 Felly, a fydd yn dweud chael gael drywiaethol. Mae gwstafel eraillffyr Cèd Macintosh a Iamlid, Mae'r gerdyddion dda, mae gyffrithiau wail yng Nghymru, i gael amdannu ei rydw i gyngor, a fydd yn dweud i'w ddailgau eithaith yng Nghymru, i ddysgol eraill ffiliadau yng nghymru. Fydd yn bellno i gymhineithio cyfg spinachol i'r rhagliadau a'u edrychniadol, muita imi eich ffน, i unig i'r rheiniadau, i'r ffanaeis i'r Ffanaeis i Llywodraeth Cymru, i'n pob dda i Llywodraeth Cymru, i'n gweithio'r ffanaeis i Llywodraeth Cymru pinnwys. Ie'r ffanaeis i'r Ffanaeis i Llywodraeth Cymru, i'r rhaid i ei fod yn gwybod, ond o'r rydym ar wdaraeth yn y newid i'r ffanaeis mewn gaelig i Llywodraeth Cymru, i'n ffaith yng Nghyrch mewn ddechrau, 100,000 welcoms. As I'm sure you're aware, the summit is a partnership between the Scottish Parliament, the Scottish and UK Governments, the British Council and the Edinburgh International Festival. I'm delighted to say that we will be hearing from each of our partners shortly. Before doing so, I think that it is worth reflecting on why we are here. I believe very strongly in the role that culture and the arts play in promoting international dialogue and understanding, and this summit provides a unique forum for debate and discussion about international cultural policy. As we gather in a city currently hosting the world's largest festival of the arts and culture, and in a building designed, in the words of its architect, to be a space for shared conversation, not sterile confrontation, I can think of no better venue to do so. The inaugural cultural summit in 2012 brought together a range of internationally renowned speakers and artists from 33 countries around the world to discuss how arts and culture are best sustained, promoted and protected, as well as to provide new opportunities for cultural exchange. Now, in 2018, we host the fourth and the largest of our summits, with 42 official delegations representing all corners of the globe. It has been a delight to see the culture summit go from strength to strength. The overarching theme of this year's summit is culture connecting people and places, and it weaves together three programme strands that we will explore in detail over the coming days. Those strands will reflect on the fractured world in which we live and demonstrate how culture can make connections across perceived divisions in society. I hope that you will agree that, at a time of great geopolitical and societal upheaval, exploring this diversity is of paramount importance. In both plenary sessions in this chamber and in the policy discussions that will take place throughout the Parliamentary campus, we will discuss the following three interlinked policy strands. They are culture in a connected world. How can culture build bridges of understanding across peoples, generations and societies in a fragmented world? Culture and investment—the need to strike a balance between investment in physical infrastructure, building new theatres and museums and alternative models of investment to support our creative talent to reach new and wider audiences. Culture and wellbeing—exploring how participation in cultural activity can positively affect our health. We have plenty to do and to get on with over the next couple of days. I hope that you find the summit interesting and enjoyable, but I would also strongly encourage you to take every opportunity to make the most of your time here in the Parliament and in Edinburgh to network and to exchange ideas with each other. I hope that being here in this vibrant capital of Scotland at festival time and in this wonderful Parliament building provides that extra spark of creativity. Once again, on behalf of all my fellow colleagues and members of the Scottish Parliament, welcome to Holyrood. I am delighted that you are here. I wish you well in your deliberations. I would like to formally begin proceedings and to invite, as a First Speaker, Sarkirin Davann, chief executive of the British Council, to welcome guests here to the Edinburgh International Culture Summit. It is a huge privilege for me to be here again. As Ken mentioned, as a time when culture has such a huge contribution to make to fixing the fractured worlds to which he referred, those of us who know the British Council and I know many of you do might well know that we were established in 1940 when I sometimes have to remind some of my colleagues that there was something even bigger than Brexit going on. In that very first document it talks about the role of fostering the interchange of knowledge ideas and discoveries and says that that is the role of the prudent state and that the reason to do it is to create a basis of friendship, knowledge and understanding between people. Friendship between our communities, within our countries, knowledge of each other, knowledge of the world's heritage, knowledge of our histories and where we came from so we know where we might be going and understanding of our own complexities but the complexities of some of the conflicts but also some of the solutions which lie ahead of us. I first really thought about this from my homeland. I'm Irish and we too suffered from community conflict and while the police and the military reduced the level of violence, they were not the people who brought peace. The people who brought peace were people reaching across the community and creating the political space which then allowed ultimately the Good Friday Agreement to be signed 20 years ago this year. It was musicians who were the first people to reach across the boundaries, punk musicians as it happened and then the women's movement and it was that knowledge, that understanding between communities which created the process from which peace began. Really what they were doing was building trust. Economists don't agree on very much but one of the things they do agree on is that prosperous societies with high levels of cohesion, with stability, with good levels of security have high levels of trust. So fostering that trust I think is a critical role of those of us who work in the sphere of culture because what we're doing is we are sharing that knowledge, those ideas and that understanding and out of that comes trust, out of that comes prosperity, out of that comes security. So when we talk about culture we're not just talking about our history and where we came from and what we're proud of we're talking about culture being a vehicle for economic development and indeed for development economics and I think it was one of the great levers which as yet is under exploited. So on my behalf of that my colleagues and our partners in the summit thank you for being here delighted to be with you and look forward to our conversations over the next day or two. Thank you. Thank you so Ciaran. I would now like to invite my parliamentary colleague the cabinet secretary for culture and external affairs Fiona Hyslop MSP to welcome guests on behalf of the Scottish Government. I'm very grateful to you and our parliamentary colleagues for their role in organising this event. I'd also like to thank the Scottish Government's other partners and funding partners. So Jonathan Mills deserves a special praise for helping to pull together such an innovative programme as do the summit foundation team led by Sir Angus Grossart who has helped to leave her in support from so many partners. Thank you. On behalf of the Scottish Government which is responsibility for culture policy in Scotland, welcome to Scotland. As the Government Minister involved in establishing this global summit back in 2012 I'm delighted to see how it has grown and developed. On the day that this great building housing the Scottish Parliament was officially opened in 2004 Liz Lockhead read a poem written by the late Edwin Morgan, our first national macker. A macker is an old Scots word for poet. The poem begins with these words of wisdom which I think are a fitting welcome to the 2018 Edinburgh International Culture Summit. Open the doors, light of the day shine in, light of the mind shine out. We have a building which is more than a building. We give you this great building. Don't let your work and hope be other than great when you enter and begin. So now begin. Open the doors and begin. So welcome also to Edinburgh. As our capital city, Edinburgh has forever shaped our thinking about who we are as a nation. Edinburgh is steeped in a history that is defined by the coming together of people, cultures and ideas from around the world. It is as open to the world now as it ever was, and during the festival it feels as though the Edinburgh belongs to the entire world. I