing is part of the national curriculum’ (respondent from a

multi arts and digital creators collective in Scotland).

But they highlight negative issues around funding, specifically
international partners’ surprise at …
‘how badly resourced arts and culture is’ (respondent from a

community arts organisation in rural Scotland)
‘that we are able to achieve this with relatively modest amounts of
resource’ (respondent from a participative youth theatre company
in Scotland)
‘that artists aren’t paid/salaried (in comparison to France for
example) for being artists’ (respondent from a children’s arts
company in Scotland)
Scotland’s ‘poor public investment in its greatest resources
(artists and artist-led) and lack of investment in exhibiting spaces’
(respondent from a visual arts network in Scotland)
‘that the sector is less well-funded by the UK and Government than
other progressive nations’ (respondent from an arts and design
… as well as surprises relating to the cultural environment and the

creative industries.
International peers are surprised by:
loss of traditional craft businesses and infrastructure
lack of cultural opportunities in Edinburgh outside the festivals
t he division of ‘culture’ (as an inclusive concept) into sectors such

as ‘arts’, ‘creative industries’ and ‘heritage’: ‘These are arbitrary,
divisive, and make little sense. For example, in the definitions
for this study, “film” is placed under “creative industries” but it
is equally important and valid as an artform and as making a
crucial contribution to Scotland’s heritage’ (respondent from a film
development agency in Scotland).

7
Summary of Perceptions: Key Attributes
At this point in reporting our dataset we can pause to review what shines
through from these detailed perceptions of Scotland’s arts and cultural
sector.
The findings reported in the preceding chapters convey a vivid picture

of how the sector is perceived both at home and abroad. The language,
images and examples evoked in people’s responses about the sector’s value,
reputation, strengths, curiosities and surprises provide us with a very
wide and richly evidenced collection of attributes that display a reassuring
consistency between the international and Scottish viewpoints.
We list these below and show how they start to reveal broad categories
within which we can begin to recognise fundamental assets strongly
associated with the arts and cultural sector in Scotland.
Strong attributes associated with What we might recognise

Scotland’s sector as assets
Work and practice that is:
RISK-TAKING, INNOVATIVE, EXPERIMENTAL, Models of exemplary practice
BOUNDARY-PUSHING, FORWARD-LOOKING, and innovation
FORWARD-THINKING, PROGRESSIVE,
A SOURCE OF KNOWLEDGE, BEST PRACTICE
AND MODELS
Cultural outputs that are:

VIBRANT, DYNAMIC, CONTEMPORARY Scotland’s artists, creative
yet ROOTED IN TRADITION, ABLE TO practitioners and cultural
FUSE TRADITION and MODERNITY, DEEP, workforce
THOUGHTFUL, RELEVANT and UNIVERSAL,
REFLECTIVE OF PLACE AND LANDSCAPE, Scotland’s community arts
ROOTED IN COMMUNITIES AND STRONG
SOCIAL VALUES, CULTURALLY DISTINCT Scotland’s cultural policy
FROM THE REST OF UK, WITH CELTIC/NORDIC
CONNECTIONS, HIGH QUALITY
A distinctive cultural voice that comes over as:

AUTHENTIC, HONEST, BOLD, CHALLENGING, A trusted and respected
SAYING WHAT NEEDS TO BE SAID reputation

Strong attributes associated with What we might recognise
Scotland’s sector as assets
A sector seen as world-leading in its:
DIVERSITY OF ARTFORMS, REPRESENTATION Socially engaged arts
and AUDIENCES, INCLUSIVITY and Social democratic values and
ACCESSIBILITY policies
(though several survey and focus group respondents
counsel that there is still more to do before we might say
these are fully achieved)
A sector whose way of working is:

CONNECTED, COLLABORATIVE, Scotland’s sector and its way
HIGHLY PROFESSIONAL AND PROFICIENT, of working
ADMIRED FOR ITS SKILLS, A SOURCE OF
INTERNATIONALLY RENOWNED EXPERTISE,
ASSOCIATED WITH HIGH STANDARDS,
HIGHLY ORGANISED AND EFFICIENT,
RESOURCEFUL, INGENIOUS AND INVENTIVE,
OPEN-MINDED, WELCOMING,
GENEROUS WITH SHARING ITS EXPERTISE
and which PUNCHES ABOVE ITS WEIGHT ON A
WORLD STAGE
A sector SUPPORTED BY A COMMITTED Strategic cultural policy

FUNDING MODEL that is well-regarded recognising fundamental
worldwide, and operating within a POLICY values of culture
ENVIRONMENT SEEN AS PROGRESSIVE
A cultural and sectoral personality that is:

FRIENDLY, HUMOROUS, HOSPITABLE, A strong and distinctive
HUMBLE yet PROUD, SELF-EFFACING, (positively esteemed) ‘national’
STUBBORN, SPIRITED, GENEROUS character
The next chapters in this report build from these attributes and generic
assets to offer further characterisation of what is perceived to be unique to
Scotland, and to generate a more explicit list of cultural assets before going
on to explore the international impacts of these in closer focus.

Part Two:
Identifying cultural assets
8
Elements of Scotland’s Sector Seen as Unique
Our survey asked respondents what elements of Scotland’s arts and culture
sector are particularly special or unique from their vantage point, with
the aim of gaining further, more specified insights into what stands out on
the international stage. These reinforce key attributes articulated in the
previous chapter, and start to profile specific models and examples that we
might recognise as defined cultural assets.
Unique elements recognised internationally

As can be seen from the word cloud in Diagram 8, which captures 156
elements drawn from the responses from international observers, the
Edinburgh Festival and other festivals loom large in the worldview as
unique elements offered by Scotland’s sector. (See the special profile in
Chapter 11 on what people say makes Scotland’s festivals stand out as a
globally significant model.) ‘The Glasgow scene’ is also name-checked by
international respondents as a unique element of Scotland’s sector.
Not surprisingly, Scotland’s heritage and history are recognised as unique

to Scotland – as indeed these would be for any country in the world. More
specifically, Gaelic and Scots culture and Celtic arts are highlighted, along
with the specific artforms of literature, poetry, storytelling, music and
theatre, as both traditional and very contemporary/modern expressions of
Scottish culture.

Diagram 8.
Unique elements
perceived by
international
respondents (n61)
A number of key themes relating to practice and the cultural environment

are perceived by overseas observers as unique faces of Scotland’s arts and
culture sector, reinforcing these as key attributes:
connected and collaborative sector with ‘horizontal relationships’

A
within it. This, together with the international festivals, positions
Scotland as an important hub for global culture: ‘the place to come for
international networking’.
The community engaged and connected and ready to build links and
collaborate, the vision and openness to create new projects, the quality
of work produced, the people who are lovely and passionate, the
horizontality of relationships. (Practitioner working for an international
arts agency in Brazil)
The atmosphere in general, welcoming and with horizontal relations

and specially lots of amazing women in decision making positions.
(Multi-arts curator and programmer in Brazil)

A key element is how vibrant the sector, in terms of literal aesthetics
and also the networking. There is an element of collaboration that
is unique to me, as there is a lot of competition in my home country.
(Multi-arts practitioner in Canada)
commitment to professional training, arts education, and youth and

A
artform development.
well-organised sector with strong artist voices, leading advocacy

A
for the arts and culture and supporting a public focus for policy. In
parallel with this, the amount of self-produced work is noted, showing an
entrepreneurial and independent drive within the sector.
I nnovative use of spaces and interesting venues are highlighted, along

with boundary-pushing site-specific work. The ability to stage world-class
work in remote places and spaces.
We partner with an absolutely unique artistic presenter and producer

in Northern Scotland which we admire for its capacity to bring world-
class art to a remote location. (Artistic director of a dance organisation
in Canada)
The industrial venues and the city of Glasgow itself seemed like unique
creative spots. (Promoter and festival organiser, Argentina)
cotland’s built cultural heritage and infrastructure, with its distinctive

S
aesthetic, architecture and design.
The amalgamation of built heritage and the creative sector. (Director of

a multi-arts company in India)
[A particularly special or unique element is] the architectural

atmosphere. (Director of a festivals management organisation,
Indonesia)
Scotland’s architecture was also highlighted by respondents later in the

survey as a cultural asset: ‘the geographical landscape and architecture’
(production manager for theatre and film in Malta); ‘wonderful architecture’
(Highland Games chairman (volunteer) in Canada).
beautiful landscape that inspires creativity and is reflected in creative

A
work.
The history of your cities, towns and villages make your arts and
cultural sector so unique. The beautiful, rugged, imposing nature of the
landscape inspires creativity. (Film festival coordinator in Canada)
Literally speaking, the elements that come to mind are water and wind.
(Local authority arts funder in Australia)

There were other unique elements recognised internationally. These are
some of them:
cotland’s socially engaged arts and an established ethos in the sector

S
of outreach; public access, combating social exclusion, deploying art in
support of wellbeing.
How art is used to combat social exclusion and improve the wellbeing
of the locals, as I worked with organisations doing activities such as art
therapy and advocating that it should be recognised by the NHS as an
official prescription, training programmes in technical jobs in theatre
to combat youth unemployment, audience outreach programmes, etc.
(Festival manager and programmer in Egypt)
Scotland’s arts and culture sector blends contemporary thinking

and rigorous egalitarian social advancement with solid heritage and
tradition. I’d call this ‘brilliant bones’. (Local authority arts funder in
Australia)
Disability arts
The inclusion of people with disabilities. (Stated both by a festivals

organisation director in Argentina and a cultural exporter from Brazil)
Local values, identity, expression.
The sector’s ‘lovely’, ‘friendly’ people, and their passion for their work.

Balancing an imperial history
As came up in our focus group discussions (see our companion report
‘To See Ourselves’: Cultural Assets and Attributes of Scotland), Scotland’s
position as a former colonial power is highlighted by international observers
– predominantly from countries connected to Scotland through Britain’s
imperial and commonwealth history. These respondents note several
implications of this history that characterise and continue to influence
Scotland’s international profile.
Some elements drawn from the New World, especially Canada, US,
Australasia and the British Empire, especially Africa and South Asia.
Participating in the imperial project with all the responsibility that
implies while simultaneously being an early subject of the project.
The inside outsider. (Policymaker/funder in London, noting this as a
unique element)
New Zealand makes a connection with the colonised point of view which
has many parallels to our own experience. The unique music and poetry
of Scotland often inform the dramatic writing deeply. (Director of a
theatre organisation in New Zealand, noting this as a unique element)
A sense of both pride and responsibility for the imperial past.

