 Rhaiddoch chi, a chyfnodd yn gweithio ar y Ffresafol Cymru yng Nghymru 2022, ac yn gweithio ar gyfer y ddechrau'r ffordd yng nghymru yma, ac rwyf i gyd, a'i gweithio i gyd ar gyfer y dweudiaeth 3, James O'Royal, OBE, y directoriaeth y Ditchley Foundation, i gael i wneud ar gyfer y cyfnodd ymddirlygiad sy'n ddwy yr eich ffresafol cysylltiadau Felly, dnid ymweld ei gweldai'r cyrfryd. Dwi'n fawr i'ch gynnig o'r iawn cyfnod yr oedd cyfnod yma i'ch gyrgyffredigion ac i fywyr that peace is a difficult process, not a resting state. I hope that we will apply that lesson not just to this conflict, but to others around the world. Our friends from Ukraine made a three-day risky journey to bring us their stories. They described a war with an ambition to wipe Ukrainian culture and identity from both the map and our collective imagination, the targeting of intellectuals, the destruction of works of art, theatre and museums, the banning of books and the silencing of the distinctive sounds of Ukrainian language and music. We heard of the conversion of a cultural centre in the Donbas into a prison for the interrogation of enemies of the new state. The war launched by President Putin rests on the definition and promotion of one culture at the expense of another denounced as degenerate and not worthy. We have seen this before and we know where it tends. What begins with the erasure of culture turns to the rape of freedom and ultimately the denial of humanity. Art and culture, especially in the most difficult circumstances, fight against that process. We create culture together because we are human. Because we are human, we have a right to our freedom and a distinctive voice of our own. Ukrainian art and culture have weathered the initial storm and are now resurgent. They are looking for our support not just for the short term but for the years ahead of rebuilding. Close to the front line where dangers are greatest then culture is being created and celebrated in small groups in rooms and candlelit basements. Readings and music are not a luxury that can't be afforded in times of war but essential fuel for the spirit and a balm for wounded minds, souls and bodies. In places at more intermittent risk such as Kyve, larger-scale theatre operas and concerts have resumed although theatres with sound basements are generally preferred and performances are often interrupted by air raid warnings. Equally impressive is the quieter work under way to catch the emotional and intellectual impact of the war through the collation of oral history, the recording of dreams and the gathering of stories. We want to help and our workshops focused on practical responses. Ukrainian culture needs financial assistance to sustain its artists and other professionals, to rebuild its shattered infrastructure in places but also to deliver new hopeful works. What funds can we co-ordinate across Europe in order to deliver maximum effect? What fellowship can we offer and fellowships to Ukrainian artists? Partnerships are crucial and we explore the useful concept of twinning of many different levels between institutions and places but also between technical teams and individual artists. At first the need was for emergency aid. Now we should think longer-term. How can we support institutions over a period of three to five years? Without forgetting the diaspora, the focus has also moved from outside of Ukraine to within Ukraine. How can we help rebuild and sustain capacity within the country? Ukraine is now known but not yet understood. As Oxana Zbushko pointed out, we do not mourn the loss of precious things we did not know we had. How can we integrate Ukraine and other regions in conflict around the world? Into our cultural programmes and thus into our thinking, our conscience and our prioritisation? How do we fight against the destructive ignorance of each other and what we hold dear? For the UK we identified a particular action in the visa process. It should not take Ukrainians as long as it does to get to the UK. Ukrainian art and culture has much to give in return for our support now. Unparalleled recent practical experience of the protection of culture under threat but also the virtuosity, originality and beauty with which the human spirit responds to such pressures. In the wrong hands, culture can be a knife that cuts flesh from the collective human body and soul and constrains human imagination. Totalitarian culture, shaped by the centre, is harnessed to meet the demands of power. It is drawn to exclude and to undermine. It is one of our oldest and saddest stories but it has deep roots in who we are. We feel most comfortable with people who are like us, like birds of a feather we flock together. That is why it was truly inspiring to hear Ukrainian delegates in such circumstances talking of building a new culture of inclusion, a culture that would recognise the diversity of voices from the places that are not central, whether Ukrainian, Yiddish, Polish, Gypsy and yes eventually the reintegration of Russian voices. That seemed to me a project with global resonance and a fitting repost to the culture of exclusion, the culture of central state control. Culture needs freedom to flourish but to be something we can touch, hear and taste, freedom needs its expression in culture. Political freedom is essential but we care about political decisions because they either open or close down our opportunities to become the people, the families, the communities, the countries and the world. We know in our hearts we are capable of becoming. That process of becoming, as remarked at the beginning of this summit, is what we call culture. Political freedom and legal freedom are a foundation, the string of the instrument before it is plucked but freedom expressed has a sound which we heard in the beautiful sad music of the bandora and the virtuosity of Buscaid from Soweto. Freedom has a taste and savor in our national and regional dishes. Freedom has a style in the clothes we design to celebrate who we are, where we came from but also where we want to go. Freedom has a voice in our songs, our poetry, our novels, our history, our drama. It's a beautiful voice and I've heard it many times at this festival but I caught it most clearly and surprisingly in the words of an Australian soap opera, repurposed by a beautiful creative 30 year old woman with Down syndrome and a home and a way up session. You know we belong together. You know we belong together. An open culture's embodiment of individual and collective freedom fights against those who would set us apart, who would categorise