hope that you all have the chance to sample some of what Scotland and Edinburgh has to offer during your stay. The Edinburgh's festival shape and promote Scotland's identity as a confident, creative and welcoming nation. Edinburgh is hosting the largest celebration of the arts anywhere on the planet, with the Edinburgh festival fringe, the largest arts festival in the world. At the festival's peak, we have 25,000 artists, entertainers, thinkers and writers populating the city, with more than 1,000 shows per day. That audience attendance is the equivalent of hosting a FIFA World Cup every year. The 2018 Edinburgh International programme burst into life with a very moving and spectacular programme, five telegrams, which commemorated World War I and celebrated Scotland's year of young people through a remarkable fusion of creativity and innovation, a powerful example of how culture and arts can reflect the past, challenge the present and shape the future. In addition to Edinburgh's festivals all year round, there are hundreds of festivals and celebrations in Scotland. Just this month, Glasgow, jointly with Berlin and funded by the Scottish Government, hosted the highly successful 2018 European Championships. First ever, it was a bold innovative event. It brought together seven sporting championships at the same time, and it was watched by over a billion viewers on television. Alongside that world-class sporting offer, just like the 2014 Commonwealth Games hosted in Glasgow, we delivered an exceptional cultural programme, Festival 2018, alongside it. Those events are wonderful in their own right, however. Festivals also speak deeply to Scotland's sense of itself. We are a nation that cherishes culture for its empowering and transformative power, as is underlined in our draft culture strategy. If you read the quotations on the canon gate wall at the side and part of the building, you will see that poetry is literally built in to the building of the Scottish Parliament. We are proud of the vibrancy, diversity and excellence of our traditions and our contemporary cultures. Of course, it feels hugely important now when the UK, despite Scotland's vote to remain, is set to leave the European Union. The festivals, yes, are a brilliant excuse for a party, but they also demonstrate, celebrate and strengthen a sense of internationalism that we hold very dear. That internationalism is why we established the Edinburgh International Culture Summit in 2012. As a time when international dialogue and hearing the voices and the views of everyone is increasingly important, the theme of connecting peoples and places for this summit is very apt. The summit provides unique opportunities to forge new relations, rekindle old ones for us to learn from each other and for discussions to take place on the role and the value of the arts. I am particularly delighted that the summit has a strong focus on young people. I look forward to the telling contribution that youth delegates will make. They will be vocal, passionate and expect them to challenge us all. I believe that there is no better place or time to host the culture summit. The summit provides an unrival platform to debate, consider and take actions that are of interest for all of us. We want to generate ideas, gain insights, discuss and, most importantly, listen and make connections. Scotland continues to be a welcome open society where we embrace different voices and opinions. Thank you so much for joining us. Thank you, cabinet secretary, and, turning to our other governmental partner, to welcome guests on behalf of the Government of the United Kingdom, we have the right honourable Jeremy Wright, QC MP, Secretary of State for Digital, Culture, Media and Sport in the UK. It is great to be able to join in the welcome to you all for this fourth international Edinburgh culture summit. There is no better backdrop to this event than this wonderful city during the height of the festival season. As you will already appreciate and come to appreciate, these iconic festivals are a living, breathing example of the incredible power of culture in transforming our lives and our cities. Visitors across the world have been flocking to see some of our biggest names side by side with smaller productions and, of course, giving our economy a boost as they do so. The Edinburgh international festival and the fringe encapsulate the creativity and ingenuity that can be found all across the United Kingdom. As we leave the European Union, we will use that creativity to show the world that we remain an open, welcoming and outward-looking nation. This summit provides a unique platform for ministers and cultural leaders from across the globe to discuss the big issues that impact us all. One of the themes of this summit particularly struck me. That was culture in a networked world. As our culture is digital report identified, technology offers unprecedented opportunities for culture in the UK and beyond. Every day, we see the seismic power of technology and its ability to engage new audiences, drive new business models and increase access to world-class archives and collections. Some of our oldest and most prestigious sites are using technology to meet demand for new digital experiences and to reach those less engaged with culture. Cultural organisations also have a powerful role to play in how we interpret information in the digital age. In a world of social media echo chambers, cultural organisations are vital in challenging our views and introducing us to new perspectives. I know that many of you are working on your own programmes to combat your great cultural institutions with the most cutting-edge, impressive technology. That will be the new cultural frontier over the coming years. We can only make the most of it if we are open-minded and we work together, regardless of boundaries. That is why events like that are so important. Thank you to Sir Johnathan Mills and to your team for your continued passion and dedication and for your hard work in organising this event. Thank you to all the partners involved in making it happen, the Scottish Government, the British Council, Edinburgh International Festival and the Scottish Parliament. Speaking of the Scottish Parliament, thank you too, Presiding Officer, for allowing us to host the summit in this spectacular chamber. So let us all make the most of this opportunity because culture shows humanity at our best. So it's my privilege to help open this important summit. The ideas and conversations that we will share over the coming days will show the world how the enduring power of culture can strengthen the bonds between our nations. Thank you very much indeed. Thank you very much, Secretary of State. We will now hear from programme director of the 2018 Edinburgh International Cultural Summit, Sir Johnathan Mills, on the content of the summit programme. Presiding Officer, your excellencies, ladies and gentlemen, may I add my warm welcome to those of the Presiding Officer, of the chief executive of the British Council, of the secretary of state and the cabinet secretary. I'm especially delighted in this year of young people in Scotland to greet so many youth delegates to the 2018 Edinburgh International Culture Summit. The title of this year's summit, Culture Connecting Peoples and Places, affirms that culture is a prism through which to perceive the equilibrium of any society, and to suggest that the poems and plays, songs and ceremonies, photographs and paintings which we choose to share with each other are fundamental to the vibrancy and cohesiveness of the places in the world we seek to create. The Edinburgh International Culture Summit is hosted by a city in which, for 71 years, cultural relationships of the most varied and intense kind have been initiated and nurtured. As much as it is a Scottish initiative, it offers a genuinely international perspective, and I urge you to embrace this as your summit in your festival, not just our festival. Your presence here is an encouragement, as the minister has said, to the 25,000 artists from all over the world, from 70 to 80 nations who gather in this city every year. Equally, as a forum in which practitioners and politicians this year representing 45 countries can come together, the summit provides you all with a platform to discuss and promote substantial global issues of mutual interest, to network with ministerial delegations and to engage with highly ambitious alliances of artists and cultural professionals. As you will see and hear from actors Pw Kun Shin and Charlene Boyd in their dramatic renderings of Shakespeare and Lee By in a