(Policymaker/funder in London, noting this as an ethos replicated from
Scotland overseas)
The continued documentation of its history. (Publishing director in

Rwanda, noting this as a cultural asset)
How the Scottish sector characterises its own unique elements

A total of 135 terms have been pulled from the responses from Scotland-
based artists (n47) on what elements of the sector they think are special or
unique. With consideration to points that aren’t considered common to arts
and culture everywhere, the following specific elements were highlighted:
Traditional culture: the resident languages of Gaelic and Scots, and

Celtic culture. Scotland’s traditional music, song, dance and craft,
reflected also in contemporary folk art and crafts.
universal and global appeal, exemplified by the transferability and

A
relevance of much of Scotland’s work, and globally engaged audiences. Global
cultural connections through Scottish diaspora and their shared ancestry.
Scotland’s links to the world through emigration are certainly special

and those journeys were told through stories, song and art and are held
in collections across the country. It also means that heritage is hugely
important within the culture sector – museums and galleries, historic sites
and archives proving a huge draw to those who have ancestral links to the
country. (Local authority cultural planner, Scotland)

World-leading practice, with children’s theatre and storytelling standing
out internationally in particular. ‘World-class’ and internationally
renowned visual arts, dance and music, supported by great infrastructure
and facilities – notably in the visual arts. This includes expertise across
artform specialisms, with special notice given to technical practice,
producing and programming.
Q: What elements of Scotland’s arts and culture sector are particularly special
or unique?
Commitment to artist development, at its best it’s the understanding

that there needs to be good support for the artist in order to create a
good experience for the audiences. (Director of a visual arts production
facility in Scotland)
In the visual arts Scotland has an almost unique network of production

facilities, and a very high calibre of technicians and artist/technician
knowledge and skill base. Scotland’s artist-led models of organisation,
programming and production are held up as world-leading examples of
artistic culture. (Respondent from a visual arts network in Scotland)
Diagram 9.
Unique elements
perceived by
Scotland-based
respondents (n47)
41
The international respondents highlight many of these same elements,
though their prominent themes focus around heritage and Gaelic culture,
music, theatre, literature, poetry and storytelling. International respondents
highlight festivals, and the Fringe in particular, much more heavily than
those based in the Scottish sector. Significantly, in parallel with those based
in Scotland, international respondents also recognise Scotland’s expertise
in children’s arts, technical training, and the impressive infrastructure
supporting the sector.
There were other unique elements highlighted by Scotland-based

respondents:
The connectivity of the sector due to its relatively small scale:
We are small and well-connected. We have a vast geography with

differing needs. We can adapt quickly due to size. We have a cross
sector of specialisms across all artforms. (Respondent from a visual
arts/music organisation in Scotland)
ural arts scenes: valuing and supporting rural, island and local culture,
R
resulting in work that feels culturally rooted and connected to place.
Community-based arts practice ... meaning work that is co-created with

communities and intended to have a meaningful impact in people’s lives
through its making and presentation. (Respondent from a community
arts organisation in rural Scotland)
A strong sense of community, even though the geographic scope of

the country is large – although the population density is not evenly
spread – there is always a good sense of what is happening where and
a willingness to broker partnerships. (Development manager from a
youth music agency in Scotland)
The varying scale of work that takes place from small local festivals to
the national companies. All cultural activity, no matter the scale or its
geographical position all contributes to Scotland’s arts giving a vital
boost to not only local communities and audiences but also the cultural
tourism offer. (Respondent from a visual arts/music organisation in
Scotland)
rtist-led and grassroots models of working, with the visual arts scene
A
highlighted specifically by two respondents.
Government policies, specifically green policies with an environmental

focus, and government acknowledgement of the role of arts and culture
in society. A policy commitment to funding arts and supporting artists is
also noted by respondents in the sector in Scotland, arising from a ‘social
contract around funding’.

Q: What elements of Scotland’s arts and culture sector are particularly special
or unique?
Commitment to production and production processes, support for

artists and their role in society. (Respondent from a contemporary arts
centre in Scotland)
Government’s perspective on the role of art and culture in society.

(Artistic director of a theatre and creative learning organisation in
Scotland)
The social contract around funding – the public expect arts and culture
to be funded by the Government at all levels without question and to be
done largely free from interference. (Local authority cultural planner in
Scotland)
Focus on and awareness of sustainability/climate change within the

sector. (Respondent from a craft development organisation in Scotland)
9
What are Perceived to be Scotland’s Most
Significant Cultural Assets?
Building from impressions evoked through our questions exploring the
core values, reputation and unique elements of Scotland’s arts and cultural
sector, respondents to the survey were next asked what they perceive to
be Scotland’s most significant cultural assets. They were invited to answer
either generally or by giving specific examples.
The word clouds presented in Diagrams 10 and 11 reflect the full range
of responses to this question and therefore spill a little beyond the
parameters we’ve opted to use in defining ‘assets’ for the purposes of this
study (see Chapter 1). In pulling out key findings for this chapter, we have
foregrounded items that we can confidently classify as ‘assets’.
External perceptions of Scotland’s cultural assets

A total of 168 key words and themes were drawn from the many detailed
responses provided by the international respondents to our survey.

Diagram 10.
International
perceptions of
Scotland’s cultural
assets (n61)
Scotland’s festivals: festivals predominate within the text of the

responses from the people worldwide who engaged with the survey, with
many of the Edinburgh and other festivals (i.e. Cryptic/Sonica festival)
name-checked by multiple respondents, as well as more generic comments
about ‘amazing festivals’ and the number of platforms available to the
sector in Scotland.
The festivals like EIFF, the Fringe, EIF of course, the

Scotland’s cultural assets
fact that your national museums and galleries are FREE
to me would be its history,
for all, Calton Hill and the new home of Collective in
its geographical landscape
the City Observatory, always loved visiting Kelvingrove
and architecture, its
Museum, CCA and Glasgow Film Theatre. Edinburgh
festivals, its universities
Castle, Holyrood Castle. And the smaller arts orgs like
and conservatoires, and
Dovecot Studios, Talbot Rice Gallery and Edinburgh
its flair at live events.
Printmakers. (Film festival coordinator in Canada)
(Production manager in
Malta)
I grew up with the traditional associations: whisky, kilts,
bagpipes and sheep. And I believe they’re still there.
I would add now the festivals, particularly the Fringe,
and this idea/example of how to balance past and future.
(Cultural exporter from Brazil based in London)

he people who make up the sector: the next most prevalent asset
T
relates to the many people who work in Scotland’s arts and cultural
sector – represented in the word cloud as artists, culture workers
and cultural organisations (many of which, large and small, are name-
checked in the cloud). The Scottish people in general are also celebrated
as a cultural asset of Scotland.
The Scottish and Scotland-based artists and creatives, as well as the

community of arts managers and producers. (Multi-arts curator and
programmer in Brazil)
The inventiveness of [the Scottish sector’s] artists and managers.

Their pride and respect for the Scottish culture. (Multi-arts manager in
Colombia)
Scotland’s living (and dead) artists are its most important cultural
asset. Its traditions and stories and its heritage buildings and assets are
also significant. (Local authority arts funder in Australia)
In Scotland the community of artists is a valuable asset in terms of

mentorship and sharing the unique style of Scottish art … This is unique
from my home country, which has a lot of artists who also do other
work. (Multi-arts practitioner in Canada)
I feel like Scottish people are fair, honest and pragmatic. Budgets can
be tight and negotiations hard but I always feel a real desire to make
things work fairly. (Artistic director of a dance organisation in Canada)
cotland’s producing practitioners and companies, the agencies that

S
support them and the touring structures that propagate their work.
The vision and long-term planning artists and

organisations have, the ambitions led by the Part of it is the institutions
community, the support and funding structure from for funding and
Creative Scotland, the networks supported by [it]. supporting the arts. The
(Practitioner working for an international arts agency other significant cultural
in Brazil) asset is a community of
artists. This is unique
Producing organisations (theatres, touring from my home country,
organisations, performers). Freelancing artists and which has a lot of artists
cultural practitioners in general. Scottish heritage who also do other
sector (national parks, historic buildings, etc). Cultural work … In Scotland the
development organisations that help the cultural sector community of artists
to remain sustainable. (Arts management graduate is a valuable asset in
from Germany) terms of mentorship and
sharing the unique style
any specific organisations and artists are named as
M of Scottish art. (Multi-arts
cultural assets and in connection with the assets listed practitioner in Canada)
above, spanning multiple contexts (as can be seen in the
world clouds in Diagrams 10 and 11).

Other elements of Scotland’s sector and culture recognised prominently by
international respondents as cultural assets include the following:
raditional arts and oral traditions, representing Scotland’s historical

T
fabric, and their preservation through the country’s tangible and
intangible culture.
The important role that storytelling plays in Scotland. Poetry.

[Scotland’s] work around preservation of disappearing languages.
(Publishing director in Rwanda)
Music, folklore, myths and stories as integrated into all forms of writing.
High quality artists. (Director of a theatre organisation in New Zealand)
The folk music and dance music traditions are what I know best. They
have had a big impact on the cultural circles I engage with. I am also
familiar with the sound art scene through my visits. Additionally, the
contributions made by many of the festivals Scotland hosts have
had major impacts on the global cultural landscape. (Arts education
manager in Bahrain)
Gaelic culture as distinct to Scotland on the world stage, while also being
the root of Gaelic cultures in Canada, the USA and elsewhere.
The Gaelic language. Take care of this, and the arts that spring from it
will flourish. (Traditional musician in USA)
The Gaels – the people rooted in a place, culture, and worldview

expressed through Gàidhlig; the land; the rich aspects of Gàidhlig
cultural expressions – song, music, storytelling, bàrdachd, history,
cosmology, worldview, wisdom system. (Experiences coordinator in a
Gaelic museum in Canada)
Scotland’s built heritage and architecture
Creating a civil culture which should be nurtured and accessible;

sustaining, modernising and interpreting Scotland’s history; Scotland
has wonderful architecture presenting a story, it is tangible; it also has a
spirited source of intangible storytelling in dance, song, narrative.
(Highland Games chairman in Canada)
Well-documented and preserved heritage sites alongside the most

contemporary of venues. (Theatre sector manager, USA)
Scotland’s cultural policies (see Profile 1 for details)

Profile 1: Scotland’s cultural policies
as a cultural asset
Both international and Scotland-based respondents make reference to
Scotland’s cultural policies and government position on culture, highlighting
specific examples variously as cultural assets, as distinctive models and as
making an important contribution to the international stage. In this profile
we present key comments from both groups across the survey.
[A different, distinctive or excellent model is] ‘A Culture Strategy for

Scotland’. I don’t think any other country puts so much thought and
tries to reach out to as many people in order to come up with the set
strategies that the sector must have in order to keep being relevant and
improving. (Arts practitioner in Germany)
The Cultural Strategy is an asset. (Respondent from an arts funding/

policy agency in Scotland)
[A cultural asset is] the fact that your national museums and galleries
are free for all. (Film festival coordinator in Canada)
[Scotland makes an international contribution by being] an example of

the importance of government support in expressing a national artistic
conversation in a global market, underlining the value and importance
of the artist and the creative in that expression. (Theatre sector
manager, USA)
[A different, distinctive or excellent model is that] the policy climate is

extremely supportive of the creative sector and has created the right
institutions to support that. (Publishing director in Rwanda)
[International peers are most curious about the] social democratic

approach of policy makers. (Respondent from a youth music
The outside perspective is that there is total support by governmental

entities and local communities towards the festivals. (Arts manager
from a major museum in USA, citing this as an inspirational model)
[A different, distinctive or excellent model is] authentic political support

for indigenous languages and cultures. (Music and Gaelic arts student
in Canada)
[A different, distinctive or excellent model is] the support for their

artists and the lens on their labour, rights, and sustainability (Multi-arts
manager in Colombia)

How the Scottish sector identifies its own cultural assets
Respondents from within Scotland’s arts and culture sector identify similar
assets, highlighting festivals, heritage and traditional arts, as well as touring
networks, in parallel with the international responses outlined above.
The Scottish sector perceives its greatest asset to be its cultural

workforce, including artists and practitioners, producers, curators and
managers.
The artists who get together, rent studios, then open up things to other
artists. (Director of a visual arts organisation in Scotland)
Scotland’s network of independent artists and practitioners, small arts

organisations and promoters who produce work and engage audiences
for little reward but reach communities and groups that national
companies and major organisations may fail to engage with. Without
these people there would be no cultural sector in Scotland. (Local
authority cultural planner in Scotland)
Practitioners (artists in all disciplines, academics, curators). Places and

events that nurture their practice and share it with the wider public
to the mental wellbeing and development of society. Landscape and
museum collections with innovative ways of caring for them responsibly
while caring for their sustainable future. (Respondent from a visual arts,
fashion and textiles centre in Scotland)
This could be construed as a platitude, except that a very large number

of the survey responses preceding this question convey a deep and strong
admiration and respect for the professionalism, world-leading expertise and
innovative practice associated with those working in the sector in Scotland.
That this is recognised internationally by those engaging with Scotland’s
sector as well as in the ‘home’ context validates the significance of the
cultural workforce as an asset.