us and thereby diminish us. That's a just fight, a serious fight and one worth fighting for. Thank you. Thank you, James. I would now like to invite the second lead reporter, Paul Fitzpatrick, director of creative engagement national theatre of Scotland to report back on your discussions under the second theme of this year's summit, culture and education. Thank you, Presiding Officer and thank you to the delegates who so passionately and enthusiastically contributed to the roundtables on culture and education yesterday and also thanks to the raptors for your excellent insights. As I was writing this summary, I kept thinking of what Nicola Venendetti said at our opening session on Friday. All life is education. We are all seeking education. Our life is our education and that is a theme that has come through strongly from all the discussions around culture and education. Education cannot be something that happens in a silo. Education cannot be something that happens to us as a child. Education is part of our life. Education is part of our culture. In line with the topics of the breakout groups, I've come up with three headings which reflect the discussions. Curriculum is culture. Technology is a tool and play for play's sake. If there is to be a creative curriculum that is successful for education and the economy, it must reflect the culture it sits within and be born of that culture. Education must be holistic. It's about educating the whole child and it's also about education for life. The most powerful work is in creating a community to discover talent and to allow it to flourish and to create a curriculum which is right for its community. Its environment, city or country. The work that is being done on the Gambia Academy is a model that many of us could learn from. In the 21st century, a curriculum that is not a creative curriculum no longer makes sense. Cultural experience and academic achievement support each other. They do not oppose each other. Innovation comes from imagination and imagination comes from artistic and creative education. But we face barriers to a holistic creative curriculum. When there isn't a clear correlation between culture and economic impact, we hold on to outdated beliefs that excellence and about excellence and academic achievement. The fact that in many governments around the world, culture and education sitting in different departments just exacerbates this outdated thinking. For a creative curriculum to thrive and bring about the change we need, it's time to break down the silos and see that we value a creative education and the value that it brings to every sector of the economy and society. Technology is a useful tool to achieve this. Whilst in many areas it feels like we're back to business as usual after the last two years, things have changed and hybrid learning is here to stay. So what an opportunity to break down those silos and reimagine what learning can be for all of us? We've all seen how digital platforms can allow us to reach a greater number of students and a greater diversity of students. We have the tools to begin to provide more equitable access to creative education and to open the world up. As Diolch yn Stron illustrated to us yesterday, digital platforms are an open platform for teaching and learning to explore new contexts. They allow us to have first-person experience of a range of settings, delivering new perspectives on subjects like history and science, and there are also a rich platform to develop emotional and societal skills like empathy and citizenship. Play for play's sake. We all know the intrinsic value of art and understand the concept of art for art's sake. The same needs to be applied to play. Play in and of itself has value and it will lead to learning. It will develop a creative and imaginative mind. That is the outcome. A different way of being, a creative and innovative way of thinking. Play brings so many of the benefits that we are seeking. It develops imagination, empathy, learning, social cohesion, relational development, community building, intergenerational communication and intercultural understanding. Some Governments are recognising it. The Scottish Government has a play-based curriculum for primary education and the Welsh Government was the first Government in the world to legislate for children's play. Play suffers from the same barriers as an artistic or creative education. There is a tension with play and this is the barrier. It's open-ended, it doesn't have an outcome and it's co-created rather than being controlled. In our authoritarian approach to education, play is subversive, it doesn't fit in, so people ask what is the purpose of play in education but that is the wrong question. The question is what is the purpose of education? The purpose of education is to prepare children and young people to become members of a valuable society which goes back to the question that Andreas Schreiker from the OECD asked us. Are we preparing young people to learn to live with themselves, other people and the planet? And as our youth delegate, Dorothea from Kosovo, asked in our round table, how can we be prepared for jobs that have not yet been invented? The answer is through a creative, artistic and playful education that starts at birth and goes through our entire lives. An artistic or creative education is not about preparing a young person for a career in the arts, it's about preparing young people for life and for work in any sector. I heard many times in round table discussions that we need a paradigm shift. The question is not if but when. That shift can start now with us here in this room and my recommendations that ministers may wish to consider are revise your curriculum and put creativity and artistic education at the heart of learning and find time to play, value the power of play and play for play's sake. Thank you. Thank you Paul. I would now like to invite the final leader, Rapporteur Fiona Hyslop MSP, member of the Scottish Parliament since 1999, a previous and longstanding cabinet secretary and currently the deputy convener of the net zero energy and transport committee to report back on your discussions under the third and final theme of this year's summit, culture and sustainability. Fiona Hyslop MSP Presiding Officer, ministers, colleagues and a special thank you to my partner Rapporteurs from this afternoon, Murdo and Rameza. Everywhere is local to someone. My local childhood village was where our national poet Robert Burns was born who, on disturbing a nest of a mouse with his plough, wrote these lines in 1785 