 Felly, dyma'r ddegwyddiadau ac yn dweud i'r Gweithiau Cymru. Felly, rwy'n ei ddweud i'r ddegwyddiadau o'r rhagleniaid yng ngynghwydd a'r ddegwyddiadau i'r Gweithiau Cymru yn Centrall, Idle. Ar gyfan Professor Antimo Cesaro, Idle yng Nghymru yng Nghymru a Llywodraeth Cymru, gan ymgyrch â'r hefydau anticoïgau i'r ysgol, ar gyfer y cymdeithasgol amddangos o'r ysgol i'r gyfnod, is Carlo Parotta, the Italian Consul General here in Edinburgh. I know all of us here today in the spirit of this summit, which brings us all together and will want to say that our sympathies and thoughts are with you and the people of Italy who have been affected by this tragedy. Ladies and gentlemen, my name is Ken Macintosh, MSP, and as a Presiding Officer, it is my pleasure and delighted and honoured to be welcoming you to the Scottish Parliament and to the 2016 Edinburgh International Culture Summit. I hope that you enjoy and take inspiration from your surroundings this week. This beautiful building was designed by Spanish architect Enric Morales, drawing on the Scottish landscape, the flower paintings of Charles Rennie Macintosh and the upturned fishing boats, still to be seen along our vast and occasionally spectacular coastline. The Parliament building itself has become a cultural icon here in Scotland, and as he developed the design, Morales said that it was a building growing out of the land. His architecture and the Parliament itself in turn provoked our national poet, the then Scots macker Edwin Morgan, to write the poem Open the Doors, which took the same theme and extended it by linking it to the people of the land and how our doors must be open to those people. I therefore hope that you agree that it is a fitting venue for you and for all our guests from around the world to gather and to explore the unique role that arts and culture plays as a form of exchange to build trust between people, cultures and nations. Thomas Carlisle, a Scottish philosopher from the Enlightenment era, said that culture is the process by which a person becomes all that they were created capable of being. You do not need me to tell you that culture has the potential to be a force for positive change and to make a huge economic impact. All you have to do is walk down the city's royal mile right now to witness the positive impact of Edinburgh's festivals. Culture is essential to our sense of well-being and our self-worth. It is often what defines us as nations and as individuals within those nations. It is at the very core of who we are and what we do. Mahatma Gandhi famously said that a nation's culture resides in the heart and in the soul of its people. Here in the Scottish Parliament we try to play our part in promoting and supporting culture. At the moment we have a fantastic photographic exhibition by Scotland's own Harry Benson CBE. The exhibition includes photographs of every US president from Eisenhower to Obama, including pictures of Hillary Clinton and Donald Trump. It also includes extensive images of the civil rights movement in America, 1960s and 1970s public protests for women's rights in both for and against the war in Vietnam. When you come into the building, just outside the entrance, you may have glimpsed the Kelpie's maquettes. These are steel sculptures of horses' heads, handcrafted by renowned Scottish sculpture Andy Scott. They were made as models of the world's largest equine sculptures, the Kelpie's, a 300 ton public artwork located in the Helix park in the Falkirk area of Scotland. The Kelpie's are monuments to the significance of the Clydesdale horses to that area and to the lost industries that once thrived there. So we are conscious of the positive role that the Scottish Parliament can play, but I'm also conscious of the interaction between politics and culture. Governments often do what they can to support the arts, but however beneficial, however vital we believe music, sculpture and literature to be, it is difficult to compete for resources with other vital public services. However positive culture can be as a force for good for our sense of identity and mutual understanding, it can also be divisive, a symbol of national oppression, or as we are seeing with the current trial for the cultural damage wrought in Timbuktu, a target for opponents. The overarching theme of this year's summit is culture, building resilient communities, so we very much want to focus on the positive, reflecting the summit's belief in the capacity of the arts and culture to foster common bonds between nations, states and cities. To achieve this over the next few days, we will focus on three interlinked policy strands, culture and heritage, culture and economics and culture and participation. In between, I hope you will make the most of the celebration of arts that is Edinburgh in August and take advantage of new opportunities for cultural exchanges, collaborations and friendships. Once again, welcome to the Scottish Parliament, I do hope you have a very productive but, more importantly, a very enjoyable time here. Thank you. I would like to invite the cabinet secretary for culture, tourism and external affairs, Fiona Hyslop MSP, to welcome participants and guests to summit 2016 on behalf of the Scottish Government. Fiona Hyslop. To Presiding Officer, ladies and gentlemen, ministers, ambassadors, the last time that I was in this chamber was in July when the Queen formally opened the fifth session of the Scottish Parliament. That opening ceremony was in some ways more cultural