Diagram 11.
Cultural assets
from the viewpoint
of Scotland-based
respondents (n46)
Key to the sector’s world-renowned expertise and skill are the arts schools
and production and workshop facilities across the country, which are
recognised by Scotland-based respondents as being significant cultural
assets. These relate to the attribute of artistic development referenced in
earlier questions in the survey.
Visual arts production facilities (Scotland’s Workshops) and craft

production facilities – where skills, knowledge and experience are
developed, retained and passed on to future generations. (Respondent
from a craft development organisation in Scotland)
The network of art production facilities across the country (Scotland’s

Workshops, including print, sculpture, photography studios).
(Respondent from a contemporary arts centre in Scotland)
Its production centres which provide access for artists to make work
and for the public to develop skills and in addition the above combined
with exhibition spaces which are free and open to all. (Respondent from
a photography organisation in Scotland)

Art Schools – Grays School of Art, Duncan of Jordanstone, Edinburgh
College of Art and Glasgow School of Art – are where Scotland’s artists
learn to challenge conventions, create and inspire each other and to
reflect their experiences through art. They are a vital part of our cultural
landscape. (Local authority cultural planner in Scotland)
Scotland’s cultural infrastructure, as an asset noted

internationally, is reinforced and brought into more explicit I think Scotland’s
focus through a wealth of specific contexts and examples contemporary cultural
provided by our Scotland-based respondents, who make (which is hard to separate
specific mention of: from political) landscape
is an asset. Art has
venues (music venues, comedy venues, grassroots venues) to be informed by life
/ touring networks and local-spaces for touring / local and people and I think
museums and archives / library services / independent Scotland’s contemporary
cinemas/ arts and cultural organisations (see examples in issues and collective
the word cloud) / artist-led initiatives. experience not only
brings us together as
Scotland’s traditional and folk culture is recognised by a small nation but also
the Scotland-based respondents, specifically: the Fèis informs our cultural work.
movement, traditional folk culture, arts and music; galas, (Musician and director
games and gatherings. from a youth music
[A cultural asset is Scotland’s] folk culture, its
indigenous languages, its centres of development (e.g.
youth theatre, Fèis movement, National Youth Orchestra
of Scotland) and its centres of excellence (Royal Very good artist-led
Conservatoire of Scotland, music schools, National scene although this is
Youth Pipe Band, Celtic Connections). (Respondent a bit undermined at
from a traditional arts organisation in Scotland) the moment and could
be stimulated better.
The traditional cultural assets like bagpipe, folk music, (Director of a visual arts
ceilidh are a big advantage to start with. Few countries production facility in
have that. This is something contemporary art can Scotland)
build on. Combined with a strong sense of community,
egalitarian society and new economies these can be our
cultural assets. (Community arts curator in rural Scotland)
Arts for children and young people come through strongly as a cultural
asset in the responses from people based in the Scottish sector. Several
international respondents also highlight this aspect of Scotland’s cultural
provision as a distinctive model of Scottish best practice and as a unique
element that stands out in the international arena. See Profile 2, which
collates specific comments from across our two datasets, reinforcing the
significance of this specialism as a major cultural asset for Scotland.
Likewise Scotland’s disability arts sector and its artists are recognised
as a distinctive asset by respondents at home and internationally: we have
collated testimonies in Profile 3.

Other prominent parts of the sector specifically highlighted as cultural
assets by respondents based in Scotland include Scotland’s video games,
publishing, digital, media and other creative industries.
Games industry – Scotland has a history in developing unique and

epoch defining games that other countries envy, from Lemmings to
Grand Theft Auto and even Minecraft. With studios in all our major cities
producing indie games, mobile hits and the next mega blockbuster
– the sector and culture surrounding games is going to continue
developing and overtaking other forms of culture in terms of audience
interest and how they can be used to reflect our societies and issues in
contemporary Scotland. (Local authority cultural planner in Scotland)
Music in all its forms; traditional, folk, contemporary, electronic,

classical, jazz, rock, pop and indie. Visual art. Computer and video
games. Literature and publishing. Theatre. Film and TV. Gaelic
language – and regional variations especially around the islands. Scots
language – and regional variations from the South to Grampian and
the Northern Isles. Heritage in all its forms including the large national
and small independent museums and galleries. Festivals and events.
Music venues, especially grassroots ones. Theatres and comedy venues.
Independent cinemas. Community arts projects. Craft makers. Fashion
designers. Textile producers. Whisky (even though it is a beverage it
is steeped in the country’s culture). Independent media, especially
community and digital. (Respondent from the music and digital media
sectors in Scotland)
Finally, Scotland’s philosophical outlook and social values are cited as

significant assets by the respondents from within the sector in Scotland:
egalitarianism, equality, inclusivity and diversity are all ascribed explicitly
as assets possessed by the sector, along with social values, political values,
the sector’s capacity for critique and desire to push boundaries. As noted in
Profile 1 on cultural policy, Scotland’s cultural policies are also highlighted
by respondents from within the sector in Scotland, with explicit mention of
the government’s cultural strategy.

Profile 2: Exploring a cultural asset:
Scotland’s arts for children and young people
In answer to our question on what they perceive as Scotland’s most
significant cultural assets, many respondents from Scotland and around the
world pinpointed distinctive and ‘pioneering’ approaches to providing arts
and creative opportunities for children and young people. Here we collate
responses offered across the whole survey that profile Scotland’s arts for
children and young people as unique elements, models of best practice, and
cultural assets. As the quotes below show, these models celebrate Scotland’s
theatre, music, dance and dedicated festivals for children, as well as
cultural engagement and outreach mechanisms in general, youth arts, and
traditional and Gaelic arts networks.
Having volunteered with Imaginate (now EICF), I have seen the genuine
dedication of volunteers and the organisers that go into the making and
running of this festival. When I had volunteered in 2017, it was evident
that not only was the programming tailored to cater for every age
group, but also for all learning styles and possible conditions – featuring
sensory rooms at the National Museum, interactive storytelling, and
more. It shows true devotion to making it a festival FOR children and
young people. (Production manager in Malta, citing this as a model of
best practice)
Imaginate children’s festival is the best example of leadership and

execution. (Multi-arts manager in Bahrain, citing this as a model of best
practice)
Scotland has gained a tradition of making shows that audiences across

the world want to see. The best of our work in the children and young
people’s area has a strong narrative or arc, and a great deal of this
work has a universal form and appeal meaning shows can tour for many
years. We are strong storytellers in whatever form we choose to tell
those stories. (Respondent from a participative youth theatre company
in Scotland)
Fèisean nan Gàidheal is a fantastic way of introducing children to Gaelic

arts and culture. (Traditional musician and dancer in Canada, citing this
as a model of best practice)
Arts Alive: an excellent movement to bring arts and culture to early

childhood in schools in a professional manner. (Director of a festivals
management organisation, Indonesia, citing this as a model of best
practice)

A specific example of good practice is ‘Leugh is Seinn’ (Read and Sing)
with Gaelic Reading Ambassador Linda MacLeod sharing Gaelic stories
with young readers, and engaging with hundreds of children every year
in school and community settings and now online since the pandemic.
(Respondent from a Gaelic arts and language organisation in Scotland)
[A unique element of the sector is] Children’s and Young People’s

Theatre & Dance Sector. Theatre in Schools Scotland [as a model of
best practice] aspires to reach every child with high quality cultural/
theatre experience. (Artistic director of a theatre and creative learning
Sistema: all arts sectors should be supported in this way and at this level
to deliver arts activity for children and young people. (Respondent from
a craft development organisation in Scotland, citing this as a model of
best practice)
The sector I work in, for Children and Young People, has been a great
example of how to create, innovate and develop even with the constraints
of funding and a fragile structure. Over 25 years Scotland has created
a repertoire of work by companies and artists like Catherine Wheels,
Shona Reppe, Barrowland Ballet, Curious Seed, Andy Cannon, Andy
Manley, Lyra and many others that successfully tour and regularly win
awards across the globe. Part of this movement has been based around
Imaginate, producer of one of the world’s most popular and successful
Children’s Festivals and also a broad supporter and catalyst for the
development of the artform. (Respondent from a participative youth
theatre company in Scotland)
Starcatchers – a holistic model developing theatre/performances/creative

experiences for the very young in Scotland – is recognised internationally
as being pioneering in the field, creating work or delivering programmes
that respond to the needs/ages/stages of its audience; using the arts as a
vehicle to support social/emotional development of very young children
as well as strengthen relationships with parents/carers; developing
programmes to support the creative capacity of the early learning and
childcare workforce. (A respondent from Starcatchers in Scotland)
[A globally distinctive model is] theatre for young audiences, which unlike
much other arts, is developed for and with its audience, through much
testing, workshops etc with target audiences, which results in innovative
but still accessible performance, which is audience focused. (Respondent
from a children’s arts company in Scotland)
I think the Youth Theatre sector in Scotland is a model of excellence that is

little celebrated. During COVID this part of the sector has kept delivering,
keeping theatre alive! (Director of a youth theatre company in Scotland)

Profile 3: Scotland’s disability arts sector as a
cultural asset
Across the survey, respondents highlight Scotland’s disability arts sector
and the reputation of the sector at large for inclusion, with specific
reference to engaging people with disabilities. This is cited as a cultural
asset by many respondents, with others highlighting this approach as
a unique element of Scotland’s sector or as an inspirational model for
international practice.
[I’m impressed by Scotland’s] commitment to access and disability

inclusion. (Multi-arts producer in USA)
From the amount of theatre companies and organisations that

incorporate people with disabilities and from very different
backgrounds, to having a clear and positive representation in very
important and significant places such as the National Museums of
Scotland [is an inspirational model of best practice]. [The international
contribution of Scotland’s arts and culture are that] they bring hope,
freshness and inspiration. Companies such as Birds of Paradise,
museums like the Surgeon’s Hall and the countless festivals and
theatres make Scotland the place to be regarded as a role model for
other countries. The way Scotland and the people within it breathe and
engage with the sector is truly incredible. (Arts practitioner in Germany)
[Values I associate with Scotland are] creativity, organisation, diversity

[and] a strong capacity to include people with disabilities. [I’m most
impressed by] the capacity to include/promote the work of artists with
disabilities. (Cultural exporter from Brazil based in London)
Socially focused institutions such as Birds of Paradise, Arika, Glasgow

Women’s Library, Stellar Quines, Luminate, etc. [embody a model that
is different, distinctive or excellent]. The research, development and
creation of work across specific subjects or work around equality and
diversity is a very interesting model from the Scottish sector. They
stand out for their specialism and investigation on social issues and
contribute to pushing and influencing those agendas. (Practitioner
working for an international arts agency in Brazil)

Scotland delivers many high-profile opportunities for performers with
a learning disability. Performers whose voices are not always heard.
(Respondent from a disability theatre organisation in Scotland)
Birds of Paradise [is an] excellent model [as a] disability-led

organisation. (Respondent from a disability dance company in
Scotland)
The practice of disabled artists – e.g. Claire Cunningham, Birds of

Paradise/Robert Softley Gale [is a distinctive model internationally].
These artists were championed through policy and funding
interventions from around 2007 and nurtured through Scotland’s
involvement in Unlimited in the lead up to 2012 Cultural Olympiad.
Sadly, I think the policy and funding for nurturing and development of
individual disabled artists has faltered in recent years. (Respondent
from an artist-led dance organisation in Scotland)
[A distinctive element of Scotland’s arts and culture sector is] our

approach to including those with disabilities. (Artistic director of a
theatre in Scotland that engages with disability)
[A model of best practice from Scotland is the] infrastructure and

support for disabled artists and organisations. (Artistic director of a
visual arts organisation in Scotland that engages with disability)
Agent for Change [is a model of best practice, with its] role to champion
disabled artists within arts organisations and artform sectors.
(Respondent from an artist-led dance organisation in Scotland)
In the next chapters, this report takes a closer look at what specific
contributions the Scottish sector is seen to offer the world and
suggests further insights on what makes these contributions unique
on the world stage. We conclude with what we might recognise
as key cultural assets in Scotland on the basis of all the findings
presented from this survey.

