Edinburgh Festivals: Cultural and Economic Contribution
Debate between Clive Efford and Patricia Ferguson(1 month, 2 weeks ago)
Westminster HallRead Full debate Read Hansard Text Read Debate Ministerial Extracts
Westminster Hall is an alternative Chamber for MPs to hold debates, named after the adjoining Westminster Hall.
Each debate is chaired by an MP from the Panel of Chairs, rather than the Speaker or Deputy Speaker. A Government Minister will give the final speech, and no votes may be called on the debate topic.
This information is provided by Parallel Parliament and does not comprise part of the offical record
Patricia Ferguson (Glasgow West) (Lab)
I thank my hon. Friend the Member for Edinburgh East and Musselburgh (Chris Murray)—I hope he does not mind this interloper from Glasgow West coming into the debate. The importance of the book festival is well worth recognising, particularly as Edinburgh is the first UNESCO city of literature, something that we sometimes forget.
As we have heard, the Edinburgh festivals make an important contribution to the economy of Edinburgh and Scotland and provide a showcase for Scotland and a venue for art and artists from around the world. Every year, hundreds of thousands of tourists and art lovers fill up the city as they make their way from one venue to another, to enjoy one of the 40,000 performances on offer.
Many artists come to Scotland to showcase their work, but I want to focus briefly today on a homegrown artist who is synonymous with the Edinburgh festival, my old friend Richard Demarco. Richard was born in Edinburgh in 1930 to parents who had come to Scotland from Italy. Now aged 94, Richard Demarco has attended every Edinburgh festival, which is really quite something, and he has organised arts programmes at most of them. Since its inception, he has also been heavily involved with the Fringe festival.
Over the years, Ricky Demarco has hosted hundreds of artists and staged more than 1,000 art exhibitions, featuring artists from over 60 countries. He has challenged the boundaries of the Fringe by staging performances outside Edinburgh, including a production of “Macbeth” on Inchcolm island. He has also been a critical friend of the Fringe, speaking publicly about what he saw as the over-emphasis on commercial considerations and also the increase in the prominence of the comedy festival, which was something he did not quite approve of.
Ricky has won many awards over the years from Governments and arts organisations around the world, because of his own artistic excellence and his devotion to internationalism. He has a CBE and in 2013 was the European Citizen of the Year. During the cold war, Demarco crossed the iron curtain 100 times. He often went to eastern Europe to bring back artists and groups to perform at the Edinburgh festival. That emphasis on internationalism is, of course, no accident; it is underpinned by the founding principles of the Edinburgh festival, which have already been remarked upon today. When it was founded in 1947, the idea was that the festival would be about healing the wounds of war through the language of the arts, which is something that Ricky Demarco did not just talk about but actively participated in, as he does to this day and encourages others to do the same. That alone is quite a legacy, but it also emphasises the so-called “soft power” of the arts, and I offer that “soft power” as a third reason for supporting the Edinburgh festivals and the arts more generally.
Clive Efford (in the Chair)
Order. Apologies, but I have to call the Front-Bench spokespersons.