moment, from choreographer Akram Khan on the forecourt of the Palace of Hollywood House later this evening, and from musicians Feras Charistan, Basil Rajub and Julian Herman and actress Beyr Webster during the course of the next few days, as well as attendances at all of the festivals that are going on in this city at the moment, and to top it all off, a visit to Dundee, a sneak preview of the VNA about to be opened in a couple of weeks. We place art and its practitioners at the centre of the conversation that we are about to have. This event is supported by an independent charity chaired by Sir Angus Grossett on behalf of the founding partners. I would like to thank Sir Angus and the trustees of the Summit Foundation along with all our corporate philanthropic and individual supporters for their contributions. If as an artist I have learnt anything from the inspiring discussions that have emerged from this summit since 2012, it is a greatly enhanced appreciation of the truly complex challenges that each and every minister of culture faces in advocating for culture within the processes of governments and bureaucracies. We live in a world that faces huge challenges, exploding population growth, diminishing natural resources, banishing indigenous cultures, increasing tribalism and bitter localised feuds, human dislocation of unprecedented dimensions, of large-scale suffering from preventable and treatable disease. In searching for some words that grasp the depths of some of our dilemmas, I'd like to share what a young, optimistic political leader had to say about a world that remains addicted to defining itself by a rather narrow set of measurements. Speaking at the University of Kansas in March 1968, a few months before his tragic assassination, Robert Kennedy said this, too much and for too long we seem to have surrendered personal excellence and community values in the mere accumulation of material things. Gross national product counts air pollution and cigarette advertising and ambulances to clear our highways of carnage. It counts special locks for our doors and the jails for the people who break them. It counts the destruction of the redwood and the loss of natural wonder in chaotic sprawl. It counts Whitman's rifle and speck's knife and the television programmes which glorify violence in order to sell toys to our children. Yet the gross national product does not allow for the health of our children, the quality of their education or the joy of their play. It does not include the beauty of our poetry or the strength of our marriages, the intelligence of our public debate or the integrity of public officials. It measures neither our wit nor our courage, neither our wisdom nor our learning, neither our compassion nor our devotion to country. It measures everything in short except that which makes life worthwhile. I hope that the ideals so eloquently expressed by Robert Francis Kennedy at a time of equal and substantial social change to our own half a century ago might inspire and guide your deliberations in this city and this Parliament during our short time together. Please enjoy this summit and most especially this city and its festival. Thank you. Thank you very much, Jonathan. In case you're wondering, we're going to hear from the last of our partners at the closing ceremony, Fergus Lynan, from the Edinburgh international festival. However, we're now going to hear, if I can, the first of our presentations, which will lead into the plunaries, the private policy discussions and the informal dialogue, which I hope you will all have with each other and which will mark a successful summit. I'm delighted to say that the first speaker is going to be Scotland's first minister, the right honourable Nicola Sturgeon MSP. I'd like to invite the first minister up to the podium to address the chamber. Thank you. Thank you very much, Presiding Officer. Your Excellencies, ladies and gentlemen, on behalf of the Scottish Government, let me very warmly welcome all of you to Scotland, to our capital city, right now the cultural capital of the world, Edinburgh and of course in particular to our beautiful Scottish Parliament, all of you, particularly those visiting for the very first time, are very welcome indeed. It is a real pleasure for me and my colleagues in the Scottish Government to welcome you here as the hosts of this culture summit. It's also appropriate that I echo the thanks that have been articulated by previous speakers to the Scottish Government's partners, those who are delivering this summit alongside us, the British Council, the Edinburgh International Festival and the UK Government. Let me also thank Serangus Grossart and the Summit Foundation and, in particular, Sir Jonathan Mills, the programme director for putting together such an exciting and vibrant programme for this summit. The Edinburgh International Culture Summit is, without a shadow of a doubt in my unbiased opinion, the world's leading forum for the discussion of arts and culture policy. I'm absolutely delighted that this year more than 150 artists, policy makers, producers and thinkers from over 40 countries across the world are taking part. Your presence here speaks to our shared belief that culture is of central importance to any society. It also demonstrates our shared commitment to improve the way we support, develop and promote our culture sectors. The summit programme focuses on how we can do that. It does that by looking at three central themes—the importance of government investment in culture, the relationship between culture and wellbeing and the role of culture in an increasingly networked world. All of those themes have particular relevance to Scotland. The link between culture and wellbeing seems very obvious in Edinburgh all year round, but particularly in the month of August. Like thousands of others, I have the experience of enjoying the incredible atmosphere that is created by the Edinburgh festivals during this period of August. It is obvious everywhere in Edinburgh at this time that the ability of culture to inspire, excite and bring joy is apparent. It is also the ability to make us think. I had the pleasure a couple of days ago of interviewing one of our greatest writers, Allie Smith, at the Edinburgh International Book Festival. She reminded us then of the words of another of our great writer, Muriel Spark, whose centenary we are celebrating this year, who said that culture should make us feel but that culture should also make us think. That is evident everywhere in Edinburgh right now. Of course, culture affects wellbeing in many different ways and in many different contexts. As part of this summit programme, a number of contributors will speak about the different ways in which cultural activity can improve our health and wellbeing. For example, we will hear about the way dance has been used to help people to deal with the trauma of the Rwandan genocide, and we will hear about the use of music to treat chronic illness in the Netherlands. Obviously, not every specific example is directly transferable to all other countries, but the basic principle that culture has an impact on wellbeing is an important one. In fact, it is a principle that is now directly and very firmly recognised by the Scottish Government in our policymaking. Earlier this summer, we published a refreshed version of our national performance framework. That is a document that sets out the Scottish Government's overall purpose, and it includes different indicators that show whether or not we are achieving our aims. In the new version of that framework, we have, for the first time, included the concept of national wellbeing. We have identified the vibrancy of our cultural life as one of the key indicators of our national wellbeing. For the first time ever, our efforts to improve wellbeing will be measured, and we will pay as much attention to those efforts as we do to our efforts to grow our economy. It also means that the importance of culture is reflected in the very purpose of the Scottish Government and in how we judge our success as a country. I suggest that it starts to live up to the sentiments of Robert Kennedy so recently articulated by Jonathan Mills. I am particularly proud that, on the day that we launched our new national framework, I quoted that passage of Robert Kennedy that we have just heard from Jonathan Mills. That is a way in which we are showing and leading by example about the importance of culture to our wellbeing as a country. Of course, that is one reason of many why we continue to invest in culture. As Jonathan Mills has alluded to already, in recent years, countries