in apology. I'm truly sorry, man's dominion has broken nature's social union. Our technology and carbon use in the almost 250 years since has done far more than break nature's social union. Most of that by a few countries who are lecturing the rest what to do now. Last night's context of the outstanding performance of Jungle Book by the Akram Khan company will be visited on your children's children and children. The waters are rising and this morning millions in Pakistan are affected by floods as their government calls for world help. Oxana, from Ukraine, told us in relation to the loss over many years systematically of Ukrainian culture. You can't have grief for the loss of something you have never known. In different contexts of sustainability, we have heard that you have to know something to have knowledge and feeling for it to exist to protect it and to enact change. So much applies to our connection of or increasingly the disconnection and knowledge of nature by being with it, part of it. Aligned from Jungle Book last night, we are of nature not separate from it. Salah Llemi, if I saw from someone who told us, it's not possible to change behaviour without spiritual reform transformation. He spoke of the same need to have embodiment of us all in nature. We debated how culture should not be about rehabilitation of our loss of understanding but more used in celebration, resilience, to build connection with nature, hope and, in that way, have motivation for transformational change. We need to find our relationship to nature as humanity collectively as well as individually. Nature, the earth, is not separate from people, but climate change can somehow be seen as too big, too remote to act. We need to be guests or not owners of nature. As Scott's poet Norman Mackay wrote in A Man in Ascent, who possesses this landscape? The man who bought it or I who am possessed by it? We heard about stewardship, relational space rather than appropriation and space. Disconnect between people and planet has been identified with an aim at shifting baseline syndrome and observed phenomenon where, over successive generations, there is a gradual change in the accepted norms for the condition of the natural environment due to lack of experience, memory and or knowledge of its past condition. To change something, to challenge the orthodoxy of the carbon-heavy consumption, we need to harness culture for positive transformation of behaviour, but not just transactionally. The urban environment workshop reflected on Patrick Geddes, internationalist, conservationist and early planner in 1915. We need to have sympathy, emotional engagement, put yourself in another's place of seeing, synthesis, intellectual engagement comparing and synthesising and synergy, co-operative engagement and the collaborative inspirational Nile project that we heard of with that co-operative civic action through culture and 11 Nile countries is a classic example of how the sympathy, synthesis and synergy works for sustainability. You can't have grief for the loss of something that you have never known and the concept of looking at time differently passed in front of you because you can see it with the future behind as you can't see it. Knowledge of nature is local. It is our indigenous stories with the wisdom of water courses of rivers, the flights of birds in the beck and call of the seasons. As culture ministers, you need to partner with your energy, economy and finance ministers. Mass climate migration is happening now. How are you preparing? How are you preparing with stories for climate refugees who will come? As producers, you need to provide your tools, your messages, your motivations, your understanding. As directors and government officials, what are you doing to make culture central to reaching net zero goals? Are you encouraging or inhibiting this? It's not just tick box numbers, it's about making culture help to transform our world view of nature. Climate injustice is a reflection of where we are just now. We're at a confluence of world history of empire, live impacts of colonialism and that big disconnect was reflected in our discussions and we struggled with difference and unity. However, how artists can help us to look at that essential? Also from the urban environment workshop, the major challenge that emerged was climate change, how culture can help us to respond to it and our responses to be shaped and formed. We're reminded of the nature of the planet itself, a blue sphere floating in space and how we need to think of it with the right brain as well as the left brain. Our conception of cities was transformed so that they became kinetic cities, defined as much by festivals as architecture, cities in flux, cities in time as much as space. I'm reminded of Patrick Geddes again, of treating citizens as a culture driven but that culture has been grassroots culture. The issue at the heart of climate change was identified as both white supremacist and capitalist. The importance of finding ways of protecting whistleblowers was emphasised. Mapping cultural activity, protecting it in areas threatened by gentrification, was also emphasised. The necessity of reframing culture so that making, doing and teaching were given their place. The process of art is important as the result and performance of art. Arts and culture do not exist in a bubble. For workshop 3, performing and presenting, there is a willingness from the creative sector to take action with a shared policy goal to do arts greener, whether that is by adaptation to reduce emissions or rethinking more broadly for climate migration. A cultural shift is emerging where artists, funders and communities look to create sustainably and also look to the arts to provide a social influence in driving that individual and collective climate friendly choices. To be sustainable, community involvement needs to be at the heart of our work. We need to see people as communities rather than audiences, identify community needs and offer them cultural assets to recreate in. Our work needs to be conscious, purposeful and meaningful and just. We can learn from our elders and our young people and marginalised groups who we demand equal compromises from. There is an opportunity for further thinking around the tension between international collaboration and sustainability and how our languages frame our cultural ideas. The digital domain provides opportunities and challenges. I am organising a poetry event here in this Parliament in advance of COP 27, with global south poets coming to tell their story, to share their local