
It is not my job to dictate what you can create, says Swinney on eve of festival
Mr Swinney told the audience on Thursday he would be a protector of freedom of speech in his time in the top job.
'I also know that freedom of expressing is under greater and greater attack, both at home and abroad,' he said.
'I want to ensure that Scotland, the birthplace of the Enlightenment, remains a country of robust debate and inquiry.
'I firmly believe that art and culture must be able to challenge us, to ask us tough questions, and to force us to look at things from different perspectives.
'And, yes, it must, at times, be allowed to shock and offend us, but it can also heal us.
'Let me be absolutely clear – as First Minister, I will always protect freedom of speech in our country.
'It's not the First Minister's job to tell you what to create, nor would I ever seek to do so.'
Mr Swinney added that his and his Government's role is to assist artists in any way they can.
The First Minister went on to make a plea to the crowd and to wider society – with a particular nod to tech firms – to look at how the arts can be better supported financially as the Government looks to boost funding to £100 million annually in the coming years.
'I'm asking that from crowdfunding to patronage, to philanthropy to local authority support and much more, we all ask ourselves how can we do more to support the arts from the grassroots up?' he said.
'How can we better support emerging artists that don't necessarily fit the current mould?
'And how, in particular, can Scotland's emerging businesses in new sectors become the new generation of patrons of the arts and culture in Scotland?
'How do we incentivise a new guard of custodians and investors in Scotland's creative economy?'
Speaking to journalists after his speech, Mr Swinney said he is open to discussions about new legislation to support the cultural sector.
He said there is a sense that local authorities 'might not have a particularly explicit statutory duty to support artistic and cultural activity', suggesting this area 'might need to be strengthened'.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Scotsman
39 minutes ago
- Scotsman
EIF Music reviews: The Veil of the Temple
Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... The Veil of the Temple Usher Hall ★★★★☆ How to open a festival? In recent decades, Edinburgh International Festival has presented a raft of ideas: mighty Schoenberg to alarm the great and the good, huge orchestras and choruses, impressive ensembles in stadiums and dazzling light shows around historic monuments. We may miss some, regret others, but for sure Sir John Tavener's extraordinary spiritual marathon The Veil of the Temple could not feature anywhere but at a festival of global importance. The Usher Hall transforms into a sanctuary for John Tavener's magnum opus, The Veil of the Temple | © Andrew Perry Tavener died in 2013 after a spiritual life mainly focused on Christianity but with swerves into various esoteric byways. He wanted, he said, to produce music that was the sound of God, surely a red-alert statement for non-believers, but his intention was to separate his creativity from any sense of his own life´s story. The Veil of the Temple, written in 2003, eight epic hours of spiritual outpouring, filled the Usher Hall with awe – a mesmeric, heart-grabbing, experience which allowed every listener to expand into a personal space in which to contemplate, be it from a beanbag or seat. So saying, it was hard to listen without descending into remarkably conflicting spirals: doubt, life´s ethereality, moments of numb disbelief, and great surges of joy. Advertisement Hide Ad Advertisement Hide Ad Those who dismiss Tavener as a over-emotional peddler of mystic ear-pleasing are simply wrong. Tavener is no cynic. His extraordinary courage in exploring our miseries, our outrage at sin, ultimately builds a stupendous celebration. We may be wretched, but glowing radiance has its place. While Tavener´s early work