and Governments right across our globe have faced difficult times, in particular difficult financial times. The Scottish Government is certainly no exception to that, but throughout that we have maintained our support for Scotland's culture sector. For example, our budget this year includes a funding increase for culture of almost 10 per cent. We have protected funding for our five national performing companies, and we are investing in major capital projects such as the creation of a new museum in Stornoway in our western islands and the Royal Scottish National Orchestra's new home in Glasgow. Possibly, though the most obvious example this year is the V&A museum of design in Dundee, which will open in just three weeks' time. The Scottish Government has been a strong supporter of the museum with an investment of £38 million towards its construction. The building itself is a showcase of design thanks to world-renowned Japanese architect, Kengo Kuma, and it is also the focal point of the regeneration of Dundee's waterfront. On the basis of that project, The Wall Street Journal has already listed Dundee as one of its top 10 hot destinations in the world, and Lonely Planet, the producers of the guidebooks, has named Dundee among their 10 best European places to visit in 2018. That kind of international attention will help to bring jobs, investment and business to Dundee. Our hope is that, by highlighting the city's design heritage, the museum will also inspire Dundee's next generation of designers and artists. In doing so, we firmly believe that it will enrich the lives of people locally and across our country. The V&A Dundee will showcase Scottish design to visitors from around the world, but it will also, through its exhibition programme, bring the best of international design to Scotland. The museum will therefore be a great example of how culture can widen our horizons. That is something that I think is a really important benefit of engaging in culture, something that I was commenting on at the Edinburgh Book Festival earlier this week. In my view, reading or consuming other forms of art and culture deepens our understanding for and our empathy with people, cultures and countries of which we may have no direct personal experience. Of course, the recognition that culture can promote international understanding motivated the creation of the Edinburgh Festival in 1947, shortly after the end of the Second World War. During that first festival, the then Lord Provost of Edinburgh, Sir John Faulkner, summed up its founding philosophy. He said that the cultivation of the arts, the increase of prosperity and the development of universal friendship are matters which outreach our boundaries and the rebirth of joy and enthusiasm in life makes for a people's strength and happiness and health. Those ideals of co-operation, friendship and working towards the common good underpinned much of the post-war settlement. They are at the very heart of international institutions like the European Union and the United Nations, institutions that were designed to bring countries back together, repair lives and provide peace and security. Those ideals, values and principles are still fundamental to the Edinburgh festivals today. That is something that we should never undervalue. It is one of the reasons why it is so wonderful to be here in the city in August at the height of the festival season when that spirit of creativity, internationalism and solidarity is so much in evidence. Of course, it is one of the reasons why it is so wonderful to be here with all of you at this summit. A little earlier, the Scottish Culture Secretary Fiona Hyslop opened her remarks with a quote from Scotland's first national poet, Edwin Morgan. I want to close with the words of Scotland's current macker, Jackie Kaye. In 2016, in this very chamber standing up in the gallery right there, Jackie Kaye marked a new session of this Scottish Parliament by reciting a specially written poem. Near the end of that poem, she reflects thus, it takes more than one language to tell a story, welcome. One language is never enough, welcome. Come on, Ben, the living room, come join our brilliant gathering. I'm delighted that you are adding your experiences, your expertise and your languages to this brilliant gathering. As a result, I hope that all of us can find new ways of bringing the benefits of culture to more people in our own countries and right around our world, so welcome. Thank you so much for being here, and I hope that you find this summit both informative and perhaps above all else enjoyable. Thank you very much, First Minister. I now invite His Excellency, the right honourable Sir Jerry Matipare, High Commissioner of New Zealand to the United Kingdom, to join us at the lectern. Distinguished leaders, ladies and gentlemen, can I extend to you my warm greetings? Could I also join with those who preceded me in acknowledging the Presiding Officer and thanking him for the opportunity to be here? Can I also thank Sir Jonathan Mills for this opportunity for me to be here? What I thought I'd do is the theme of my comments is the example. Firstly, the example of Scots over time. Secondly, the example as it is for New Zealand, and then thirdly, the example of the festival and also this summit. One of the things that distinguishes Scotland in all meanings of that word, its substance, its opinions, its purposes, and how it feels is its culture. Scots men and Scots women have taken their culture around the globe, and the Scottish diaspora are renowned for celebrating that culture spiritedly in both senses of that word. At the heart of a culture is a language spoken and written, stories, music, and poems. There's a Māori whakatoki or proverb which translated says, My language is my awakening. My language is the window to my soul. In the context of my being at this cultural summit in Edinburgh, I thought it would be appropriate for me, as others have done, to start with quoting a poem, lyrics by Scotland's most famous poet Robert Robbie Burns. My heart's in the highlands. My heart is not here. My hearts in the highlands are chasing the deer. Chasing the wild deer and following the road. My hearts in the highlands wherever I go. The Burns poem reminds us that the Scottish people have always been intrepid explorers travelling far from home and yet holding an affinity to Scotland and things Scottish. The lyrics help to explain why Scottish culture has reached and taken hold across continents, including to the completely opposite side of the world, to Aotearoa, New Zealand. There are few other countries that have been as successful as Scotland in exporting its culture from bagpipes to tartan to haggis to highland dancing and to shortbread and whisky. Scottish culture permeates every corner of New Zealand. Caledonian societies help to ensure that. There are highland games that attract competitors from all over the world to places like Waipu, Hororata, Turkinna and Pyro. Many of our schools wear tartan kilts as part of their uniform. Dunedin, one of our oldest and most prominent cities, its name derived from the Scottish Gaelic name for Edinburgh is known as the Edinburgh of the South, but I think it's as a people where the impact of our Scottish heritage is most keenly felt. Our strong Scottish roots mean that we share many traits with the people of Scotland. We share a friendliness, a dry sense of humour and a seriousness in our approach that comes from living in dramatic and unforgiving terrain. We share a caniness, determination and a can-do attitude where innovation is a cornerstone in our business dealings. And like many Scots, we know how to have a good time and we do and certainly I do enjoy a wee dram. As a country, we value our culture immensely. Our culture, New Zealand's culture, is no longer only on display through the hucka at an all-blacks rugby game and for me that's exciting to see. We've seized the opportunity to promote things in New Zealand and nothing is more New Zealand than our language, our realm. We can draw inspiration from Scotland in terms of how successful you have been at showcasing your culture and this summit is testament to that. The other thing that the Burns poem reminds us is the sentiment that Scottish people and culture have an affinity to the land and that fondness travels with them wherever they go. This is something that strikes a resounding chord with me and I'm sure it would do with most New Zealanders. There's another Māori proverb which goes toitū te kupu, toitū te mana, toitū te fenua, your word, your status, the land. These things have an affinity to culture