Part Three:
Understanding the global significance
of Scotland’s sector
10
What Scotland’s Art and Culture Sector
Contributes to the World
In order to gain a deeper insight into what exactly it is about Scotland’s
arts and culture sector that has generated the impressions reported so far,
in this final part of the report we capture what our survey respondents
consider the Scottish sector has contributed to the international arena.
We also present detailed findings on what models of international practice
and inspiration respondents identify as having emanated from Scotland.
What does the Scottish sector bring to the international arena?

Having asked respondents to share their perceptions concerning the
Scottish sector’s reputation, associated values, uniqueness, assets and
features, our survey next asked respondents to summarise specific
things they believe Scottish arts and culture organisations bring to the
international arena.
In analysing and reporting these responses we have differentiated elements

relating to the Scottish sector’s philosophical contributions to the world’s
cultural sector, practical approaches that it offers to international artists/
sectors, and elements which are deemed quintessential to the Scottish
sector.
Key findings in these categories are presented in the following table,

distinguishing international responses from those coming from within the
Scottish sector.

What do Scottish arts and culture organisations bring to the
international arena?
PHILOSOPHICAL Comments by international Comments by Scotland-based

respondents (n61) respondents (n42)
contributions
AUTHENTICITY ‘A departure from stereotypes associated Artist-led values: ‘Values-led vision,
with Scottish culture – contemporary sharp understanding of the cultural
perspectives, embracing collaboration moment, peer-led values and artist-led
and with an eye to connecting Scotland model of working’ (respondent from a
with the wider European context’ (arts visual arts network in Scotland)
development manager in Ireland)
‘Empathy, enthusiasm, sharing,

new themes, authenticity, curiosity’
(practitioner working for an
international arts agency in Brazil)
GLOBAL RELEVANCE ‘Local value x global values’ (arts ‘Keeping a living tradition relevant and
agency manager in Brazil) engaging for new audiences’ (respondent
from a multi arts and digital creators
‘They bring hope, freshness and collective in Scotland)
inspiration’ (arts practitioner in
Germany) ‘Merges the local and the international;
expressions of the experience and nature
‘Model of national artistic conversation of Scotland’s landscapes and urban life
in global market’ (theatre sector which can have universal resonance’
manager, USA) (respondent from a visual arts, fashion
and textiles centre in Scotland)
‘Strengthens relationships, mutual

understanding and empathy across
the world … and strengthens cultural
dialogue’ (respondent from a visual arts/
music organisation in Scotland)
BEING OPEN AND ‘Openness to diverse perspectives’ (city ‘Universal, accessible’ (producer in a
librarian in Canada) dance company in Scotland)
OUTWARD-LOOKING
‘Receptive to ideas and new possibilities’ ‘Capacity to connect with audiences
(programming manager of a multi-arts through fresh ideas’ (respondent from
organisation in USA) an artist-led dance organisation in
Scotland)
‘Enthusiasm, diversity, a contemporary
look and an honest interest in other ‘Outward-looking’ (respondent from
cultures’ (arts agency manager in a disability theatre organisation in
Argentina) Scotland)
CIVIL VALUES Demonstrated ‘commitment to civil ‘A connection between culture and
society’ (city librarian in Canada) community and a commitment to using
culture to make a difference’ (respondent
‘Commitment to attendees’ experiences’ from a community arts organisation in
(arts management graduate in USA) rural Scotland)
‘A belief in the voice of artists and

the power of art’ (respondent from a
contemporary arts centre in Scotland)
INCLUSIVITY ‘Inclusion of people with disabilities’ ‘Diversity’ (respondent from a Gaelic
(cultural exporter from Brazil based in arts development agency in Scotland)
London)
‘Importance of inclusion and access in

the arts’ (publishing director in Rwanda)

PHILOSOPHICAL Comments by international Comments by Scotland-based

contributions
SOLIDARITY AND ‘Sense of solidarity with international ‘A sense of community and sharing’
Gaels’ (traditional musician and dancer (respondent from a participative youth
WILLINGNESS TO in Canada) theatre company in Scotland)
SHARE
PROGRESSIVENESS ‘A progressive approach, leading by ‘Contemporary perspectives that are
example’ (practitioner and academic rooted in a sense of tradition and
from New Zealand) social progressiveness’ (artistic director
of a theatre and creative learning
‘Innovative style and content’ (multi-arts organisation in Scotland)
director in India)
‘Forward-thinking’ (music and sonic arts

practitioner from Mexico)
MODELLING AN ‘High-quality works yet accessible to
the general audience, not too niche
EGALITARIAN AND nor elitist’ (festival manager and
DEMOCRATIC programmer in Egypt)
CULTURE
‘I think there is an inherent tension
between prestige and accessibility, but
the combination of festivals creates
an atmosphere of excitement and
community that is hard to find’ (film
festival coordinator in Canada)
‘A broader definition of culture that

is closer to the people and blurs the
differences between so called “high arts”
and art that affects people – without
being too mainstream’ (culture ministry
director in Germany)

PRACTICAL Comments by international Comments by Scotland-based

contributions
PROFESSIONAL ‘Expertise, leadership’ (performing arts ‘Professionalism’ (artistic director of a
producer in Argentina) theatre in Scotland)
EXPERTISE
‘Very professional working standards’ ‘Largely high-quality productions,
(practitioner from the literature, professional standards and interpretation
libraries and publishing sectors in across artforms and museums/galleries’
Argentina) (local authority cultural planner in
Scotland)
‘Amazing artists/creatives’ (multi-arts
curator and programmer in Brazil)
A BENCHMARK FOR ‘Amazing work’ (multi-arts director in ‘High quality practice and projects’
India) (artistic director of a theatre and creative
HIGH QUALITY learning organisation in Scotland)
‘High-quality works’ (festival manager
and programmer in Egypt) ‘A commitment to high-quality
presentation’ (respondent from a
‘High standards of performance’ (city contemporary arts centre in Scotland)
librarian in Canada)
‘Quality work which is ground-breaking
and accessible’ (respondent from a
photography organisation in Scotland)
AN EXAMPLE OF HOW ‘A benchmark of good production value, ‘High quality production because of
and a textbook case of how strategy the theoretical and physical grounding
TO FLOURISH is fundamental in the survival of an and facilities we provide here’ (director
organisation’ (production manager for of a visual arts production facility in
theatre and film in Malta) Scotland)
CROSS-DISCIPLINARY ‘I think our uniquely vibrant cross-genre
collaboration offers a unique contribution
ARTS to the international music scene’
(musician and director from a youth
music organisation in Scotland)
‘Integrity of ideas and expression across

artforms’ (respondent from an arts and
design organisation in Scotland)
LOCAL KNOWLEDGE ‘Knowledge from their own sector, local, Local organisations and artists reaching
regional and national perspectives on international audiences (respondent from
FOR INTERNATIONAL art making and politics’ (director of a a film development agency in Scotland)
CONTEXTS contemporary dance centre in Norway)
NEW WAYS OF DOING ‘Fusion’ (multi-arts manager in Bahrain) ‘Innovation’ (respondent from a
photography centre in Scotland)
‘New themes’ (practitioner working for an
international arts agency in Brazil) ‘Ingenuity’ (director of a youth theatre
‘Opportunities for innovation’ (multi-arts
producer in USA) ‘New ideas’ (respondent from an arts
funding/policy agency in Scotland)
‘Innovative style and content’ (multi-arts
director in India)
ARTISTIC CRITICALITY ‘Criticality’ (director of a visual arts
production facility in Scotland)

PRACTICAL Comments by international Comments by Scotland-based

contributions
INTERNATIONAL ‘Companies such as Birds of Paradise, ‘Scotland contributes more great work
museums like the Surgeon’s Hall and than might be expected from a small
MODELS FOR the countless festivals and theatres make population’ (music director at a rural
PRACTICE Scotland the place to be regarded as theatre in Scotland)
a role model for other countries’ (arts
(see also Chapters 11 and practitioner in Germany) ‘A small nation with a big punch’
(director of a visual arts organisation in
12 exploring Scotland’s
‘The Military Tattoo … and Scottish Scotland)
international models and films carry weight, importance and
impacts in greater detail) uniqueness’ (arts development funder in ‘Artist-led model of working’ (respondent
Hong Kong) from a visual arts network in Scotland)
‘A long history of highly regarded ‘Innovative creative learning and

international festivals such as EIFF, education’ (respondent from a multi
the Fringe, EIF that have been running arts and digital creators collective in
for decades’ (film festival coordinator in Scotland)
Canada)
‘Role model for professional Scottish
‘Benchmarking examples’ (multi-arts inclusive dance practice’ (respondent
curator and programmer in Brazil) from a disability dance company in
Scotland)
A MODEL AND A model for a collaborative ecosystem ‘Collaborative practice; working with
(independent producer of performing other sectors’ (respondent from an arts
PLATFORM FOR arts and creative industries in funding/policy agency in Scotland)
COLLABORATION Argentina)
‘Strengthening relationships, mutual
Sharing skills: ‘[Scotland’s sector] understanding and empathy across
provides resources, collaborative the world – it builds connections and
connections, learning and performance dialogue and gives the opportunity for
opportunities’ (traditional musician and exchange and learning between artists,
dancer in Canada) audiences and institutions’ (respondent
from a visual arts/music organisation in
‘A platform to connect, collaborate and Scotland)
learn from each other’ (producer and
programming director in Argentina)
A ROLE MODEL Exemplar of importance of government ‘Supporting freelancers well’ (respondent
support (theatre sector manager, USA) from an arts funding/policy agency in
OF SUPPORT FOR Scotland)
CULTURE ‘A strong notion of the state as a
promoter of cultural activities’ ‘Support for the production process’
(performing arts programmer in (respondent from a contemporary arts
Portugal) centre in Scotland)
Support and locus for ‘the Gaelic

diaspora’ (traditional musician and
dancer in Canada)

QUINTESSENTIAL Comments by international respondents Comments by Scotland-based

(n61) respondents (n42)
elements
A DISTINCTIVE VOICE ‘A unique voice’ (arts education manager in ‘A unique identity’ (respondent from a
Bahrain) youth music organisation in Scotland)
‘A unique perspective’ (artistic director ‘A distinctive identity rooted in time and