so that we can act globally together. However, we need to know our own stories, of our own lands, our seas, our mountains, our coasts and our birds. We have a wealth of cultural knowledge and, yes, new ways of expressing them in music, digital, dance and theatre, but we need that immediacy, that urgency for Governments to connect that with the climate and biodiversity crisis. Humanity is not separate from nature. We cannot let it be and culture can make that connection. You are not passive participants, you are active citizens of the natural world. We need your agency, your power and your story, so that humanity with nature can survive and that Samoan birds can soar in beauty and light and not with videotape and despair. I take this opportunity to thank all three rapporteurs for your presentations. You have obviously put a great deal of work into covering the discussions of the past few days, and it is very much appreciated. We move on to the final opportunity for you as delegates to contribute to the discussions. I am delighted to welcome back to the summit Sergio Lehtar, State Secretary of Culture and Creative Economy for São Paulo State, the Federative Republic of Brazil. Thank you very much. Good afternoon to you all. It is amazing to be here at the 2022 Culture Summit. It is my second time. Thanks for having me again. I am very honored to represent here Governor Rodrigo Garcia of São Paulo, Brazil and the state and the São Paulo state government. Congratulations to the government and the parliament of Scotland and the government of UK for keeping the flame alive. We are rising again after the major worldwide public health crisis of the past 100 years. It had a huge negative impact on culture, so it's kind of resurrection time now. The Culture Summit highlights the strategic role of governments regarding the development of efficient and effective public policies devoted to boost culture and the creative economy. It's such a relevant and powerful message to the whole world. I'm the Secretary of Culture and Creative Economy at the São Paulo state government. In São Paulo, we support, respect and promote culture and we praise freedom, democracy, diversity, education, science, rule of the law, environment protection, diversity and tolerance. We seek culture and the creative sector and our cultural heritage as key and fundamental assets to increase the generation of jobs and wealth statewide and to promote the full and sustainable development of our state, increase the quality of life of our 46 million citizens and reduce inequality. We see it also as key assets to increase the generation of partnerships to attract investments and to boost the exchange of ideas and values with other countries. São Paulo is a state nation or is a nation state with a strong cultural scene full of potential, full of quality and diversity. As Governor Rodrigo Garcia always say, São Paulo is based on cultural diversity. It is the major force behind our culture and our sustainable development process. We recognize and we embrace it. There's a strong and clear connection between culture, freedom and sustainable development so our policies reflect this vision and commitment. That's why culture and sustainable development are priorities for Governor Garcia and our team in a free, encouraging and inclusive social environment. That's why we created a program called Creative SP and brought a delegation of 10 companies from the São Paulo Theatre sector to fringe at this edition of the festival. And why we are presenting here at Summer Hall a powerful play called, Is It a Black? is a question or in Portuguese, Isto éu negro. I urge you to see it if you can. There will be a performance tonight. That's why for the last four years we expanded the budget for cultural policies in 55% at the state level and implemented many programs and actions in large scale to push forward the sustainable development of our culture and creative sector. In 2021 we have reached an audience of more than 30 million people with what we did, more than 11,000 cultural projects back only last year. That's why we recently created the Museum of Indigenous Cultures, which is the first museum in Brazil managed and curated by the indigenous peoples. It is really a game-changing initiative. The indigenous call it Taua, the world in the Tupigore language for house of transformation. Indigenous peoples are less than 5% of the world's population but safeguard more than 80% of Earth's biodiversity. Harnessing ancestral knowledge is vital for the protection of our planet and for humanity. They are key to the issues of cultural diversity and of course sustainable development. That's why we also created or expanded the Museum of Sexual Diversity in Sao Paulo, the Museum of Favellas in Sao Paulo, the Museum of the Portuguese Language, and also the Museum of Immigration. All of this in the past four years. That's why we are pushing the connections between the public policy for culture and the public policies for education, environment protection, tourism, public health, and public safety. Culture is a fundamental tool to fight poverty, inequality, climate change, and education gap, and to increase public health as we saw clearly during the pandemic crisis. We are talking about ethical imperatives here and of course we are talking about economics as well. The culture and creative sector is very important to Sao Paulo in economic terms. It represents 4% of our state GDP and generates more than 1.5 million jobs locally. Sao Paulo accounts for 47% of the Brazilian GDP generated by the culture and creative sector. It is the largest art media and entertainment market in Latin America with lots of assets and opportunities. We have fantastic festivals, a powerful audio visual industry, an incredible rich cultural heritage, a very creative design industry in arts markets, and amazing museums and venues, among others. Recently the Sao Paulo state government committed officially to make everything that we do on culture all the work of our 70 cultural institutions, all of what happens at the 30 festivals that we organize, everything 100% sustainable and 100% accessible until 2026. The Sao Paulo state government also committed officially with the Race to Zero strategy and with the 17 sustainable development goals established by the United Nations. By the way, our forest coverage since 2019 increased from 22% to 25% of our territory. It is a totally different approach in comparison of what Brazil unfortunately have at federal level, but I'm pretty sure that it will change at federal level this