and it seems to me that the resurgence of our language Te Reo Māori points to the notion that these things start at home. This festival sets a powerful example showcasing culture and through the various events and through exploring different styles we actually see how interconnected we are. I firmly believe that through sharing our cultures we have become less foreign to each other. At Edinburgh we have found an incredibly receptive audience to our culture. New Zealand Māori and Pacifica inspired shows have been hugely popular. From the powerfully provocative to the light-hearted numerous and diverse New Zealand artists have participated in the Edinburgh festivals through support from our creative New Zealand, Toi Aotearoa. Creative New Zealand works with Scottish institutions to develop meaningful exchanges with our artists and one another's cultures. Relationships established here and in the wider Scotland are something much more profound than simply flying over here to tell our stories. For example, playwright Arthur Meek is presenting his work, Erewan, for the Edinburgh festival or Fringe Festival this year. The play is a result of his participation in the New Zealand Scotland playwright residency and exchange programme in 2016. Another is Shannon Teal's multimedia installation with the sun aglow I Have My Pensive Moods 2017. It is the first ever that New Zealand has co-commissioned with the Edinburgh arts festival. Of course, Aotearoa New Zealand's presence in the Royal Edinburgh Military Tattoo, particularly in 2014, with two leading Maori cultural or kapa haka groups, Tawaka Huia and Te Whanaua Apanui and leading New Zealand Highland dances, highlighted that as a celebration of our home, our friends and our family. I'm convinced that as we learn more about each other and our differences, we can see and celebrate our commonalities and shared aspirations. Ladies and gentlemen, the events that happen here every year and bringing together many cultural ideas and art forms and in the sentiment that the Scots have done in this wonderful city and championing culture is truly extraordinary. At this point, in New Zealand's culture, I would be required to sing. I have been told, don't lose your day job. So what I thought I would do is, in terms of that connectedness, I'd conclude my comments with a poem written by a Scotsman, John Liddell Kelly, who immigrated to New Zealand in 1880. Kelly wrote a book of poems called Heather and the Fern, Songs of Scotland and Maria. The poem is titled Heather and Fern. Though dear to my heart is Zelandia, for the home of my boyhood, I yearn. I dream amid sunshine and grandeur of a land that is misty and stern. From the land of the Moa and the Maori, my thoughts to old Scotia will turn. Thus the heather is blent with the kauri and the thistle entwined with the ffern. Llywydd, as I started with my language is my awakening, my language is the window to my soul. Thank you very much. Thank you very much to Jerry. I couldn't tell whether people were relieved or disappointed, not to hear you sing there. The Edinburgh Festival and Fringe is all about participation, occasionally about humiliation, just warning you. Thank you, Sir Jerry. Our next presentation will be from Dr Katharina Vaz Pinto, councillor of culture for the city of Lisbon and who will give our thoughts on investing in the locality, how to invest in buildings whilst investing in people. Dr Vaz Pinto. Excellencies, ladies and gentlemen, let me start to thank the honour of being here at this prestigious summit and for allowing me to share with you some views on the role of culture and the role of cities and the needs of human scale. I changed a little bit the content of my presentation, but it will come to investment, sorry. As we well know and a test in our daily lives, our world is becoming increasingly complex, confused and unintelligible. As a result of the deep and sudden changes brought about by globalization and the digital paradigms that invaded our daily lives at work in our personal lives in our free time. It is a paradigm intercepted with the creation of immense expectation regarding the ability to foster wealth, exchange and sharing, the ability of recognizing the other. Today, however, we live in a divided, fractured world. It confronts us with a broad range of phenomena of exclusion, conflict and even refusal of the other. If on the one hand we are immediately and constantly connected, more efficient and swift in our work, and we do have access to and parallel amounts of information and goods. On the other hand, we often feel insecure and unsatisfied with the uncertainty of present life. We challenge the sense of time, distance, place, human relationship to which we were accustomed to, which technology has come to accelerate or modify. We are permanently connected with the world, yet we can feel as if we were completely alone in our homes. The commodity-based ideology of economic success of technological progress and accumulation of assets exacerbated by financial crisis, climate change, wars and forced migration has led to adoption of production and consumption patterns of lifestyles that came to generate levels of inequality, stress, loss of relationship with nature and alienation in a less cohesive world. I believe culture can make connection across those divisions in our society, as well as it can create the conditions for mutual understanding and ultimately it can work as a way of fostering social cohesion and cooperation over the borders. That is why I believe that change can only be achieved through the appreciation of the culture dimension in global development. Culture is the vital ability for expression and symbolic constructions. It allows us to affirm identity to build sense of belonging of public space, to think upon defining options and values, to establish the links between past, present and future, to fulfil desires and to find an individual and collective purpose for the time we live in. Culture is what makes us different, culture is what makes us human. So, in order to address the negative effects of today's reality, it is paramount to put culture at the centre of public policies, by protecting heritage, by supporting creativity, by promoting diversity, by granting assets to knowledge, taking advantage of the technological evolution and the comfort provided by economic vitality, but also thinking to creating a counterbalance and new ways of connecting the analogue and the digital world. The territory within a specific physical and labouring space is where we can try to re-instate this balance, making our cities more human and more sustainable. Cities that are more close-knit, where everybody has the same rights and access to the same opportunities. Cities that seek to activate, mobilise, accommodate the creative energies of all, bringing forward conditions to build bonds, ties of belonging and solidarity, a spirit of active citizenship. Cities that seek the appropriate scale for each project or activities, by taking into account the target or prospective audiences, the level of funding or other available resources and the actual needs. Cities that promote and welcome human diversity, respecting the uniqueness of each and every group, ethnic, religious, gender, artistic or cultural. Cities able to function as an ecosystem, seeking to articulate a varied public policies, combining public private resources and realising the role of each actor in their specific mission and their contribution to the big plan. Lisbon is now experiencing a moment of great and unquestioned vitality. Unlike what we have seen in recent years, even here in Europe, in Lisbon we want to be on the side of those who are open to the world. In fact, this is an ancient identity trait of our city. The geosatagic position of the country and of Lisbon in the westernmost point of the European continent dictates its everlasting conditions as an intersection between Europe, the Mediterranean and the Atlantic, points of arrivals and departures, place of exchanges and gathering of culture. The Phoenicians, the Romans, the Arabs inhabited Lisbon throughout the ages and already in the 12th century an English cruiser travelling through Lisbon was astonished to see so many people in the city. In a letter signed just R, he wrote that the reason for such a huge agglomeration of people was that between them there was no obligatory religion and since anyone could have the religions that they wanted from all over the world men would gather here. If geography favoured us it is true that we also learned from history. In all the periods in which we repressed and rejected