(multi-arts) in Australia) space’ (artistic director of a visual arts
‘Uniqueness’ (arts manager from a major
museum in USA) A voice ‘not afraid to express itself’
(respondent from a participative theatre
and storytelling company in Scotland)
‘Our sense of self, our languages, place and

who we are in the world’ (artistic director
of a theatre company in Scotland)
UNIQUE CHARACTER ‘Northern European small-state ‘We bring our unique take and humanity
nationalism, similar to Baltic States and in the work that is produced. We have a
Norway, Finland’ (policymaker/funder in level of humour, darkness, ingenuity that
London) is unique’ (director of a youth theatre
‘A strong sense of identity and grounding,

hospitality and international friendship’
(respondent from the storytelling sector in
Scotland)
UNIQUE CULTURAL ‘Another perspective’ (independent ‘A sense of a deeply rooted culture finding
producer of performing arts and creative fresh expression across all artforms’
PERSPECTIVE industries in Argentina) (respondent from a traditional arts
A ‘refreshing’ approach (artistic director
(multi-arts) in London) ‘The stories of a country that has a strong
sense of identity – and of one that is also
‘A different, genuinely curious look at the outward-looking’ (respondent from a
world’ (practitioner from the literature, disability theatre organisation in Scotland)
libraries and publishing sectors in
Argentina)
‘Exciting and innovative work from

a Scottish cultural perspective’
(programming manager of a multi-arts
organisation in USA)
‘An indigenous perspective (though

equal in value to all other indigenous
perspectives)’ (traditional musician in USA)
‘Unique culture – language, stories, music

and dance’ (volunteer manager at a major
Celtic arts event in Canada)
LOCAL VOICES Level of cultural engagement: ‘The way ‘Local voice full of passion and experience’
Scotland and the people within it breathe (respondent from a participative theatre
and engage with the sector is truly and storytelling company in Scotland)
incredible’ (arts practitioner in Germany)

QUINTESSENTIAL Comments by international respondents Comments by Scotland-based

(n61) respondents (n42)
elements
A SENSE OF PLACE ‘Connection to the land’ (experiences ‘A strong sense of place, recognition of
coordinator in a Gaelic museum in the value of people, desire to interact and
Canada) engage’ (respondent from the music and
digital media sectors in Scotland)
‘A unique cultural identity that is rooted
in the spirit of a people and a place’ (arts
policymaker/funder in Ireland)
DISTINCT FROM REST ‘I think they bring out a brilliant, yet a
lesser-known side of the region to the world’
OF UK (producer at a multi-arts festival in India)
‘All things Scottish’ (arts management

graduate in USA)
‘A different aspect of Great Britain,

apart from London centric organisations’
(musician and digital media practitioner in
Germany)
‘A Scottish point of view that is distinctly

different from the rest of Britain, which
draws from its heritage, culture and
people’ (independent theatre producer in
Singapore)
VIBRANCY ‘Scottish art brings a standard for being ‘Boldness and confidence’ (artistic director
vibrant’ (multi-arts practitioner in Canada) of a visual arts organisation in Scotland)
‘Passion for our craft’ (respondent from

a community arts organisation in rural
Scotland)
These lists indicate a wide range of contributions to the international

cultural arena associated with the arts and culture sector in Scotland. The
next chapter provides further context for these elements by capturing
specific examples of excellent and inspiring practice cited by the
respondents in our survey.

11
Models from Scotland Distinguished as
‘Different, Distinctive or Excellent’
Respondents to our survey were asked what specific models of how arts
and culture are supported, delivered or performed in Scotland they think
are different, distinctive or excellent on an international stage. They were
advised that this could be a policy, an event or initiative, or a way of doing
something. Many respondents from Scotland and overseas offered more
than one example in their responses.
A longlist of the organisations highlighted in these A model of audience

responses is presented in Appendix I, showing which diversification, cited by
have been distinguished in our survey by international or a festival manager and
Scotland-based commentators, or both. programmer in Egypt:
Organisations go an
For our analysis to go beyond a list of named examples, extra mile to make sure
we’ve sought to extract insights from the comments diverse audiences are
provided by respondents into what these examples attending, and not just rely
represent as models on an international stage. Indeed, on ticketing policies that
many of the responses did not name a specific organisation give discounts to students,
or example, but highlighted a general theme. We have elderly, unemployed,
organised the findings into key themes which identify those etc. I worked with Just
aspects of practice and organisation that are recognised Festival in Edinburgh
as ‘different, distinctive or excellent practice’, drawing that collaborated with
from the comments received from international (n50) and NGOs serving refugees,
Scotland-based (n42) respondents. underprivileged youth,
and marginalised groups
Ways of doing things: Models of practice living in Scotland to …
Throughout the survey, respondents highlighted the [overcome] geographic,
richness of Scotland’s sector including specialised social, and cultural
organisations whose niche practices and expertise make barriers. Having an
an important international contribution. Respondents intermediary that those
highlighted a number of innovative and inspiring models groups trust can be
relating to sector practice, specifically: more encouraging and
help build a long-term
audience diversity through outreach relationship. I was really
artist-run spaces inspired by this model and
artistic residencies implemented a similar
festivals (see profile below) outreach programme with
production facilities Egyptian NGOs to give
innovative production models access to marginalised
specialist and niche organisations audiences who wouldn’t
theatre for young audiences normally be able to attend
use and transformation of unique spaces for festival the festival I manage in
and the arts Cairo.
high levels of volunteer engagement.

Profile 4: What makes the Edinburgh
(and Scotland’s other) festivals distinct?
The Edinburgh festivals, along with Scotland’s other festivals, feature
prominently in survey responses from both international and Scotland-
based commentators. As this report already shows, they are considered
to be core to Scotland’s cultural profile and reputation and are cited as a
unique element of practice, an international model for practice and a key
cultural asset.
To provide further insight into why Scotland’s festivals and model make
such an impact, we have collated details of what makes them so distinctive
for our respondents.
Distinctive What respondents highlighted

element
The sheer range Amazing festivals to explore the full range of the culture. (Theatre sector manager,
of different USA)
festivals [I’m impressed by] the balanced festival ecosystem. (Director of a festivals management
organisation, Indonesia)
The variety and diversity of artforms and festivals within Scotland. Also the
varying scale of work that takes place from small local festivals to the national
companies. (Practitioner and academic from New Zealand, citing this as a unique
element)
Festivals all [A model is] planning a roster of festivals around the whole year stimulates visibility
year round of projects, productions and artists, stimulates tourism year-round and enhances the
opportunities for global distribution in most genres of the cultural sector. (Producer and
Festivals, all of them that happen year-round, not just the Fringe. (Festival manager
and programmer in Egypt)
Small-scale The Fèis movement and its counterparts in places like Orkney and Shetland; small
festivals with festivals of international standing like St Magnus, Lammermuir, Ullapool Book,
Hippfest Silents, etc. (Respondent from a film development agency in Scotland,
international stating what international peers are most curious about)
reach
Wigtown Book Festival as a high-quality arts project that is delivering meaningful
community benefits for its town. (Respondent from a community arts organisation in
rural Scotland, citing an international model)
While often introduced to Scotland through high-profile festivals, it is often the small-
scale, more experimental practice that international peers are then curious about.
(Respondent from an artist-led dance organisation in Scotland)
While our national companies, galleries and museums are of high quality and able
to hold their own in an international context, I think our real strengths are at the
smaller and distinctive level: festivals, music groups, theatre companies, independent
museums, film-makers, etc. At that level there’s the greatest scope for fruitful exchanges
and interactions, for reaching international audiences. (Respondent from a film
development agency in Scotland, discussing international contribution)
64
element
The open The Fringe Festival being open to anyone who wants to perform. Every other Fringe
programming I’ve been to has some kind of application with a fee and audition process. (Film festival
coordinator in Canada)
model of the
Fringe I was impressed by the agency model of the Fringe Festival and the scope of its
programming and participants as it is different from any other international arts
festival in the sense that most of them are curated, whereas the Fringe provides services
and democratises the access and equity to both artists and audience. (Producer and
The Edinburgh Fringe is the best showcase of how flexibly arts can be accommodated,
no matter in venue arrangement, scheduling, audience engagement. It brightens one’s
eyes and refreshes one’s arts experience [and is] most distinctive. (Arts development
funder in Hong Kong)
Festivals as Large-scale festival format, embracing mainstage, midcareer and outsider artists.
platforms (Arts manager from a major museum in USA, citing this as a model)
for artist The most obvious example is the binary of the Edinburgh Fringe being the platform
and artform of all artists, from established to up-and-coming (having debuted some now-established
development playwrights and stand-up comedians), and the Edinburgh International Festival
featuring high-end budgeted productions and exhibitions. (Production manager for
theatre and film in Malta citing this as a model)
Fringe Festival and the collective support of emerging comedy and theatre.
(Practitioner and academic from New Zealand, citing this as a model)
A large-scale festival model over the summer where all artforms are celebrated and
showcased. (Respondent from a contemporary arts centre in Scotland, citing this as a
model)
A global hub for Scotland’s multiculturality and internationality (during, for example the Fringe
international Festival), enables creation and engagement with very different cultures and artforms,
making Scotland the best hub for interacting and engaging with cultures and
networking and arts from all over the world, and also enabling collaborations and networking. (Arts
collaboration practitioners from Germany)
In 2010, I participated in the Celtic Connections Festival in Glasgow as a musician.

The way we collaborated with artists from Scotland and the UK left an extremely deep
impact on me. I still maintain the friendships I made through that experience. (Arts
education manager in Bahrain)
Our festivals – the Edinburgh ones in particular – are of course, unique as a

gathering space for artists from around the world and an opportunity for our
own artists to be part of the wider arts world. (Respondent from a participative youth
theatre company in Scotland, citing this as a model)
The world’s ‘go- The contributions made by many of the festivals Scotland hosts have had major impacts
to’ international on the global cultural landscape. Over the years, I’ve been impressed looking at festivals
such as the Edinburgh Festival and the Fringe Festival. Those, among others, have become
festival model go-to models for festivals around the world. (Arts education manager in Bahrain)
[A model is] most of the Festival’s programme in Edinburgh. The character of

the programming and development, plus the funding from both the government, the
audiences, and the private sector. (Multi-arts manager in Colombia)

element
Scotland’s [A model is] intelligence in festivals management. (Cultural exporter from Brazil
festivals based in London)
management [An international contribution is] how to develop the festival. (Theatre practitioner in
expertise Japan)
[I’m most impressed by the] organisational ability of the festival. (Director of a multi-
arts organisation in Palestine)
[An international contribution is as] an example of how to run festivals efficiently and
effectively. (Production manager in Malta)
Imaginate children’s festival is the best example of leadership and execution. (Multi-
arts manager in Bahrain)
In 2019, I visited Glasgow as a delegate at the Sonica Festival. The way the festival
was organised, the type of curation and programming, and how we were also allowed to
engage was very impressive. (Arts education manager in Bahrain)
Creating [A model is] a long history of highly regarded international festivals such as EIFF, the
festival Fringe, EIF that have been running for decades. These festivals present the best films
and performance from all over the world. I think there is an inherent tension between
communities prestige and accessibility, but the combination of festivals creates an atmosphere of
excitement and community that is hard to find. (Film festival coordinator in Canada)
Cromarty Film Festival seemed like [a] really interesting organisation that helped
bring communities together to create and celebrate art. (Film festival coordinator in
Canada)
Having volunteered with Imaginate (now EICF), I have seen the genuine dedication
of volunteers and the organisers that go into the making and running of this festival.
(Production manager in Malta citing this as a model)
[I am surprised that] that there is always some new innovative idea – be it in the arts
themselves or in the way they are presented in Festivals or Events. I was, for example,
deeply impressed at how Celtic Connections (and Showcase Scotland in it) managed
to build up and strengthen their community even in the online version of their Festival.
(Communications professional for the culture sector in Germany)
Transforming [I’m impressed by] how the city transforms during the Fringe, a real festive environment
spaces is born, in which every spot becomes a venue for performance, and the works are so
diverse that the festival literally caters for all tastes and ages. I have not felt this
genuine embracing of the arts in every corner in any other city. (Festival manager and
programmer in Egypt)
[A model is] the way arts and culture are grounded in the Scottish society: transforming
cities to host festivals, using unique spaces for performances or cultural-related activities
(such as churches). (Arts practitioner in Germany)

element
Model for [A model is] the way in which the public services collaborate to make arts & culture
joined-up happen during the festivals. I’m thinking here of the traffic department, police, security
of the events, etc. All the non-cultural areas culture needs to work with. (Production
logistics manager in Malta)
The festivals management, particularly the capacity to bring together different sectors
of public management around culture. My feeling during the Fringe/International
festivals and in seminars I’ve participated in in Edinburgh was that the whole city
council was working together to make things happen. (Cultural exporter from Brazil
based in London)
[The Fringe and the International Festival] create a symbiotic business relationship
whereby audience members attracted by one festival, are exposed to the marketing of the
other, resulting in cross-pollination of markets – not to mention the Tattoo which is its
own cash cow. (Production manager for theatre and film in Malta citing this as a model)
Festivals Festivals Edinburgh. It’s an amazing example of many different players working
Edinburgh as a collectively in making the city an epicentre of inspiration. (Multi-arts curator and
programmer in Brazil)
management
model Festivals Edinburgh as an institution that brings together several festivals in one
platform for common goals, Festivals Edinburgh [is] an inspiring platform for festivals
in Yogyakarta, Indonesia, which then has created the same institution with a different
approach and programmes for the collective strengths of the festivals named Jogja
Festivals. (Director of a festivals management organisation, Indonesia)
How the sector is supported: Funding and infrastructure

When providing examples of ‘different, distinctive or excellent practice’
emanating from Scotland, respondents highlighted a number of elements
relating to support for artists, arts funding and support for the cultural
infrastructure. Specifically:
Institutions for artist education

Infrastructure and support for disabled artists and organisations
Joined-up support for festivals from national and local funders
Support for grassroots cultural activities
Rural arts networks
Touring support and circuits
Strong artform networks.