included jolly barbs at what he saw as pretentiousness – a late 1960s cantata was released on The Beatles' Apple record label no less – his music for this new century has extreme stillness and a unique seriousness. Generally tonal, The Veil careers into cacophony and chaos – usually through clattering repetitive text, with long devastating monotone solo narratives which inform and sometimes wail in alarm, sung here with astonishing and unflinching resonance. To dispense with the practical at an event of totally splendid impracticality, we heard massed choral forces: Edinburgh Festival Chorus and the Monteverdi Choir joined latterly with thrilling verve by Scotland´s National Youth and Chamber Choirs. Four principal soloists sang from an ingenious tiered platform mid-stalls and from the main stage. A further three roamed far recesses, and choristors brought a heady sense of ritual, bearing candles, wraith-like among the audience. The Monteverdis sang unseen from balcony areas, unearthly sounds floating towards the platform where great blasts of harmony reeled towards them. The youth choirs, flanking the Grand Circle, made a shining noise. Wonderfully strange instruments sat onstage, a duduk sounding like a wonky, seductive oboe, a growling Tibetan horn and percussion flanked by an Indian harmonium. The Usher Hall organ muttered dark and menacing bass. Two silent contributors shared Tavener´s triumph: Sophie Jeannin, conducting, did what great conductors do: in an astonishing feat given the mass of moving parts, with clear, disciplined actions, she simply disappeared into the music. The results were seamless, beautiful, supremely varied and confident. Tom Guthrie, directing, brought theatricality and ritual to hours which passed as minutes. His distinctive hallmarks are a pristine attention to detail which then transmutes into a profound simplicity. In a work where gestures might slip into cliché, we felt only community, the sense of sharing something monumental. Fine soloists Sophie Burgos, Florian Stortz, baritone and tenor Hugo Hyman sang still as statues soared, startling. So we reached Part 8 long after the sky had darkened. Brass players from Scottish National Orchestra joined in a riot of overwhelming sound as Alleluhias roared from the stage and balcony. Tears flowed, from the music, the audience, and most probably the heavens. For a festival just beginning, we have a lot more truth to seek. MARY MILLER Advertisement Hide Ad Advertisement Hide Ad Colin Currie & The King's Singers Queen's Hall ★★★★☆ The mix of percussionist Colin Currie and The King's Singers for Saturday's Queen's Hall series opener was intoxicating, Currie exclusively on marimba like a mellow energiser to the vocal sextet's silken trademark ensemble. Steve Martland's caustic Street Songs framed an interweaving miscellany of Stanley Glasser's charmed Zulu lullaby Lala Mntwana, Francesca Amewudah-Rivers' sweet-scented pop ballad Alive, the beguiling mini-drama of Peter Louis van Dijk's Horizons, plus a new commission from James MacMillan, along with bespoke arrangements of their own existing works by Missy Mazzoli and baritone-turned-composer Roderick Williams. If death was a permeating theme, it wasn't always in the most miserable sense. Take MacMillan's A Bunch o' Craws, a sardonic play on the kids' song Three Craws Sat Upon a Wa', redrafted (now seven craws) as a parodic skit, the Oxbridge vowels of the Singers admirably replaced by Glaswegian street brogue, Currie joining in vocally, and convincingly, as the craw 'that couldnae sing at a'' Advertisement Hide Ad Advertisement Hide Ad Williams' homage to Renaissance composer Thomas Weelkes, Death Be Not Proud, uttered ghostly sighs. Magical elements in Mazzoli's introspective Year of Our Burning were dampened by emptier moments. A couple of the King's voices tired towards the end, but the group's legendary charisma prevailed. KEN WALTON


The Independent
an hour ago
- The Independent
What is Yvette Cooper's plan to fast-track asylum claims?