diversity we lost economic, political and cultural relevance. Whenever we respected and valued culture and spiritual diversity we progressed, we became wealthier as a people and more sympathetic and tolerant and we have held Lisbon as a great cosmopolitan metropolis. Therefore geography does not waive the permanent construction and reinvention of an identity that we wish to be open, hospitable, happy and sad, attentive to the contemporary world. A city that's capable of creating a public space, a common square, a community in every neighbourhood on every corner in every park. A city capable of responding to the anxieties that afflict us all, women and men of our time, those who live and work in Lisbon, those that are in transit, all of them in search of meaning of happiness of peace. As far as culture is concerned we went through a first stage of diagnosis and strategic redefinition, reorganisation, creating and rehabilitating infrastructures so that we can go now into a stage of consolidation where local public authorities in the area of culture act as a facilitating and capacity-building agent and work to bring culture closer to the people and vice versa, to bring people closer to culture in order to combine the attraction for culture with the need for culture. Following that purpose the public space has been one of the priority areas of our intervention, open to all present in all parts without social or economic barriers. As one of our most prominent artists, Alshan Ffart-Acavill's, whose street art is scattered throughout the city of Lisbon and currently all over the world with his oversized scratch murals that invariably show anonymous faces sculpture in the stones of buildings, we look at the common and anonymous citizen. He or she is a protagonist and agent of change in today's world. It is with this citizen in mind that we want to design our policies and demonstrate the transformative power of culture. Thank you very much. The final speaker in the chamber in this section is the vice chairman and co-chief executive of the Kissinger Association, Mr Joshua Ramill. Thank you very much. It's a pleasure to be here with you. It's great to hear the greetings from the many political figures here, so Jonathan, thank you very much for your hospitality. There's many places I could begin the story that I want to tell today, but I thought I would start on another summer's afternoon, a hot, humid mugged summer afternoon in 1506 in the middle of rural Germany when a young German student was making his way home from Storterfeld to Erfurt, where he was in school studying law. It was a summer afternoon like any summer afternoon if you were in central Germany today there might be a similar thunderstorm brewing up, but what makes this particular storm different is that it descended somewhat by surprise on this young student. Martin Luther was 21 years old that day. He was walking through the woods and suddenly it begins to rain and hail and lightning. A tremendous storm is upon him. He cowers under the assault and he makes a promise. If he gets out of it alive he'll enter a monastery. Luther's progress from that afternoon is well known to us, the theological journey that produced the Reformation. He would later say that the essence of what he experienced in that thunderstorm, the raw power of nature, evoked for him a powerful idea of Saint Paul, the notion that faith is passed from faith to faith. There was no need for an intermediary that every individual could have their own direct access to God. This was at the time a revolutionary idea. It unlocked, as I will describe, everything we know today about being modern. But I mentioned it now because that moment in the Stratunheim Forest marked the start of a fundamental pivot in the human experience, and I believe we are now on the edge of another fundamental human experience change and the role of culture in that as we will see is vital. My idea is that all of the noises we hear around us today, the political breakage, the uncertainty, the miracle sounds of hopes of new ideas, mark the first measures of a new era, one that may surpass the enlightenment in its impact. This new era is still only dimly apparent to us in its ideas, in its rules, in its habits, but it is one that will fundamentally change the nature of the human experience, and it is the role of culture during this transition I wish to discuss today. Paul's idea, the one that was so appealing to Luther, that faith could be transmitted from faith to faith, is fundamentally a line about directness. The great break of the Reformation was the idea that individuals could have their own access to God. They didn't need a church, they didn't need anybody else standing the way, didn't need to pay money. Every individual themselves could have access to God. This idea of Luther's was in harmony with a whole series of ideas that were breaking out around him. People like Galileo and Copernicus had the idea that individuals could have their own access to knowledge, to science, bringing the ideas of Aristotle to real life. That triggered other processes that were part of the Enlightenment, the idea that individuals should have their own access to political power, individuals should have their own access to commercial power, to decide what they wanted to do with their lives, that what was for so many years a prison for people of where they were born and who their parents were, could be replaced by people living the lives that they themselves wanted to live, the essence in short of being modern. The explosive force of that summer thunderstorm was really unlocking a furious energy of freedom that had held people back for so many years until it was released suddenly, the power to learn, to read, to vote, to think. All of these represented a tremendous change. This was not, however, a peaceful process. It involved the destruction of almost every institution in Europe over a 400-year period. It produced war after war after war. Luther's insights, for instance, directly produced the wars of the Reformation, which were the most violent wars that Europe had seen to that point. You get a sense of this if you read Luther. We know him for his 95 theses, but he had this feeling that the Reformation was unleasing this accelerating process of violence and turned later in his life to writing pamphlets such as Against the Murderous Steving Hoards of Peasants, and these peasants were simply following the advice that he had given. Find your own way forward. Have your own access to God. Live the life that you yourself dreamed. No pamphlet was going to stop that because what those murderous steving peasants were trying to steal was their own freedom and their own liberty. About halfway into this four-century string of change that began with the Reformation and then went to the Enlightenment and the Scientific Revolution and the Industrial Revolution and the Modern Revolution of the 20th century, a great debate broke out not so very far from here. On the one side was David Hume who needs no introduction here. He was born about 50 miles from here in Berwickshire in 1711 and went on to become one of the great minds and thinkers of the Enlightenment. But on the other side was a less well known but equally formidable Scottish clergyman named George Campbell who was born in 1719 in Aberdeen and considered himself a student of Hume's. The debate between them had to do with a problem that we don't pay much attention to today but was essential in the era of the Enlightenment. Do miracles exist? This may seem like kind of a silly, outdated debate, sort of a Rorsach test on your own faith. Do you believe in miracles or do you not believe in miracles? But it was the kind of debate that was really at the front lines of the Enlightenment because it was a debate about the question of whether or not problems could be cracked by human reason. Was there any part of the world that could not be understood by the use of the human mind? Which is really another way of asking was there any source of power, any place in the world that had access to ideas and powers and tools of freedom that humans should not have access to? Before the Reformation power was incredibly concentrated in the hands of a few kings, feudal lords, priests, they had all the knowledge, all of the information and then one day that began to break down and it triggered this massive wave of change. Where we are today is at the beginning of an equivalent wave of change. It is one that will be marked by miracles for sure and also by the sorts of tragedies that came along with the Reformation and everything that came after it