a celebration than a political occasion. We had some wonderful performances by the National Youth Choir of Scotland, our Royal Scottish National Orchestra, Ensemble and the Scottish Youth Theatre. For me, one of the highlights was the reading of a new poem by Jackie Key, Scotland's Macker, our national poet, and she will perform it at the opening dinner later this evening. I think that the importance that the Scottish Parliament and the Scottish Government attaches to culture, something that was so obvious from that opening ceremony in July, something important about modern Scotland, a nation that cherishes culture. If you get a chance to read the quotations carved into the cannon gate wall of this Parliament, the building on the wall just on the royal mile, you will see that poetry is literally built into the bricks of the national Parliament. We are proud of the great writers and artists of our past and we're proud of the vibrancy, the diversity and the excellence of our contemporary's art scene. You will all get a chance to experience that vibrancy, that diversity and that excellence in the days ahead. In August, Edinburgh hosts the largest celebration of the arts anywhere on the planet. In the Fringe and International Festival alone, there are more than 50,000 performances of more than 3,000 shows from 48 countries. Throughout the year, the audience figures of all 12 of Edinburgh's festivals totaled more than 4.5 million people, the equivalent of a world cup, but we get that every single year. The festivals are wonderful in their own right. In Edinburgh, right now, you can sense the energy, the excitement on virtually every street corner. They also speak deeply to Scotland's enduring sense of internationalism. They showcase the best of Scotland to the world and they enable us to experience the best of international culture. That sense of internationalism is valuable at all times. It's been part of the purpose of the Edinburgh International Festival ever since it was established in 1947 in the wake of World War II. Of course, it feels hugely important now when the UK, despite Scotland's vote to remain, is set to leave the European Union. We are more determined than ever to show that we remain a welcoming and an inclusive society. The festivals aren't just a fantastic celebration of art in all its forms. They also demonstrate, celebrate and strengthen a sense of internationalism that we hold dear. That internationalism is why, on behalf of the Scottish Government, I helped establish this international culture summit with our key partners in 2012 and why we have held further summits in 2014 and now in 2016. I am very grateful to you, Presiding Officer, and your parliamentary colleagues, for their help in organising the event. I also want to thank the Scottish Government's other partners. You will hear in a moment from Matt Hancock, the UK Government's Minister of State for Digital and Culture. The British Council and the Edinburgh International Festival have also been very important partners right from the start. I want to thank all of them for their efforts in bringing all of you and the world that you bring with you here. Most of all, though, I want to give my thanks to you for all coming to Edinburgh and to Scotland. I referred earlier to the Jackie Paikay poem threshold, which she will perform later this evening. It ends with the lines that are repeated in a number of different languages. It takes more than one language to tell a story. Welcome. One language is never enough. The 41 delegations here today bring to the summit a multitude of languages, of stories and of experiences. My hope is that, by sharing just some of them, we can learn a huge amount from each other. We can generate ideas, gain insights and make connections. By doing that, we can help each other in our shared mission to celebrate the arts, promote international understanding and ensure that culture enriches and acts as a bridge between the lives of all peoples. Welcome. I am sure that you will enjoy the summit. I hope that it is productive. Above all, I hope that you have a wonderful time while you are here in Scotland. Enjoy each other's company, enjoy our city and enjoy what we all can bring to the world together. Thank you. Thank you, cabinet secretary. Now, to welcome guests and participants on behalf of the UK Government, I call and write honourable Matt Peacock MP, Minister for Culture, Digital and Culture at the Ministry of Culture. Mr Ang. Thank you very much. From the UK Government, from the heart of Edinburgh, I welcome all participants to this summit. Can I thank you, Fiona, for the work that you've done over the past few years in establishing this summit? Also, Sir Kieran and the work of the British Council and Sir Jonathan Mills, who's worked so hard to make these summits a success. We come here in a wonderful month for the city of Edinburgh, which I think anybody who comes can see as an exciting city, a proudly Scottish city, a British city and perhaps most of all a global city, with the 12 festivals demonstrating to the world the creative impetus that we have here in this city and in this country. For centuries, Edinburgh has sent out around the world those at the cutting edge of culture, innovation and exploration from Thomas Carlyle, Alexander Graham Bell and a multitude of others. And this is important for two reasons. The first is the economic. The creative industries here in the UK are responsible for over 4 million jobs, over 200 billion