year as we will have general elections on October. Ladies and gentlemen, Brazil will celebrate the 200th anniversary of our independence next month, while the federal government is killing or allowing the killing of our indigenous peoples, is allowing the destruction of our forests and is criminalizing culture and artists among other barbaric measures. At Sao Paulo, under the leadership of Rodrigo Garcia, we are moving towards a clean, bright and inclusive sustainable development process and highlighting the power of culture to change people's lives in a positive way. As a sign of what we are, as a sign of that, we are reopening in September the Museum of Ipiranga, our independence museum in Brazil after a major 50 million pounds renovation. It hosts a collection of more than 400,000 historical pieces and works of art. It is Brazil's largest museum and it is closed since 2013. Governor Rodrigo Garcia and the Sao Paulo state government made a huge effort since 2019 to open its rights on time for the 200 years celebration and we did it and I'm very proud to say that in a 100% sustainable process it will be a 100% accessible facility that will receive more than 1 million visitors per year. I'm pretty confident that Brazil will be back as a country at the international arena next year. Praising freedom, praising culture, science, education, environment protection, diversity, tolerance, democracy, rule of the law and peace. And praising integrated and systemic public policies for those issues, as we do in Sao Paulo at state level right now. In other words, Brazil as a country will rise again. Thanks for having me and to having Sao Paulo this year and for your kind attention. Thank you very much. Thank you, Secretary. I would now like to invite the right Honourable Angus Robertson MSP, Cabinet Secretary, for the Constitution, External Affairs and Culture, to give his final thoughts on the 2022 summit. Presiding Officer, let me begin by thanking all of you, particularly those who have travelled very far for coming to Edinburgh, for coming to Scotland and taking time out of your busy lives to join the excellent discussions that have taken place over the past three days. I would like to extend a massive thank you to all of the speakers, to all of the performers, the contributors from around the world who have brought so much energy, so much insight and so much creativity to this year's summit. This weekend has certainly demonstrated the power of culture in promoting international dialogue. I have been asked to offer my reflections, which I will do briefly, on the main themes. On culture and freedom, we know that global problems require global solutions. Celebrating international partnerships and nurturing cultural collaboration is important. As such, in our programme for government here in Scotland, we have committed to developing a cultural diplomacy strategy to ensure that cultural links with our partners in Europe and beyond are developed further. The strategy will build on Scotland's existing strengths, while considering where there are opportunities for greater co-ordination of activity and practical measures to address barriers to international cultural engagement. Can I take the opportunity to extend particular thanks to fellow culture ministers who, in discussions at the margins of this important meeting, have been sharing best practice, imaginative policy and ideas? I think that the opportunity to get together in this kind of context is key. To underscore one of the particular suggestions that I am a great supporter of in relation specifically to our friends in Ukraine, which is twinning. We are in this great city, in this capital, the twin city of your capital, and that means a great deal, but one idea that all of us might take back to our capitals, to our parliaments, to our cultural organisations is to ask ourselves why not all of our villages, all of our towns, all of our cities twinned with communities in Ukraine? I would ask our Ukrainian friends to take back to their cultural ministry, to their ministry of foreign affairs this as an idea that around Europe, around the world, that as you win, as you will, and gain your independence across all of Ukraine, that we can play our part in rebuilding your villages, your towns, your cities and your communities, and through culture help your nation thrive yet again. Twinning has shown itself to be tremendously powerful. We did that in large part after the Second World War with very good reason, and we shouldn't forget that lesson from history. If I can just underscore that one very particular suggestion that has been the subject of discussion here at this culture summit, we look forward to meeting again with our friends from Ukraine, with all of our communities twinned with villages, towns and cities across your great country. On culture and education, another of the themes of discussion, we know that the participation in cultural and creative activities plays an important role in fostering wellbeing and supporting attainment. Perhaps unsurprisingly, I would like to highlight the burl collection, which some delegates are lucky enough to visit straight after this session, and boy do you have a treat in store if you are. The collection boasts a staggering 9,000 objects, including medieval treasures and over 200 tapestries, which rank amongst the finest in the world. On culture and sustainability, culture is a key role to play in achieving transformational change, and a key ambition of the culture strategy for Scotland is for heritage and culture to help transform public thinking on tackling the climate emergency. There are many examples of this work already taking place in Scotland. Our Agency Historic Environment Scotland is recognised as a global leader when it comes to understanding the links between climate change and cultural heritage, and our undertaking pilot studies on adaption methodologies in the historic environment. The National Theatre of Scotland supported storm, a 10-metre-tall puppet, as part of Scotland's year of coasts and waters. Storm was used to encourage us all to celebrate our seas, care for our coastlines, and empower us all to put the environment first. To our young people, I particularly thank the young people who have joined us this weekend, and I am tremendously proud of the contributions you brought to the table and the experiences you shared with us, and to the great many young people who made this meeting function, as it has. Many of whom I see are sitting in the gallery. Thank you very much for all of your hard work throughout the