and it's an understanding of the nature of that change that I think we can begin to address the importance of culture. The nature of the revolution emerging around us today has to do with the fact that we're entering an era of networks and by networks I don't just mean the internet. I mean any set of connected points. People who sit in this parliament building are a network. People who speak Mandarin are a network. People who use Bitcoin are a network. The fundamental insight is that connection changes the nature of an object. It changes the nature of every object. A connected voter, a connected library, a connected actor, a connected performance, they're all different than ones that are not connected and that is a shift in the nature of power. If the Enlightenment and the Industrial Revolution were all about liberating individuals, freeing them from that tyranny of history and where they were born, this revolution is about connecting people and connecting introduces fundamentally new dynamics of power. We're just in the earliest stages of understanding this. We're sort of in the position that Locke might have been in of just having the hint that something was changing but something dramatic changing and all of us who spend time working and thinking about network theory realize how early we are in this process but I thought I would just give you one example of the nature of this shift. So we said that the nature of the Enlightenment was about distributing power more widely than ever. Crawling it, pulling it out of the hands of kings and feudal lords and giving it to individuals. And to some degree this technological revolution that we're undergoing right now is very much about distributing power. We all have in our hands and our pockets and our laptops and our computers and our phones more computing power than existed on the entire planet 250 years ago. We're connected to great sources of information. We can get knowledge instantly so it's true that power is radically distributed by technology. But we also see something else going on. Power is becoming incredibly concentrated. Today there are about a dozen platform companies, is what we call them in the world, that have more than a billion users each. And the more people who use these, the more powerful they become. The more people who use a mapping service or a social network the smarter that system gets and therefore more people need to use it. And so we have the balance of power today moving from this habit of distribution that we had in the past towards two things happening simultaneously. An incredible distribution of power and an incredible concentration of power at exactly the same time. It's sort of like the model of the atom, right? Another great fruit of the enlightenment where you have the incredible concentration of neutrons and protons in the center and electrons on the outside. And the more electrons you have the stronger that central core needs to be. The more people you have using a mapping program for instance. The stronger that mapping software becomes the better it knows the world around it so more people use it so it gets even smarter. The same is true of the future artificial intelligence systems we'll have. The more people are diagnosed on a medical database the better that medical database gets and therefore the more people want to use it. So power is moved from being incredibly concentrated to being incredibly distributed to this new model, this tense pulling scheme of power on which we live now. And this process is what is tearing apart many of the institutions that we once came to rely on. Think about the family doctor that you might go to for medical treatment. He used to be your last word in care. Today the minute you're diagnosed with something you're trying to find the answer on some sort of internet search engine. You're looking at different internet news feeds and web pages and tweets to get information. That's this distribution of power. In the same time in four or five years an artificially intelligent database will be able to out diagnose your doctor because of this concentration of information. So that role of the doctor in the middle is just being pulled apart. Or think about the traditional media. It used to be that you had the BBC or your newspaper sitting in the middle. Today you have this massive distribution of people tweeting and putting their ideas out there in this massive concentration and the traditional structures are being just torn apart by that. This is what it means to live in a revolutionary age. When you look in my country, the United States, we've never had a period where the legitimacy of every public institution, the press, the presidency, the Congress, science has been as low as it has been as it is right now. And the reason for that is these revolutionary pressures which are falling on institutions that are not built for this new age. Same thing happened during the Enlightenment. The kings, the feudal lords, the popes, they all were built for a different fundamental structure of power. So the idea to keep in your minds as we move into this new period is so many of the things around us today that look strange or unusual or unnerving are not one-off things. They are expressions of this underlying shift in power that will be as dramatic and significant as the Enlightenment itself, bigger than World War I, bigger than World War II, a fundamental change in the human condition. The role of culture in such an era is really the thing that allows human society to progress through these massive step changes in what it fundamentally means to be alive and beyond this earth. There's so many examples of this, but one of the ones that I often return to is the notion of what happened in Vienna in 1900. Think about Vienna in 1900. You have the seeds of the worst political fever that is about to break over the continent that will kill millions of people, fascism. You have communism also taking root there and the beginnings of an ideological struggle that will dominate the 20th century and subject the entire planet to incredible risk. But at the same time in 1900, what do you have in Vienna? You have Mahler. You have Freud. You have Shostakovic. You have the incredible sounds of new ideas and new music, the images of Klimt coming alive. And as we look back on that today, 120 years later, the power of the ideas of fascism, the power of the ideas of communism, these have all faded away. They come back from time to time, but the impact on our daily life is nothing like it was 100 years ago. But to go hear a symphony of Mahler, to go see a painting of Klimt, is to take you right to the essence of the human condition. The age that we're living in is this rare age, the beginning of a period of total revolution, just like that summer's day that Martin Luther encountered in 1506. And the best possible reaction to it, the reaction that defines us and makes us the most human, is the reaction that comes from culture. Thank you very much. Thank you very much, Joshua. And she has sent her apologies at not being able to join us, but I'm delighted to introduce a video message from the Prime Minister of the United Kingdom, the right honourable Theresa May. Every August tens of thousands of artists and millions of visitors descend on Edinburgh in the world's biggest celebration of art and culture. So it's fitting that this city also plays host to the world's largest gathering of culture ministers. And it's a pleasure to welcome you all here today for the fourth Edinburgh International Culture Summit. The theme for this year's event is connecting peoples and places, a reflection of culture's unique ability to bring people together from different nations and different backgrounds. It truly is an international language, as we can see in the huge range of nations represented by delegates and speakers this year, from Switzerland to Singapore, via the USA, Palestine, Rwanda and many more. From art and music to theatre and filmmaking, the UK has long been a world leader in all aspects of culture, but there is no monopoly on turning creative sparks into global success. This summit is an incredible opportunity for everyone here to share their experiences, to look at policy ideas and interventions and to discuss what works and, just as importantly, what to avoid. Just as culture connects people and places, so this conference connects those who have the power to make a difference for artists and performers around the world. So thank you to everyone who has helped make this event happen, including the Scottish Government, the British Council, the Edinburgh International