of value and one of the most rapidly growing parts of our economy. They employ people of all ages and I think that at this summit it is relevant to welcome the younger participants who are playing such a central role. But this economic value is not all and in fact it is perhaps not as important as the social and the human. Britain is an outward optimistic country, engaged and open to the world and it is within that spirit that we welcome you all here. And the task now is to make sure that we use the arts and culture to demonstrate the social glue that which binds us together domestically to spread culture and access to culture to all parts, not just the heights of London and Edinburgh, not just to the affluent but to all, building the strength of communities and building that social glue. And it's not just about culture within one country because culture transcends borders. Globally to shape as it has done in the past Britain's role in the world and identity to bind humanity in mutual understanding and appreciation where we celebrate that which brings us together and not concentrate on that which divides us. Let that be the spirit of this summit and let us work to promote that spirit here in Edinburgh and the world over. Thank you very much. Thank you minister, Mr Hancock. I'd like to update the summit now on a slight change to the programme. I have the real pleasure of inviting Euston Ndour to address the summit. Euston Ndour is the former minister of culture, Senegal, and as well as a world-renowned musician. He has collaborated with artists as diverse as Branford Marsalis, Tracy Chapman, Raiutu Sakamoto, Lou Reed, Peter Gabriel Sting and Bruce Springsteen. And in order to facilitate Euston Ndour's vast experience and knowledge, he will address you in French and the format of his address will be an interview. So I'm delighted to welcome Emmanuel Coshay, consul general for France who will ask Euston Ndour questions in French and their conversation will be translated simultaneously. So for those of you who require, I would suggest you put your headsets on now. Thank you Euston Ndour and Emmanuel Coshay. Euston Ndour, a well-known and wildly acclaimed international musician and at the same time a politician, a senior politician with still senior positions in your country, Senegal. So we'll conduct this conversation in French. So before this cultural summit, watch your message on culture and its relationship to politics, especially from your perspective as a politician in your own right. You're probably the only person who's exercised high office in both politics and culture, and perhaps even above and beyond your own artistic exercises. You've taken an important role in culture, and you're now in politics in your own pay, so you so. Thank you very much for facilitating this meeting. It's a great honour for me to share with everyone who's here. I think it's incredibly fortunate to have this discussion about culture because it presents advantages for our own lives and for the cultural economy itself. So I want to describe economy and culture as train rails. Without the rails, the train doesn't work, and of course we need cultural content. We also need to be economically supported. So for the train to work, we need both rails. We need the first rail, which is the cultural content, and the other rail is the economics of culture. Emmanuel says that already brings us into a need to get involved in culture, to have commitment towards promoting culture. So how does culture contribute to development when we have these two rails? Usu says we could see culture as an advantage. It's rich in its own right, it's not an obstacle. There are many continents and countries that are beginning to close in on themselves, but we need to understand that the world is enriched when we get involved in culture. Of course, we need to thank all of the entrepreneurs and philanthropists who have supported culture and have really contributed to the cultures that we have today. Having the economic means to get involved in culture is important, so we need to get involved in looking after and supporting culture, so we can't really get away from the economic importance of supporting culture. Emmanuel says that you're from Senegal and has a real cultural industry, and it's a real cultural industry which is having a major effect on the country. And we can really talk about an industrial impact. How did that happen? Usu says as minister for culture, I find that there were a lot of things missing in the country, and a lot of things that were impacting on the major cultural actors. Because if these cultural creators in extreme poverty, they can't create, and if they can't create anymore, it's a catastrophe. Maybe it's not obvious and you can't see it, but you can feel it, and I believe that we need to work for reforms. We need to work for reforms that really allow cultural actors to live their lives, to live stably, so that we can contribute to their creations. Emmanuel says we've seen an economic impact, an impact that goes beyond borders, and so the great promoters of African music are known around the world now. What's the root of your success? As an exporter, as an ambassador, in your own right. Usu says it's all about driving the roots down deep. That brings together who I am, what I have, what I do, and opens me up to others. And so what we call the explosion of the musical world is in that explosion we understand that people have to be able to see that everything I'm