Profile 5: Scotland’s arts funding environment
as an international model
Scotland’s arts funding model was highlighted frequently throughout
our survey, with particular reference made to Creative Scotland’s role as
a model of support, development and funding for arts and culture and
engagement. The collated comments below from respondents around the
world were reinforced by voices from the sector in Scotland.
Funding programmes from Creative Scotland are unlike what is

available in other countries. (Respondent from a photography centre in
Scotland)
Grants programmes clearly support artists to continue to make modern

work that adds to Scotland’s contemporary presence. (Local authority
arts funder in Australia)
[Scotland’s international contribution is] the best models of funding/

opportunities, equity and amazing artists and creatives. (Multi-arts
curator and programmer in Brazil)
[A model is] encouraging the development of jazz quarters as in New

Orleans. (Practitioner in music, video, and computer games/software in
Scotland)
[A model is] Creative Scotland’s regular funding and open funding – a

very important support for organisations to plan ahead and secure
funding and also to submit and apply for funds at any point of the year.
Just the fact there´s an organisation welcoming ideas and projects
and supporting some of them is a model that allows the sector to think
creatively. (Practitioner working for an international arts agency in
Brazil)
[I’m most impressed by] the financial support given to artists for
recording albums. (Traditional musician and dancer in Canada)
[A model is] writing competitions for sound artists. (Practitioner in

music, video, and computer games/software in Scotland)
[A unique element is Scotland’s] cultural development organisations

that help the cultural sector to remain sustainable. (Arts management
graduate from Germany)
[Scotland’s assets include] Creative Scotland as a national body. Well-

supported venues across the entirety of Scotland. (Respondent from a
visual arts/music organisation in Scotland)

[An asset is] the support and funding structure from Creative Scotland.
(Practitioner working for an international arts agency in Brazil)
[A great model is] Creative Scotland’s ability to showcase the best of

Scottish Arts in a way that makes it accessible, tourable and affordable.
(Multi-arts director in India)
[A model is] the funding for the arts which as far as I understood is
not linked to the disciplines or aesthetics but the quality and the artist.
(Music and sonic arts practitioner from Mexico)
Scottish Government policy as a distinctive model

As has been shown elsewhere in this reporting, the external perception is of
a policy climate that supports Scotland’s culture; the most valuable factor
is a recognition of the worth of culture for society and the development of
specific cultural policy frameworks like the Cultural Strategy for Scotland
(cited as a globally inspiring model by both international and Scotland-
based respondents).
Key elements that emerged from responses on what might be recognised

globally as ‘different, distinctive or excellent practice’ related to arts
funding and policy, specifically:
a supportive policy environment for culture

‘authentic’ political support for traditional culture and languages
artists’ rights, with a focus on labour and sustainability
the creative talent development strand in the Scottish Government’s
arts, cultural and heritage policy.
See also Profile 1, exploring Scotland’s cultural policy approach as a

cultural asset.

12
Models from Scotland that have been
Replicated or Adapted in other Countries
Examples were also gathered of models and approaches from Scotland that
have been replicated directly or adapted in other countries.1 The list below,
drawn from answers given by international and Scotland-based respondents,
represents a snapshot based on the knowledge of those responding to the
survey and cannot be considered comprehensive. However, even across
the responses that have been gathered, it demonstrates a wide range of
ways in which models and approaches from Scotland have inspired similar
approaches in other parts of the world.
Not surprisingly, festival models prevail in this list but organisational

structures for supporting and developing artforms and practitioners at a
national or regional level are also predominant.
Scotland’s approaches to fostering, celebrating and showcasing traditional

arts (particularly Gaelic and Celtic arts), and platforming national and
international showcases of mainstream arts, are also profiled strongly among
these examples.
At the level of individual organisations’ practices, we see reported examples

of social engagement programmes and arts education and outreach models
adopted directly from Scotland.
Approaches and models from Scotland’s sector highlighted by respondents

as having been replicated in another country are listed in the following
categories drawn from answers given by international (n39) and Scotland-
based (n29) respondents. The categories are presented in alphabetical order:
1 Question 18. What approaches or models from Scotland’s sector are you aware of that have been
replicated in another country? (Please give as many examples as you like.)

Category Examples given and what they led to (à)
Artform development at a Craft Development Network à Norwegian Crafts and

national level American Crafts Council are interested
Playwrights Studio model à similar approach in Ireland
Scottish Society of Playwrights à similar models of SSP in

other countries (not defined)
Collaboration between artists and folk traditions through

Traditional Arts and Culture Scotland (TRACS) à now
replicated through European Folk Network
Artform development at a HI-Arts model à ‘interest in Nordic countries’

regional level
Artform facilities and Visual arts production facilities model à other countries
support (not defined)
Sculpture Workshop model à London, Manchester,

Australia
Artist leadership/ Transmission Gallery model of artist-led organisations à

autonomy (not specified where)
Arts sector training/ Staged for Life (technical skills training for 16–24 year olds)
development à replicated in Cairo
Celebrating excellence Scottish Album of the Year Award à inspired the Northern
Irish Music Prize and the Welsh Music Prize
Disability arts Agent for Change – roles to champion disabled artists

within arts organisations and artform sectors (à not
specified where)
Fostering traditional Gaelic language support à Cape Breton, Halifax, Canada

languages and culture (Gàidhlig sig Baile)

Fostering/celebrating/ Fèis movement à adopted in Cape Breton, Canada, USA,

showcasing traditional Ireland
arts
Celtic Connections à Celtic Colours (Cape Breton)
à TradFest Dublin – ‘taking an “empty” week (outwith the
main tourist season) and making an enormous success of
a quiet month artistically’ (respondent from a Gaelic arts
organisation in rural Scotland)
Scottish Traditional Music school à Barga Music Summer

School run for the Italian diaspora in Tuscany, Italy
Piping education, performance and competition circuits à

USA, Canada, Germany, NZ, Australia à Also Middle East
and India
‘Scottish Pipe Bands are found now in most countries of the

world. Similarly, Scottish Country Dancing’ (respondent
from a Gaelic arts organisation in rural Scotland)
The ‘annual live stream of the Glenfiddich Piping

Championship and the World Pipe Band Championships has
inspired other events around the world to livestream similar
events’ (respondent from the music and digital media sectors
in Scotland)

Large-scale international Edinburgh International Book Festival à Jaipur Literature

festival model Festival; à joint programmes in Argentina
Edinburgh International Festival à Grahamstown National

Theatre Festival in South Africa
Fringe Festival à Adelaide, Brazil, ‘worldwide generally’; à

inspired a transformation for FIBA (Festival Internacional
de Buenos Aires) Argentina; à Going Solo performances
programme in India; à commercial theatre programming in
Buenos Aires
Edinburgh International Film Festival à influenced other

festivals internationally (Canada)
Military Tattoo à Hong Kong and Nova Scotia
Storytelling Festival à in India, Canada, Latin America, the

Caribbean
Festivals (in general) à a year-round festival roster

(Argentina) à ‘Festivals around the world benefit from the
Scottish experience’ (multi-arts manager in Bahrain); à
‘Certainly the idea of the arts festival, which if not originally
from our sector, made completely part of it, has grown
worldwide!’ (respondent from a contemporary arts centre in
Scotland)
Festivals Edinburgh as a regional festival coordination

model à Festivals Adelaide (Australia); à Jogja festivals,
Yogyakarta (Indonesia): ‘Festivals Edinburgh [is] an
inspiring platform for festivals in Yogyakarta, Indonesia,
which has created the same institution with a different
approach and programmes for the collective strengths of
the festivals named Jogja Festivals’ (director of a festivals
management organisation, Indonesia)
Local community arts Deveron Arts: Town Collection (Huntly) à has been
reinitiated in the town of Bolzano/Italy
National/international • Made in Scotland à Made in Adelaide

showcase
• Showcase Scotland’s Expo models à have inspired
Folk Alliance in the USA, English Folk Expo and other
international trade events for traditional and folk music

Outreach and social or • Community and education programmes of the National

educational engagement Theatre of Scotland à as a distributed model (not defined);
à Education programmes of dance and theatre companies
(not defined)
• Scottish Ballet community engagement à British

Columbia Ballet Community program (Canada)
• Scottish Opera dementia classes à replicated in Australia

at the Australian Opera
• Participatory dance practice à ‘For example Janice Parker

has worked extensively in Germany and other European
countries on delivering large-scale community dance projects
and mentoring emerging arts practitioners’ (respondent from
an artist-led dance organisation in Scotland)
Placemaking Creative Scotland’s Place Partnerships à Arts Council

Ireland’s Creative Places
Rural provision Screen Machine à Ireland
The cases profiled above of inspirational Scottish exemplars and models

replicated around the world provide useful context as well as underpinning
evidence for the global contribution of Scotland’s arts and culture sector.
The final part of this report pulls all of our evidence and analysis together
to offer concluding insights on what we might understand the attributes
and assets of Scotland’s culture sector to be, based on all the data presented
from our survey.