culture summit. By actively listening to the voices and opinions of young people, we will ensure that our sectors will be resilient in the future, truly supporting a sustainable future for culture. In conclusion, we have heard moving, thought-provoking and challenging speeches. We have also enjoyed the finest of entertainment. I have enjoyed my time with you all immensely. As you have seen, Scotland is a welcome and open society where we embrace different voices and different opinions and backgrounds. On behalf of the Scottish Government and as a member of the Scottish Parliament for here, for central Edinburgh, thank you all for being here. You must come back, hopefully to future Edinburgh international culture summits. I will finish by saying that there is a wonderful Scot saying that means take care, go home and, importantly, come back soon. I will leave you with those three little words that summit all up. Hasty back. Thank you very much. Thank you Cabinet Secretary. I would now like to invite the right honourable Lord Parkinson of Whitley Bay, Parliamentary Undersecretary of State Minister for Arts, Department for Digital, Culture, Media and Sport to give his final thoughts on the 2022 summit, Lord Parkinson. Thank you very much Presiding Officer and colleagues, friends. Thank you all for what has been an exciting, creative and inspiring summit. I leave this weekend feeling more confident than ever that culture is not only a source of enrichment in people's individual lives but is a collective force for good in our world and that all of us in this room, whether we are politicians, policy makers or practitioners, can harness it to deliver profound and important ends. It's been uplifting and inspiring to be part of the conversations with you over the course of this weekend, not just in the powerful and inspiring contributions that we've had here in the debating chamber but also in the breakout sessions over coffee and other delicious refreshments that we've enjoyed and through the wonderful artistic jewels that have been shared with us here at the summit and against the dazzling backdrop of the Edinburgh festivals. The insights and the experiences that you've shared and the vivid ways in which you've brought them to life are a clarion call for all of us as we return home and put what we've discussed into practice. I'll have the early opportunity to do that tomorrow when we'll be announcing the first of a panel to inform and develop a cultural education plan for England, and I've been scribbling down some of the points and some of the names and organisations that I'll be warmly encouraging the panel to discuss to follow up some of the things that we've benefited from hearing this weekend. I'm very reassured that when it comes to sustainability and our climate that the government of the UK is going in the right direction, hearing from the speakers that we heard this morning as well as from Yelina Poyagau and Salah Lemi Ponifasio, who spoke so passionately on our opening day and left us with that very vivid image of the birds with the cassette tape, which I was glad Fiona reminded us of in her remarks just now, has emphasised the importance of this work, and I'm very proud that the UK's artistic sector is doing great work already. But climate change remains a pressing challenge, as Akram Khan's daughter put it, climate change is here and it is real. So the UK government has already spent £15 million protecting at-risk cultural heritage from the effects of climate change, and cultural heritage is formally included in the UK's national adaptation communication. I hope that all states around the world will embed cultural heritage protection in their climate adaptation work. Having the opportunity to see and enjoy so much creative work alongside our discussions has been a particular treat. I hope you've all been as impressed as I have with the range and the quality of the talent that's on show here in Edinburgh, especially at the moment. The tattoo, the Edinburgh International Festival and the fringe have all bounced back from the pandemic in a way which demonstrates the incredible resilience and ingenuity of our creative sectors, what an impressive 75th anniversary this has been. But to continue being world leading, our culture sector needs continually to evolve. That's why it's also been great to hear about how the festivals here in Edinburgh have used the million pounds of UK government funding to explore their digital capabilities and learn about the role that these can play in the future of festival delivery. I greatly enjoyed experiencing Dream Machine, part of the UK-wide unboxed festival alongside a number of you, and I'm delighted that there's already so much interest in taking its unique but universal exploration of our dream-like state to audiences around the world and sharing the very best of UK arts and creativity, but also science and technology. Now those of us in this room know that culture is a public good for individuals, for societies and for our economies, but as I said at the start of the summit, it's for all of us to share the things that we've learnt this weekend with our colleagues who are not here, in particular with the rising global pressures on the cost of living. It's for culture ministers to champion the role of culture in sustaining healthy, happy and prosperous communities and to make the case to our finance ministry colleagues to support that in the right way. In ending I just wanted to reflect on our time with our friends in the Ukrainian delegation. We are honoured that you've joined us this weekend and delighted that you've been able to do so, particularly those who have had to endure difficult travel. The stories and the points that you've shared with us have moved us and inspired us. Your presence this weekend encapsulates how central culture is to international affairs and why we must never take it for granted. You've shown very clearly why it's important not just to know about others' cultures, but to take the time to make sure we understand them and to see what we can learn from them. Vladimir Putin's forces may try to erase the culture of Ukraine, but for as long as we all embrace it internationally, he will never succeed. So thank you to our Ukrainian friends for being with us this weekend. Although we part ways physically today, I want to reassure you that all of your friends in the UK and indeed all of your friends represented by the countries here will always stand with you. So it delegates, it has been a pleasure. Thank you not just for attending but for participating