doing is coming from me. And Emmanuel says, and so this internationalisation of what is rooted in specific countries, what made that difficult? Usu says that the more we open up, we think that when we open up we're going to lose something, but actually we gain, we come closer. And Emmanuel talks about in terms of talented people moving around. What impact does that have on today's cultural economics? How do you convince people to stay connected to the country that they've come from when there are so many opportunities abroad and people, talented people, can travel? Usu says, I think I was speaking about cooperation with France earlier, and this cooperation allows cultural actors to move around. That gives them the opportunity to move around to travel. And I can talk to you about the difficulty of travelling as an artist. It makes life difficult to come here to Britain. You need to give them your passport. You need to wait three weeks for a visa. And you still don't know if you're going to get a visa. And that's just if you want to come here to talk about culture. With other countries it's the same. There are measures that we bring in because of security, but that doesn't do cultural actors any good. Emmanuel, so we can talk about cultural actors being able to travel, but what about capital being able to travel to go beyond borders? Usu says, I think investment needs to grow. And that's where parliaments come in to play, where decision making comes in to play. If we lose our feeling or meaning of our existence, I think that we lose everything. We lose what we want to do. Even what we are now. What we want to be. And so we end up having to ask the United Nations. In forums like the one that we have here at Edinburgh are very rare in allowing us to talk to all of the people involved in decision making. Emmanuel says, you've talked about choice, about difficult choices that have to be made in politics and in economics. What do you think are the best arguments to convince people to invest in culture when people have differing priorities and different governments have different pressures on them? Usu says, you need to see it as an investment. When we talk about balancing budgets, we need to see cultural actors as people who can change. When I was minister for culture, I wasn't there to convince people. I was there to invest in people. So when we are talking about budgets, we need to talk about getting people rooted and grounded in their own country and talk about investing in cultural actors. So I think we need to look at reforms. We need to begin to model cultural politics to show people the economic importance of culture and how culture and economics are two rails where we need both. Emmanuel says, we're talking about education and the priorities of economics and culture. How does culture come into education? Usu says, we need to see education as the basic level. If we leave culture out of education, we end up losing culture if in our countries our working language is one that only came in because of colonisation. In our houses and we speak other languages, that shows us that we need to do something. I think education is the basis of everything. Emmanuel says, that's a question of linguistic diversity and cultural diversity. Are you in favour of preserving that diversity? Usu says that, it's not happening everywhere. In Scotland, it's the same thing as in England, I think. In Scotland, children are born and they know one language. In our country, you speak one language to your mum but at seven years old you're going to school and you're going to learn another language so that you can even work. So right from the start there's a balancing act to be done across the entire scope of society. So people who are in charge of governments, they need to do something really special in education. So there are some areas that have more possibilities than others. So here, children are born, they speak English and they work in English. In Senegal, you speak wall of home and you work in French and you see why it's difficult. Emmanuel, in terms of the sustainable impact of culture, what can you say are the priorities today on the international level? Usu says reforms are absolutely the priority. At the highest level that we can go, we need to be thinking about reform. We need to get rid of debts. We saw everyone campaigning to get rid of debts for the year 2000 and that was good and we tried lots and lots of things to get there and we saw lots of work to get to try and reduce AIDS and to reduce other diseases as well. So now we need to start setting up arguments. We need to keep arguing and be there to speak about the importance of culture and education of course. Emmanuel, and so this evening you're going to see the largest concert in Edinburgh and so we would like to wish you a lovely stay in Scotland and thank you for your contribution. Thank you very much. To those from Farrefield and perhaps as a reminder to those from Scotland, here now is a flavour of Scotland's proud history and heritage, please welcome one of our finest actresses, Beth Marshall, to read the final speech from James III, The True Mirror, the third of the James plays trilogy by Ronan Monroe. This outstanding trilogy charts Scotland's history over the reigns of James I, James II and James III, from 1406 to 1488. Those plays, commissioned by Edinburgh International Festival and National Theatre Scotland, were first performed at the Edinburgh International Festival in 2014. Beth Odiew. Well, if