Festival and our hosts here at the Scottish Parliament. Thanks to all of you for coming. I wish everyone here every success for the rest of the summit. Thank you now. Gerry tantalised us with a suggestion of a song earlier, and there will be opportunities to participate in the coming days. However, no session of the culture summit would be complete without a performance, an artistic performance, to complement our discussion. To conclude our session, it is my pleasure to introduce Poo Kun Chin, president of the China Theatre Association and noted actor Charlene Boyd, to perform two spoken pieces, to be or not to be, and a passage from Poo Kun Chin's play about a noted early Ming dynasty poet Li Bai. Poo Kun Chin and Charlene Boyd. To be or not to be? That is the question. Whether it is nobler in the mind to suffer the slings and arrows of outrageous fortune, or to take arms against a sea of troubles and by opposing end them, to die, to sleep no more, and by a sleep to say we end the heartache and the thousand natural shocks that flesh is there to, to the consummation devoutly to be wished, to die, to sleep, to sleep, perchance to dream, there's the rub for in that sleep of death what dreams do come when we shake off this mortal coil must give us pause, there's the respect that makes calamity of so long life. For who would bear the whips and scorns of time, the oppressors wrong, the proud man's contumely, the pangs of despised love, the law's delay, the insolence of office, and the spurns, the patient merit of the unworthy takes when he himself might his quietest make with a bear bodken, who would fardals bear to grunt and sweat under a weary life, but that the dread of something after death, the undiscovered country from whose born no traveller returns, puzzles the will and makes us rather bear those else we have than to fly to others that we know not of. Conscience does make cowards of us all and thus the native hue of resolution is sickly door with the pale cast of thought and enterprises of great pitch and moment with this regard their currents turn awry and lose the name of action. Leibai, over 60 years old, after a life of frustrations, sits on the bank of the Xunyang river. He was drinking wine while enjoying the moon and composing poems. Leibai, yn ymwneud, is but 100 years, 36,000 days how I wish to empty 300 glasses every day. The river is filled with water like JADE and the waves are gailded with gold. It's filled with water like gold Why? Forget about your golden goblets and jade bulls just dive right in ..aeth i'n ddweud dweud ar 30,000 dyn nhw. Y ddweud i'n ddweud i'n ddweud.... ..a tîm. Tîm tref sydd iawn i'n ddweud i'n ddweud... ..i'n ddweud i'r ddweud hynny'n ddweud... .. occupied a ddweud yn botl yn unrhyw o'r gwybod... ..aig i'r angen i ffyrdd gan yntegrityn. A'r ysgolwyd llwyddoedd yma! Can it be the reflection of the cinnamon on the moon? Extending his arms towards the reflection of the moon on the river with an attempt to grasp it, Leibai gradually dissolved in the water and the moon. Speech about the power of theatre, the power of poetry and literature, the power of intercultural exchange and integration. The world of nature is not created by humans. Human society is created by the culture, technology, material and spiritual life. Where did the great creativity come from in these thousands of years? From the source of nature and from the development of the world of nature eich cyfnodd ar gyfer cyfle, mewn cyfan, a'r bywyd, ac yn ymddiolol i fwylltau ac yn eich cyfnodd. Ymddwn y gwerth o'r cyfnodd, cyfnodd ac yn cyfnodd, ac yn ymddiolol i fod y cyfan yn gyfan. Yn y gwasanaeth i gael todaybodaeth cyfnodd, mae'n ddigwyddodd y ddigwyddodd cyfnodd eich cyfnodd yw'r cyfan. Mae'n ddigwyddodd â'i ddweudio'r cyffredinol a'n ddigwyddodd â'i ddweudio. yn gystalio ar hyn, ond rymael yn cael ei ddeil iawn. Rydyn ni'n meddwl i ddim yn credu lleol sydd â'r mewn e시다illol yr droi. Fy yw'r olfyn yn cynhyrch, ymweld gan yr olfyn yn credu lleol. Fy yw'r olffyn yn credu lleol yn canol, ac yn credu lleol sydd â'u sgwllfa! Rydyn ni'n meddwl i ddim yn credu lleol i ddim yn credu lleol. Fe iddyntwch, oherwydd mae'n gwneud cyfferidau sydd mor bynnag i gyfer amlwys i'r morfyn i'r oeddion cyfleol, poble, ddiolch, of the human society, from the good and evil of morality, to the cultivation of familial ethics, from the kings and aristocracy to every Tom Dick and Harry, as well as from supernatural worlds filled with fantastical spirits to imaginary versions of the future world. The ability of William Shakespeare to understand the world and to create artistic and literary works is simply peerless. I have delivered several lectures to university students with the title of theatre enlightenment and artistic education. As a form of art, theatre helps the audience to understand the world they are living in. Theatre is not unlike a classroom or church in which compulsory courses are taught regarding the cultivation of virtues. A theatre goes perception of the world, his or her imagination, expression and sense of humour will all be enriched by the place that he or she sees. As a mould of civilised life that is derived from literature, theatre is at the same time a form of figurative audiovisual literature, which involves the live performance of actors and actresses on the stage. A literary text must come first, and theatre often refers to the process and result of recreation based on that text. According to Mr Youshu You, the later artistic director of Beijing People's Art Theatre, theatre at its best must be able to evoke similar senses of beauty as great poetry and paintings do, with comparable philosophical and literary connotations that are both simple and plentiful. Culture and culture is the spirit wealth that people have in common. People from different regions of the nation have the ability to perceive themselves and their knowledge of culture. This is a question of curiosity, envy and the psychological demand that has been raised by the police. Cultures and civilisations are the shared spiritual wealth of all human beings. People from different regions and ethnicities are born with similar impulses and wishes to perceive the world and understand the human civilisation, i.e. the similar psychological needs based on curiosity, admiration, caution and inspiration. We all love and respect the cultural heritage of William Shakespeare, and wish to keep staging his plays in the years to come. Because we enjoy reading his plots and stories, witnessing the struggles and fates of his characters on the stage, and getting inspired by his 400-year-old insights regarding the world and future, in this sense, his works are always contemporary. As modern day artists and audience, our encounter with Shakespeare usually start with enjoyment, proceed with studies and culminate in acting and seeing more of his plays. In this way, we continue the tradition of Shakespeare. In this way, we will still be staging his plays 500 years later. In 2000, I think that we will be able to see the world and the world of Shakespeare and the world of his works. In 2013, I was invited to perform Choryolanus at the Edinburgh International Festival. From August 19 to 15, I played the part of Prospero in the Tempest. It is the first time that this play has been staged in China, which is also the fourth Shakespearean play that I have acted in. Moreover, another new version of Hamlet will also be premiered in November, in which I am going to play the part of the king. Last but not least, I consider myself a Chinese actor cultivated within the tradition of Shakespeare. I hope that in the days to come, I can perform more in the Bard's plays and enjoy the process as much as I can. Thank you, Sari. Thank you, Aidingbaugh. Puka and Jinnan Charling Boyd, thank you very much indeed for that performance. That concludes today's session. Just to remind delegates, we will be back here tomorrow morning at 9.30. However, it is not the end of the day for you. We are going to adjourn shortly to go across to the Palace of Holyrood House for a performance of Akram Khan's Kadamati, full by a reception. Just before that, we want to take a photograph of everybody. I am going to now pass over to our team, and Andy, to instruct us all where to stand. We now move on to the official heads of delegation photograph. Can I ask that all delegates and members of public accept the heads of delegation, move to exit the chamber? Delegates in the chamber should exit using the door at the back. Delegates in the gallery down the stairs to the ground floor, where culture summit staff will guide them to the garden lobby.