so enthusiastically in the summit. The ethos of the Edinburgh International Culture Summit is that diverse perspectives come together in dialogue and I think that we've risen to that this weekend. Thank you to all the wonderful artists and engaging speakers who've brought that dialogue to life. A huge thank you to you, officer and to the Scottish Parliament for hosting us and to our friends in the Scottish Government at the British Council and at the Edinburgh International Festival for their support as partners. The biggest thanks must go to the team at the Edinburgh International Culture Summit, whose vision and hard work have made this year's summit such a success. To Gene Cameron, Sir Jonathan Mills and the whole team, thank you very much. I wish you all an enjoyable end to your stay in Edinburgh and hope to welcome you back to Scotland and to the UK very soon. Thank you all. Thank you Lord Parkinson. I would now like to call the honourable Dr Nadia Arabdudi, Minister of Culture, Museums and National Heritage from South Sudan to speak. Thank you so much, Madam Presiding Officer. My colleague ministers, ladies and gentlemen who are present here today. I greet you all in the name of our God. I thank God that we are here today as a new country, as a country that needs to be back up. We are really delighted on behalf of the government. I would like to thank you sincerely for inviting us to take part of this very important and unique summit. Being together as leaders, decision makers, talking about the issues related to our people is very important that we are here today. Culture is an essential component of sustainable development. Wish represent basis of identity, creativity, innovation for a given individual or community. As you have heard from various presenters today or we have heard from various presenters since yesterday, conflicts is among the issues that affected our cultures. As you are aware, the people of South Sudan fought and endured the longest civil war in history. Wish ended with the cessation of our people 11 years ago in 2011, consequently. The people of South Sudan are roped of their rich cultures and now struggling with the sense of identity and cultural preservation. For example, the majority of South Sudanese where are in refugees and internal displaced. Wish disrupted our traditions and known. Therefore, culture and education are major factors that will help us to rebuild our broken social fabric in order to restore cohesions through unity and corporations. We will be able to combat poverty and to improve economic growth and ownership of development processes. Therefore, culture enables us to celebrate our respective identities and ethnic diversity. Honourable Presiding Officer, Excellences, ladies and gentlemen, South Sudan is among countries that benefits from the longest river in the world. Wish is the wide nine. As the people of South Sudan, our livelihood revolves around the rivers. Wish signifies the importance of water in our daily life. Water and culture are inseparable elements of human life. The way water is used and valued constitutes an integral part of society's cultural identity. For instance, the majority of South Sudanese live along the Nile because of various activities such as agriculture, livestock, fisheries, transport, trade and so on. Therefore, any attempt to divert the use of Nile water would disrupt and impact the daily livelihood of the people of South Sudan, let alone the drastic impact of climate change such as flooding, headwaves, droughts and forced displacement. In order to preserve our water resources, my government is conducting a serious consultation and experts have been called to help us research and examine various options. Hence, we are exploring informed and better ways that will guide us in preserving our water resources and its tributaries for the future generation. My government commands the effort of UNESCO by listing three cultural and heritage sites, namely South Region wetland, which is the largest wetland in Africa and also the largest tropical wetland in the world. Also, we have a boomer by Dingwale McGrotterland Escape and Demzibir Slave Route for their preservation and also protection. Your Excellencies, for centuries the people of South Sudan has been passing their cultures through traditional knowledge, traditional expression and art and so on. The ministry, through the Ministry of Culture, Museum and National Heritage, my government developed a national policy for culture and heritage. This legal document will guide us on how to best protect and promote the rich culture of South Sudan, which is comprised of over 64 tribes of our people. And we have taken this policy as a guidance. Some activities are ongoing and some activities have been in collaboration, has been implemented through some institution like the Ministry of Education and the topics like identity, citizenship, environment, peace are stipulated in the new national curriculum of South Sudan. The government institutes peace clubs in schools across country. This enables us also to promote the culture of peace and hopefully to restore our damaged social fabric. In secondary schools, there are also clubs specified for various topics, concerns such as the environment. This will help also to fight the issues of climate change and preserving our environment for next generation. One activity also which is very important and unique activity is sport such as wrestling, running and dancing. These are the activities in the sport that South Sudan is unique on it. Your Excellencies, in conclusion my government affirms its commitment to preserve culture for the future generation, therefore we plan to build a national museum as a part of preservation on our heritage. Although we are faced with some challenges which may face also another countries, but as a new nation the challenges that we are facing now will carry on and in the future will be better and will start where the people has stopped and where the people are continuing to develop their countries. The challenges that we are facing is the issue of infrastructure because we know that culture is a part of our life and need also to be governed and preserved. Without infrastructure we cannot talk about preservation of our heritage. The issue of funds, also lag of funds consideration of the governments is very important also. May be some countries are facing what we are facing also, but we need also to urge the government to concern about how to develop the cultural sector through supporting the ministry. We need also to be supported