Conclusions

13
Collected Insights on Scotland’s Cultural
Attributes and Assets
Our study explores what makes Scotland’s arts and cultural sector
distinctive on the international stage and seeks to articulate its key
attributes and assets. Twin strands of qualitative research were undertaken
in the form of the survey whose findings are presented in this report, and a
series of focus groups exploring parallel questions with the Scottish sector
and discussing interim survey findings as they emerged.
To investigate what makes the sector in Scotland distinct we have layered

up a picture from the survey findings, starting from a loose focus to
investigate what might recognised as Scotland’s significant cultural assets
before zooming the lens onto specific elements that help us understand why
they are recognised as assets. By differentiating findings about the main
impacts and contributions of Scotland’s sector into categories through our
analysis, we have been able to articulate philosophical and practical impacts
as well as those that seem to stem from something quintessential in the
cultural personality of Scotland.
In this concluding chapter we can now pull together the main findings
from our survey of Scotland-based and international arts and cultural
professionals to consolidate overarching themes and present collected
insights on Scotland’s cultural attributes and assets.
Key attributes of Scotland’s arts and culture sector that have been identified
through our analysis are summarised in the list below. These characteristics
have informed the structure of our companion narrative report, ‘To See
Ourselves’: Cultural Assets and Attributes of Scotland, which reflects further
on their significance in relation to our conversations with the focus groups.
Key attributes of Scotland’s arts and culture sector

Work and practice that is DYNAMIC, innovative, boundary-pushing, a
source of knowledge, best practice and models.
Cultural outputs that are contemporary yet ROOTED in tradition,
rooted in place, rooted in communities.
A culture born from EGALITARIAN ideals creating work that
speaks to global audiences with an honesty and authenticity which
challenges conventions.
A sector DIVERSE in artforms, representation and audiences, seen
as world-leading in approaches to inclusivity and accessibility for all.
A way of doing things with high levels of CONNECTIVITY and
collaboration, coupled with openness and a willingness to share
expertise and knowledge.
76 Conclusions
skilled workforce, a source of internationally renowned expertise
A
associated with high standards and a resourcefulness born of its
funding challenges.
A sector nevertheless SUPPORTED by a model of committed
funding and operating within a policy environment seen as
progressive.
A distinct and positively esteemed SPIRIT OF SCOTLAND that
is brave and authentic, slightly stubborn, resourceful, generous and
hospitable, and proud yet self-effacing.
Pinpointing key cultural assets

Throughout this study we have been wary of trying to represent Scotland’s
rich and vibrant culture and its varied cultural sector (a sector celebrated
in our survey as especially wide-ranging as well as deep in its specialisms)
through a shortlist of named assets. We have intentionally steered away
from generating a popular poll of Scotland’s most recognisable cultural
organisations, practitioners and sites: such a list could be reductive,
inevitably biased by the context of those responding, and would miss an
opportunity to acknowledge the role of some of the quintessential factors
that make Scotland’s sector and its assets what they are. That said, in
exploring the question of what makes Scotland’s sector distinct a great
number of specific named examples have been offered in this report and in
our companion report as illustrations of the kind of practice, approaches
and policies that stand out on the international stage. These illustrative
examples provide nuance and context for our task of identifying a
meaningful set of cultural assets.
Diagram 12 enables us to read across the headline findings from this report,
capturing the unique elements of the arts and cultural sector in Scotland,
what our respondents believe are Scotland’s main cultural assets, the
sector’s significant contributions to the world and notable models that have
inspired practice or been replicated overseas.

Diagram 12. Combined findings at a glance: ‘What are Scotland’s arts and cultural sector’s …’
Unique elements Cultural assets defined Contributions to the Inspiring models of best
by respondents world practice
FESTIVALS FESTIVALS INTERNATIONAL FESTIVALS and LARGE

The GLASGOW Scene THE CULTURAL MODELS for practice; being EVENTS, FUNDING
WORKFORCE: OPEN AND OUTWARD- FOR FESTIVALS,
practitioners, creators, LOOKING PRODUCTION
organisations MODELS, SPECIALIST
ORGANISATIONS
HERITAGE and history The FÈIS MOVEMENT GLOBAL RELEVANCE, SUPPORT FOR
GAELIC, SCOTS and GAELIC CULTURE, galas, DISTINCT from rest of UK LANGUAGES,
CELTIC ARTS games, gatherings CELEBRATING
TRADITIONAL ARTS
LITERATURE, POETRY, TRADITIONAL ARTS and DISTINCTIVE THEATRE FOR YOUNG
STORYTELLING; MUSIC ORAL TRADITIONS VOICE, DISTINCT PEOPLE, FEMALE
and THEATRE Creative industries: VIDEO PERSPECTIVE, LEADERSHIP (in sector
GAMES, PUBLISHING, VIBRANCY and country), ARTS
DIGITAL MEDIA SHOWCASES
A CONNECTED, The cultural infrastructure: SOLIDARITY in sector; PROFESSIONAL

COLLABORATIVE small- VENUES, FACILITIES, CROSS-DISCIPLINARITY; ARTFORM AND
scale sector, and GLOBAL WORKSHOPS a platform for ADVOCACY NETWORKS
HUB for culture COLLABORATION;
WILLINGNESS TO
SHARE
Commitment to ART SCHOOLS Innovative creative learning ARTIST EDUCATION,

ARTS EDUCATION, Production and workshop and EDUCATION TALENT
PROFESSIONAL FACILITIES DEVELOPMENT,
& ARTFORM ARTFORM
DEVELOPMENT DEVELOPMENT,
RESIDENCIES,
PRODUCTION
FACILITIES
Strong artist voices, PRACTITIONERS NEW WAYS of doing GRASSROOTS ARTS,

ARTIST-LED AND PRODUCING things; CRITICALITY ARTIST-RUN SPACES,
organisations, self- COMPANIES, and the
production AGENCIES that support
them
Aesthetic, DESIGN, BUILT HERITAGE and SENSE OF PLACE UNIQUE USE OF SPACES
ARCHITECTURE, ARCHITECTURE
LANDSCAPE
World-leading practice Arts for CHILDREN AND INCLUSIVITY, DISABILITY ARTS,

in DISABILITY ARTS, YOUNG PEOPLE DIVERSITY, OUTREACH and
SOCIAL ENGAGEMENT EGALITARIANISM, ENGAGEMENT
CULTURAL
DEMOCRACY
LOCAL cultural expression TOURING structures AUTHENTICITY, LOCAL RURAL ARTS, TOURING,
RURAL ARTS scenes knowledge relevant for popular ENGAGEMENT
international contexts; WITH CULTURE,
LOCAL VOICES VOLUNTEERING
Government POLICIES: CULTURAL POLICIES, SUPPORT FOR ARTISTS’ RIGHTS,

SOCIAL CONTRACT FOR VALUES, OUTLOOK CULTURE; SUPPORT FOR ARTISTS,
FUNDING, valuing culture PROGRESSIVENESS; CULTURAL POLICY
in society CIVIL VALUES
78 Conclusions
A consolidated list materialises from this overview, allowing us to
present an objective summary of the predominant cultural assets
identified from this study, being recognised both at home and abroad.
The sector and its people: Scotland’s creative practitioners, whose

expertise and specialised practice are renowned around the world,
producing world-class work that is known for innovating, pushing
boundaries and challenging conventions. A noticeably rich and diversified
sector whose intimate scale and connectivity could be considered an asset
in itself, engendering solidarity and collaboration, often cross-disciplinary,
both at home and with overseas partners. A sector whose openness to the
world and willingness to share its expertise are key attributes recognised as
a form of generosity.
Innovators and game changers: respondents speak of high-quality,

exemplary professional standards and innovative practices across the full
range of sectoral contexts. However, standing out on an international
stage as distinctive assets are the Edinburgh (and Scotland’s other)
festivals, arts for children and young people and disability arts – though
Scotland’s Fèis movement, the traditional and Gaelic arts, theatre, visual
arts, crafts, literature, music, dance, archives and collections, publishing
and gaming industries also feature strongly in our findings as highly
renowned and inspiring practice across the world. This study, modest in
scale, has captured a proliferation of influential models and game-changing
approaches which represent only a snapshot of what is surely a broader
picture.
Quality of cultural engagement: world-leading practice spanning many

of Scotland’s artforms is also recognised in outreach, engagement and
participatory arts, as well as models of rural and community arts
infrastructure and touring, with many organisations, festivals and other
examples of all sizes in all corners of the country cited by respondents as
exemplars. Associated with this asset of two-way cultural engagement is
a population that engages deeply with culture, creating community arts
movements and a strong sense of place as well as a traditional arts scene
whose models inspire the international sector. Scotland’s culture and its
sector are ‘rooted’ in many different senses.
Infrastructure: among the impressive infrastructure of Scotland’s

sector, what stands out from our findings are the nation’s visual arts
production facilities and workshops and its art schools, universities
and conservatoires supporting professional training, talent development
and creative careers. These are lauded as centres of excellence and are
emblematic of a commitment to arts education and development that is
part of this asset.

The landscape of Scotland also comes through our findings as a unique
cultural asset. It is primarily associated with the natural landscape that
inspires creativity and is often reflected in Scotland’s cultural output, but
this asset also includes the country’s built heritage and architectural style.
Finally, the cultural policy environment in Scotland may be considered

an asset based on multiple elements highlighted both at home and abroad
relating to social democratic and egalitarian values that underpin what is
perceived as a ‘social contract’ to support inclusion, diversity, equality and
rights. These are exemplified in specific policies cited at home and abroad
and are seen by many as progressive.
In our accompanying report, ‘To See Ourselves’: Cultural Assets and

Attributes of Scotland, we supplement this report’s systematic exploration
of perceptions, reputation, models and contributions with an overarching
narrative around the main attributes and assets summarised above, profiling
these alongside key points also brought up in our focus group discussions
with the cultural sector.
80 Conclusions
Appendices

APPENDIX I.
Longlist of Scottish organisations and
practitioners cited as international exemplars of
different, distinct or excellent practice
Question 17. Are there any specific MODELS of how arts and culture is
supported, delivered or performed in Scotland that you think are different,
distinctive or excellent? It could be a policy, an event or initiative, a way of
doing something. Can you pinpoint in what ways you see it as innovative,
unique or a model of good practice?
Master list of organisations specifically cited No of mentions No of mentions in

as models in Q17 (Scotland Q17 (international
dataset) dataset)
Aberdeen Art Gallery 1
Alchemy Film Festival 1
Andy Cannon 1
Andy Manley 1
Arika 1
Art Cup 1
Arts Alive (Scottish Book trust) 1
Arts and Business match funding 1
ArtWorks Alliance 1
Atlas Arts 2
Barrowland Ballet 2
Birds of Paradise (see also Robert Softley Gale 2 1
distinguished separately below)
Bòrd na Gàidhlig 1
British Council 1
British showcase 1
Cateran Ecomuseum 1
Catherine Wheels 2
CCA 1
Celtic Connections 3
Ceòlas in South Uist (see also Fèisean below) 1 2
Clare Cunningham 1
Cove Park 3
Craft Development Network 1
Craft Scotland 1
82 Appendices
dataset) dataset)
Creative Circles 1
Creative Dundee 1
Creative Edinburgh 1
Creative Scotland 11
Cryptic 4
Cultural Coordinators 1
Culture Aberdeen 1
Culture Collective 2
Culture Counts 1
Curious Seed 1
Dance Base 2
Deveron Arts 1
Deveron Arts (Town is the Venue) 1
Eden Court 1
Edinburgh festivals (in general) 2 9
Edinburgh Fringe Festival 1 14
Edinburgh International Book Festival 4
Edinburgh International Festival 1 3
Edinburgh International Science Festival 1
Edinburgh Sculpture Workshop 1
Edinburgh TradFest 1
Fèis movement: Fèis Rois, the Fèisean nan 4 1
Gàidheal (see also Ceòlas distinguished
separately above)
Festival Expo Fund 1
Festivals Edinburgh 3
Glasgow Film Festival 1
Glasgow School of Art 1
Glasgow Women’s Library 1 1
Glass Performance 1
Hospitalfield House 1
Imaginate (EICF) 1 2
INDY Cinema Group’s provision of DCP- 1
based screening services to a range of smaller
communities across Scotland
Is This The Best It Can Be social engagement 1 1
toolkit (Creative Scotland)
Janice Parker (participatory dance artist) 1

dataset) dataset)
Just Festival 1
Leugh is Seinn (Read and Sing) 1
Luminate 1
Lyra 1
Made in Scotland 1 1
Military Tattoo 2
Mischief la Bas 1
Momentum 1 4
Moniack Mhor Writers’ Centre 1
Music Education Partnership Group 1
National Museums of Scotland 1
National Theatre of Scotland 4 2
Pipes and Drums in Glasgow 1
Platform in Glasgow 1
Plockton National Centre of Excellence 2
Robert Softley Gale (see also Birds of Paradise) 1
Rumpus Room 1
Scotland’s Library system 1
Scotland’s Workshops 3
Scottish Album of the Year Award 1
Scottish Artists Union 1
Scottish Dance Theatre 1
Scottish Music Ensemble 1
Scottish Opera 1
Scottish Playwrights Studio 1
Scottish Sculpture Workshop 1
Scottish Society of Playwrights 1
Scottish Storytelling Centre and Scottish 1 2
International Storytelling Festival
Screen Machine 2
Screen Scotland 1
SG Cultural Strategy 1 1
Shona Reppe 1
Showcase Scotland 3 1
Sistema 1
Sonica 1 4
Sound House 1
Starcatchers 1
Stellar Quines 1
84 Appendices
dataset) dataset)
Stove Network 1
Street Level Photoworks 1
Surge 1
The Blas festival 1
Theatre gu Leor 1
Theatre in Schools Scotland 1
Tinderbox 1
TradBeats, specifically Sophie Stephenson 1
Traditional Music Forum TradMentor scheme 1
Tramway 1
Transmission Gallery 1 1
Traverse Theatre 1
Wigtown Book Festival 1
XpoNorth 1
Youth Music Initiative 1