you've all finished having hysterics, can someone remind me what we're supposed to be doing here? What was it again? Oh, yes, ruling Scotland. In fact, I think we just heard your king giving you specific instructions to get on and do that job any way you liked. So this is your plan, is it? To stand here howling obscenities. Is anyone going to attempt any parliamentary business or will we have another shouting match? It's time to do the job you came for. You may not have a king, but you have a queen. I have the king's trust. I can take the king's place, and you think I would like that. Like it? Have you blown your nose and lost your brain? Who would want the job of ruling Scotland? I'm Danish, you ignorant, abusive lumps of manure. I come from a rational nation of reasonable people. You know the problem with you lot? You've got fuck all except attitude. You scream and shout about how you want things done and how things ought to be done, and when the chance comes, look at you. What are you frightened of? Making things worse? Well, according to you, things can't get worse for Scotland. Oh, you wear me out. Do you know that? You drive me mad. Would one of you please tell me why it is? I still love you so much. Would someone please explain why a rational woman born in a reasonable country would rather live here and be your queen than live in happy, quiet peace anywhere else on earth? I'm the queen of Scots and no, I don't always like that, but I do love it always. I was 12 years old when I came here. I didn't understand a word anyone said to me. I was frightened. I was lonely. I had no friends this side of the North Sea, but you talked slowly until I understood. You showed me that the more frightened you are, the better the joke you can tell about it. You showed me you can find friends anywhere you share food and drink if you just wait and see how to join in the conversation. By the time I was 13, this was my home. You let me be. You let me grow. You taught me who I am. I am the queen of Scots. Will I show you how well I learned that lesson? These are yours. All this is yours. The comfort of community is warmer and softer than cold gold could ever be. I'm sorry it's taken me so long to understand that, to understand how to be your queen. I'm sorry I never told you any of this. I should have known that the only way to let you understand how much I care was to tell you exactly what I think of you. I've seen the worst of you and your murderous, miserable men. You've seen the worst of me. I've been a proud, overdressed, self-centred woman, but the best in you pulls me above that. The best in you with my help can sustain this parliament and this nation. I give you my jewels, I give you myself, I give you all I know. I wasn't even born here, but I am offering Scotland my life. I'm your queen. I'm still here. Look at me. Am I not the queen of Scots? Will you help me unite this country in peace? Will you help me make Scotland's law? Will you let me do all I can in her name? Will you help me rule? Then tomorrow we can begin. Together you and I will govern Scotland. Thank you, Beth. That was wonderful, even the unparliamentary language. Can I now invite Sir Jonathan Mills to the floor to introduce the 2016 summit programme? He has been director of various festivals in Australia and more recently here in Edinburgh. In addition to his role as visiting professor at the University of Edinburgh, he is our programme director for the summit. Sir Jonathan. Your Excellencies, ladies and gentlemen, may I add my warm welcome to those of the Presiding Officer of this Parliament, the Cabinet Secretary and the Minister of State? The theme of the summit this year, culture building resilient communities, reflects a strong belief in the vital role that culture plays in the life of any successful community. I believe that culture is a prism through which to perceive the equilibrium of any society. The stories we tell about ourselves reflect our ambitions and values and have an estimable impact on the cohesiveness and the liveliness of the world we seek to create. I make this claim whilst at the same time acknowledging that how one defines success is quite often a matter of cultural, environmental and linguistic difference. Human societies are by their very nature and origins extremely complicated, often contradictory entities. They are quite simply as paradoxical as each and every one of us here today. Hard to fathom, almost impossible to define. When the then President of Timor-Leste, Janana Gwshmal, addressed this summit in 2012, he declared that having returned from years of exile and just been elected the first President of East Timor, in contemplating a future for his young nation, it was not viable or desirable to build a country sector by sector in a piecemeal way, a bit at a time, by focusing on transport before education, health before habitation. He saw that his role was to do something much more fundamental, to build a community where none existed. After years of war and conflict, there was an imperative to foster a sense of purpose and personal commitment within society, to encourage people to have a sense of pride in their community, to nurture a spirit of goodwill and optimism, while at the same time building roads, schools, hospitals and houses. Without confidence and hope, nothing could change and nothing was likely to endure. But as a poet, Janana perceived that an essential and rather direct route to achieving that confidence and optimism might