As tensions flare up in the UK over migration, with protests taking place in Newcastle, Manchester and north London, the government is pursuing a new plan to reduce the asylum backlog. The home secretary has said she plans to introduce a fast-track scheme to turn around asylum decisions within weeks, via a 'major overhaul' of the appeal process. The plan is part of a wider attempt to crack down on the number of people crossing the Channel, with Ms Cooper announcing a 'one-in-one-out' returns deal with France earlier this year. But despite their efforts, last week it was revealed that the number of migrants arriving in the UK after crossing the English Channel topped 25,000 in record time, piling pressure on the government to take further action. It is hoped that the new plan will make a dent in the backlog and return people to safe countries faster, reducing the number of asylum seekers who are housed in hotels while awaiting the outcome of a claim or appeal. Here, The Independent takes a look at everything we know about the plan so far and how it will work in practice. How would the fast-track system work? Asylum seekers and their families are housed in temporary accommodation, including hotels, if they are waiting for the outcome of a claim or an appeal and have been assessed as not being able to support themselves independently. But Yvette Cooper has now promised a 'major overhaul' of the appeal process, speeding up the time it takes for decisions on claims and appeals to be made. There are currently limited details on how this system would work, but sources told the Sunday Times it would allow decisions to be taken within weeks, rather than months or even years. Once a decision has been taken, those who have been rejected will be returned to their home country – reducing the number of people housed in temporary accommodation. 'If we speed up the decision-making appeal system and also then keep increasing returns, we hope to be able to make quite a big reduction in the overall numbers in the asylum system, because that is the best way to actually restore order and control,' Ms Cooper said. When will it be implemented? The home secretary has said she will legislate for the changes in autumn, when MPs return from their summer break. But it could take months for any legislation to pass through parliament, meaning we are unlikely to see the fast-track system implemented until the new year. How big is the asylum backlog and why is tackling it a priority? As of the end of March 2025, there were 78,745 asylum applications awaiting an initial decision – an 8 per cent decrease from the end of June 2024 and a 13 per cent decrease compared to the end of December 2024, official immigration statistics show. These outstanding cases related to 109,536 people, including both main applicants and their dependents. Labour has put a pledge to fix the 'broken' asylum system and crack down on the number of people coming to the UK on small boats at the centre of its plan for government. But with boat crossings at a record high, and the asylum backlog still above 75,000, there is mounting pressure on ministers to take more drastic action, a pressure exacerbated by the success of Reform UK in the polls. The government has also promised to end the use of asylum hotels before the end of this parliament, a promise it is unlikely to meet unless the backlog is reduced. Tensions over asylum hotels have flared up in recent weeks, with a protest and counter-protest taking place on Saturday outside the Thistle City Barbican Hotel in north London, and also in Newcastle and Manchester.

The National
2 hours ago
- The National
SNP members set for second meeting to challenge Swinney's indyref bid
Party members are set to hold a meeting in September in Glasgow, ahead of the conference in Aberdeen the following month. It is understood that the Glasgow Kelvin branch has drafted a motion to challenge Swinney's three-point strategy. This follows more than 40 SNP branches backing a separate challenge to the First Minister's independence strategy, who are set to hold a meeting in Perth on August 9. READ MORE: I am a Palestinian. Keir Starmer's recognition plan is an insult The resolution states that while members believe the SNP is the only party to deliver independence, a 'new strategy is required'. It states that the next step should be to convince a 'significant majority' of people in Scotland to support independence. 'Determining this as the settled will of the majority will be demonstrated by ongoing national opinion polls over an extended time period,' it adds. It argues that to achieve this, the party should provide 'credible, objective and impartial' answers on questions voters have about independence, as well as separating the issue from 'day-to-day issues regarding the governance of Scotland'. The motion then calls on the SNP leadership to engage with non-political groups and political parties as a 'matter of urgency' on the issue of independence. It adds that this should be 'with a view to articulating as far as possible a common prospectus for independence and establishing a cross-party and non-party campaign to ensure that these objectives are firmly established before the next Holyrood elections'. The National understands that former [[SNP]] MEP and MP Alyn Smith was consulted during the drafting of the resolution, and then invited members from the Kelvin branch to outline the plan to members in Stirling. And now, Glasgow [[SNP]] branches will be invited to an event on Saturday September 20 at The Boardwalk Theatre, where Smith will be joined by professor John Curtice and professor Nicola McEwen. After the experts give their talks, members will be presented with the Kelvin branch's motion, and asked to vote on it. We previously told how members unhappy with Swinney's strategy argued that the party should 'prioritise obtaining a mandate from the sovereign Scottish people to deliver independence'. They argued this would be achieved with a majority vote for pro-independence parties at the next election. Whereas Swinney has insisted that an SNP majority is the most credible route forward.