APPENDIX II.
Question 8. What part(s) of the sector are you
involved with? Please select as many as apply
Full list of questions asked Something not listed here / Dance / Music /
in our survey
Theatre / Physical Performance and Circus /
Visual Arts / Craft / Literature and Poetry /
Storytelling / Traditional Arts / Disability or
Question 1. In order to proceed with the survey Inclusive Arts / Participation of Creative Learning
please confirm the following: / Museums / Galleries / Libraries / Archives /
Historic places and sites / Conservation / Gaelic
I am over 18 years of age. I am happy with the Arts / Digital media and preservation / Film, TV
above and consent to proceed with the survey & Radio / Architecture / Photography / Product
or Graphic Design / Fashion and Textiles / Video
Question 2. What is your name? (Tell us just your and Computer Games / Software
first name if you prefer)
Question 9. What is the nature of your personal
Question 3. In what capacity are you responding to experience and knowledge of Scotland’s arts and
this survey? culture sector?
I am currently based in Scotland and work in I am currently part of the sector in Scotland
the Scottish sector I once did some work or studied in the sector
I am a Scottish practitioner currently based in Scotland
outside Scotland I work internationally with Scottish
I offer an international perspective from organisations or individuals from Scotland’s arts
outside Scotland and culture sector
Another capacity (please specify) I have visited or observed Scotland’s arts and
culture sector as a delegate
Question 4. Where are you currently based? Please I have experienced Scotland’s arts and culture
tell us the city and country sector abroad as an audience member
Something else (please specify)
Question 5. If you’re happy to tell us, what is your
nationality? Question 10. What KEY WORDS would you use to
characterise Scotland’s arts and culture sector?
Question 6. What best describes your relationship
with Arts and Culture? Question 11. What kind of VALUES (i.e. standards,
ideals, philosophy) do you associate with Scotland’s
I am a Practitioner or Manager in the sector arts and culture sector?
I am a Volunteer in the sector
I work in Policy or Funding for the sector Question 12. What REPUTATION do you associate
I am a Student in the sector with Scotland’s arts and culture sector? i.e. What
Something else (please specify) do you expect of something Scottish?
Question 7. If you work or volunteer in an arts and Question 13. If you had to characterise what
culture context (anywhere in the world), what is Scottish arts and culture organisations bring to
your job title and organisation? the international arena, what would you say?
Question 14. From your vantage point, what

ELEMENTS of Scotland’s arts and culture sector
are particularly special or unique?
86 Appendices
Question 15. What do you perceive to be Scotland’s
most significant CULTURAL ASSETS? (You can
answer generally and/or list specific things)
Question 16. In your experience what are
international peers, or you if you are responding
from outside Scotland…
… a) Most CURIOUS ABOUT when visiting or
liaising with Scottish arts and culture institutions?
... b) Most IMPRESSED by?
... c) Most SURPRISED by?
Question 17. Are there any specific MODELS of

how arts and culture is supported, delivered or
performed in Scotland that you think are different,
distinctive or excellent? It could be a policy, an
event or initiative, a way of doing something. Can
you pinpoint in what ways you see it as innovative,
unique or a model of good practice? (We’ve provided
boxes for up to 4 examples in case you have several
to share! Please feel free to include weblinks)
Question 18. What approaches or models from

Scotland’s sector are you aware of that have been
REPLICATED in another country? (Please give as
many examples as you like using the boxes below.
Feel free to include weblinks)
Question 19. Do you have any current or planned

international networking activities or collaborative
projects between Scotland and another country?
We’d love to know what they are.
Question 20. Finally, do you have any other

perspectives, experiences or examples we haven’t
asked about on the distinctiveness of Scotland’s
arts and culture sector?
Question 21. If we decide to profile something

you’ve mentioned, could one of our research team
please follow up with you by email to discuss your
examples or perspectives further?
Yes that would be fine. Here is the best email

address to reach me
No thank you

Creative Services (Scotland) Ltd
Queen Margaret University
This study was commissioned by:
The research was undertaken and

reported by:
Bryan Beattie, Creative Services,

Project Co-Lead and Researcher
Rachel Blanche, Queen Margaret University,

Project Co-Lead and Researcher
with research assistance from

Kevin Geddes, Queen Margaret University
Caitlin McKinnon, Queen Margaret University
Queen Margaret
University
EDINBURGH
scotland.britishcouncil.org
creativescotland.com
A NOTE ON THE TYPE:

The typefaces used in this publication are Scotch Modern
by Shinn Type, Marr Sans by Commercial Type and
ES Nein by Extraset. Scotch is a name given to American
types associated with the work of the Scottish type
foundries of William Miller and Alexander Wilson
during the late 1700’s and early 1800’s. Scotch Modern is
a contemporary reimagining of the Scotch Roman genre,
and is a demonstration of the way cultural ideas (including
typefaces) are interwoven and translate and transform
between geographies and cultures.
The influence of Scotland in typefounding belies
the nation’s small size. Marr Sans, a characterful grotesque
design, was inspired by a typeface from the 1870s found in
the work of James Marr & Co. in Edinburgh, successors to
Alexander Wilson & Sons.
88
IMAGES: (clockwise from top left) Pop by Vince Virr at the Edinburgh International
Children’s Festival [photographer Ruth Armstrong], Gateway, Joana-Vasconcelos,
2019 [Photo Allan Pollok-Morris, Courtesy Jupiter Artland], Bothy Project,
Inshriach Bothy, Cairngorms National Park [photo Andrew Ridley], V&A Dundee
[photographer Hufton+Crow], deep dive (pause) uncoiling memory, 2022
Installation shot [photographer Cristiano Corte], © Alberta Whittle. Courtesy the
artist, Scotland + Venice, Thomas Kilpper: The Politics of Heritage vs the Heritage
of Politics. Installation view, Edinburgh Printmakers, Edinburgh, 27 April – 13 July
2019. [photographer Jim Stephenson Architectural Photography]
I welcome the publication of the Art & Cultural Assets
Report, commissioned by British Council Scotland and
Creative Scotland - Artists have always looked beyond
borders to collaborate, share, be inspired...
I invite you to help us shape our place in the world by
contributing to the global conversations that will be
happening around this report.
Angus Robertson MSP
Cabinet Secretary for the Constitution, External Affairs and Culture
© British Council and Creative Scotland

2022

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As Others

What Makes Scotland’s

Rachel Blanche and Bryan Beattie

Key Survey Findings

Part Two: Identifying cultural assets

Part Three: Understanding the global significance of Scotland’s sector

IMAGES: ‘To See Ourselves’ and ‘As Others See Us’ -

6 Introducing this Study

It should be read in conjunction with our narrative report ‘To See

The research was commissioned by British Council Scotland and Creative

About the survey

The main question explored through the survey was: what do we do in

The external viewpoint is an important component in identifying what

As Others See Us – What Makes Scotland’s Cultural Sector Distinctive? 7

It was recognised that perceptions would vary between those outside

Approaches to balancing our analysis and findings

8 Introducing this Study

These circumstances should be considered by the reader while engaging

The comparative element is important to acknowledge also. Many of the

Documenting imperfections within Scotland’s arts and culture system

As Others See Us – What Makes Scotland’s Cultural Sector Distinctive? 9

10 Introducing this Study

Who responded in Scotland?

artforms: crafts, dance, Gaelic arts, literature and poetry, music,

The Scotland-based survey responses came predominantly from practitioners

As Others See Us – What Makes Scotland’s Cultural Sector Distinctive? 11

12 Introducing this Study

Visiting or observing Scotland’s arts and culture sector as a delegate:

Experiencing Scotland’s arts and culture sector abroad as an audience

Working internationally with organisations or individuals from Scotland’s

Previous work or study in the sector in

Areas of the cultural sector represented Music

For the purposes of this survey we Dance

Diagram 1, everything on our list was Museums

and policymakers who responded Digital media and preservation

to our survey, both in Scotland and Gaelic arts

of music, theatre, visual arts and dance. Architecture

Prominent contexts for respondents’ work Video and computer games

include participation or creative learning, Conservation

and disability or inclusive arts, as well as

Museums and galleries, libraries, archives, historic places ‘Something not

As Others See Us – What Makes Scotland’s Cultural Sector Distinctive? 13

14 Key Survey Findings

From the external/international perspective captured in Diagram

We can also see many other overarching themes as offered by both

However commentators based in Scotland working within the arts and

As Others See Us – What Makes Scotland’s Cultural Sector Distinctive? 15

16 Key Survey Findings

I nclusivity with respect to: ‘investing in an inclusive expression of the

I regard Scotland’s cultural sector as one of the most inclusive

 iversity: being representative, respecting diverse languages,

 penness and open-mindedness. Related values include Scotland’s

 oots in tradition: honouring past people, honouring Gaelic and

18 Key Survey Findings

Values associated with the sector, by the Scottish sector

Aiming to be inclusive but can be seen as exclusive to many people.

Respondents highlight a specific ethos of fair pay, gender equality and a

Actively supportive of … fair pay, industry-standard rates of pay and

My own experience is of a sector that reaches out to its audience,

artforms: crafts, dance, Gaelic arts, literature and poetry, music,

I nclusivity with respect to: ‘investing in an inclusive expression of the

iversity: being representative, respecting diverse languages,

penness and open-mindedness. Related values include Scotland’s

oots in tradition: honouring past people, honouring Gaelic and

‘Avant-garde’ work that is innovative, experimental, daring, original,

culture that is modern, contemporary, responsive and relevant, while

I nnovative models particularly in relation to site-specific arts, unexpected

uality, excellence, high standards of practice, and culturally rich work.

distinctive personality described as friendly, warm, humorous,

aying ‘what needs to be said’ through socially liberal work that is

penness, characterised by respondents as a willingness to engage and

he processes of creating and managing world-class

ational identity: ‘How we cope with being a (relatively) small

‘How our sector connects to place’; approaches to provision in remote

A warmth and friendliness experienced when engaging with the sector;

Innovative ways of thinking; development processes for

he ‘vibrancy’ and ‘condition’ of our traditional and local

Place-based work as a feature of Scottish arts and

he ‘ability to realise great artistic projects in small remote Scottish

hat Gaelic is not more prominent across Scotland and ‘afforded

n unexpectedly large number of artists/

Dundee and its strong cultural roots. (Dundee is also

he way the arts are ‘lived’ and are connected to

the nimbleness, flexibility, adaptability of the sector

how contemporary and forward-thinking the sector is.

t he sector’s small scale and high connectivity,

‘the work that is going on throughout the country and

‘that traditional culture in Scotland is living and breathing and

‘that wellbeing is part of the national curriculum’ (respondent from a

‘how badly resourced arts and culture is’ (respondent from a