be found in the traces of one's art, painting and sculpture, the pulses of dance and music, the spectacle of opera, the fantasy of poetry and the conflicts of drama and within indeed the rituals of one's own spiritual beliefs. In his groundbreaking study, Making Democracy Work, the eminent political scientist Robert Putnam put it another way when he said, civil society creates wealth. Wealth does not create a civil society. The Edinburgh International Cultural Summit is hosted by a city in which for almost 70 years, cultural relationships of the most diverse and intense kind have been initiated and nurtured. The decision to hold the summit in August during the Edinburgh International Festival extends to you all the opportunity to engage directly with one of the most diverse and vibrant cultural celebrations in the world. And as much as it is a Scottish initiative, it offers a genuinely international perspective and I encourage you to embrace it as your festival, not just ours. Your presence is indeed an encouragement to the almost 25,000 artists from over 70 nations who gather in this city every year to participate in these festivals. The summit invites you to contribute to a wide ranging conversation across three interlinked topics to consider the urgent social and political priorities of protecting and preserving environments of outstanding culture and heritage importance for all of humanity and throughout the entire world. To compare some of the economic opportunities and challenges facing a range of governments in a variety of financial circumstances and political contexts and to recognise the best ways to ensure the greatest possible participation in cultural activities by all manner of citizens, young, old, directly and in person or via digital platforms. And surely the idea, the very idea of participation touches the core of the rights and responsibilities of individuals and communities throughout the world. It is the right to be engaged, it is the opportunity to connect and it is the pleasure of participation. In devising a programme for the summit I'm keen to cultivate a balance of voices representing multiple perspectives rather than a singular attitude, recommending that no continent no or particular perspective should dominate these proceedings and I'm delighted that 41 nations from a very diverse range of parts of the world are represented here in this chamber. In visiting Scotland you are coming to a place with a strong emphasis on finding practical solutions to the many challenges you face in your professional positions. We believe that by sharing your perspectives openly and honestly you will create the opportunity for each participant to identify ideas and solutions that you have tried and tested and might be ready to be adaptable to their own particular context, hopefully with equally positive results. The summit is in two parts, a series of short presentations here in the debating chamber of the Scottish Parliament, these becoming the impetus for longer discussions and debates in which you will participate in private session. On behalf of the summit partners, the British Council, the Edinburgh International Festival, the UK Government, the Scottish Government and the Scottish Parliament I would like to thank Sir Angus Grossert and the trustees of the Summit Foundation, the independent charity established to support the work of the summit. I would like to acknowledge our corporate philanthropic and individual supporters, Aberdeen Asset Management, Bailey Gifford, The Binks Trust, Sir Ewan and Lady Brown, the Dunard Fund, Dundas Global, Edinburgh Partners, Sir Angus and Lady Grossert, Fleur Grossert and the Morton Charitable Trust. I'd also like to acknowledge the collaborations and contributions of our knowledge partners, The Aga Khan Trust for Culture, Edinburgh World Heritage, the Centre for Public Diplomacy at the University of Southern California and Witrap, the World Heritage Institute of Training and Research for the Asia and the Pacific under the auspices of UNESCO. I'm particularly delighted for the first time this year we are able to host a programme for young leaders as part of the summit. I would like to thank Creative Scotland, the City of Edinburgh Council, the European Festivals Association and its Festival Academy, the European Youth Forum and the Scottish Graduate School for Arts and Humanities for their support of this important initiative. I wish you well in your deliberations during the summit and hope that all of us participating in this year's summit will leave here with a renewed enthusiasm to make the case for culture, not merely as a reinforcement of a status quo but an essential enlargement of the circumstances in which we imagine our lives. Thank you. Thank you for that introduction, Mr Jonathan. Tomorrow we are going to reconvene here for the first of our plenary sessions. I will hear three speakers addressing the first of the three themes for summit 2016 before breaking out for individual policy discussions in that pattern will be repeated in the afternoon. Before we break for dinner, I would like to ask everyone if we can to assemble on the floor of the chamber and we are going to take a photograph. All the delegates here on the floor—I want you all to come down to the front and I will hang on a second. Andrew is our photographer here. If I can just pass over control to Andrew, who is going to tell us exactly where to stand. Is that fine? Thank you all very much and I close the session.