by experts from the countries that has some experience, capacity building opportunities, that this summit for us it is opportunities. I know that there is some countries knows us unknown in detail what South Sudan is going on. Some countries have experienced good experience that can support South Sudan to develop the cultural sector. South Sudan is committed to learn and benefit from other countries, experience and to implement our newly developed policy document and the national culture and heritage. Thank you to you all for your listening. May God bless you and may we see you again. Thank you so much. Thank you minister. I'd now like to invite Ernesto Ottoni, assistant director general for culture at UNESCO to address the summit. Ernesto has provided a pre-recorded speech which we'll now hear. Ladies and gentlemen it is my great pleasure to join you in closing the fixed Edinburgh international cultural summit. At the outset allow me to commend the organizer, the British Council, the Edinburgh international festival, the UK government, the Scottish government and the Scottish parliament for convening such an important platform for international cultural cooperation. The team of this year's summit culture and sustainable future points to the growing commitment of policy makers to putting culture at the heart of policies and actions for sustainable development. This summit takes place at a particularly critical time for the culture sector, which is feeling the full effects of issues such as climate change, deepening in equalities, the digital divide, armed conflict and migrations. Across the globe, cultural diversity and cultural rights are increasingly under threat. The sector is still recovering from the effects of COVID-19. So addressing these challenges will require a new approach to cultural policies. Culture should not be treated as an isolated policy domain, but rather a transversal component across other public policy areas. Integrating culture across public policies can have a transformative effect, making them more context-relevant and people-centered. This push for more transversal policies has been a major point of discussion throughout this summit. We have seen the role of culture in advancing freedom, the mutual beneficial relationship between culture and education and the deep links between culture and sustainability. There are issues that go to the very heart of UNESCO's missions. Transversality is also a hallmark of the 2030 Agenda for Sustainable Development. In their voluntary national reviews on the implementation of the 2030 Agenda, countries are increasingly reporting on the broader development gains that can result from integrating culture across the policy spectrum. We are also seeing the growing integration of culture in regional and intergovernmental forums, including the G20. UNESCO is advocating for the recognition of culture as a global public good, echoing the call by the UN Secretary General in his report, our common agenda. The UNESCO World Conference on Culture Policies and Sustainable Development, Mondia Cult 2022, to be held in Mexico next month, will be an opportunity to firmly anchor culture in future actions for sustainable development. On this occasion, ministers of culture from around the world will meet to discuss the adaptation of cultural policies to address contemporary opportunities and challenges. Mondia Cult 2022 aims to foster an integrated approach to the governance of culture that includes more coordinated legislative and operational frameworks, measures and tools to strengthen the resilience of the sector. This touch on a range of areas, including the socio-economic conditions of artists and culture professionals, funding diversification and reinvestment, as well as strengthening linkages between culture and other areas of public policy, such as education, climate action and urban development, in order to fully integrate culture in development. Our message will be clear. It is time to protect and promote culture as a true global public good, one that is essential to the sustainable development of our societies. Strengthening the links between culture and education will also be a major priority of UNESCO going forward, as culture and education are increasingly recognized as the bedrock of sustainable development. UNESCO is fully committed to supporting its member states in the design and adaptation of public policies, strategies and tools that harness the synergies between education and culture. In this vein, UNESCO is working to develop an international framework on culture and art education. Building on existing frameworks, this new international framework will represent a revised set of guidelines that will support policymaking at all levels, taking into consideration the rapid evolution of the cultural sector in the digital environment. In 2023, UNESCO will convene the World Conference on Culture and Arts Education, bringing together countries to address the needs, gaps and priorities in the field of culture and arts education. Strengthening the linkages between culture and other public policy areas will require broader stakeholder engagement, including a stronger interministerial collaboration and a greater participation of cultural actors and institutions, such as museums, artists, cultural professionals, youth and local communities. Summits such as this one are a crucial part of this process. Excellencies, ladies and gentlemen, I look forward to the participation of many of you during Mondiacul 2022, where we will continue our shared effort to harness the role of culture in shaping a more peaceful, prosperous and sustainable future. Thank you. Thank you very much. I would now like to invite our final keynote speaker of the 2022 summit, Mandela Rae, as Zimbabwean-born writer and performer, who is currently performing at this year's festival. I am sure that some of you may have had the opportunity to see Mandela Rae's show. Salibwona. I'm really thankful to have been asked to speak here. My name is Mandela. I am a storyteller and I'm wearing a t-shirt that was made by a friend that says I probably don't know anything because I never claim to have any answers and that excites me. I love the unknown. I never thought I'd be here. That's not to say that I shouldn't be. Who's to say who belongs where? Not me, not you. My life changed when I started to share the things about myself that I grew up thinking that I needed to hide. I used to see being a refugee as shame. Be quiet. Don't make too much noise. Don't draw too much attention to yourself. Hide in plain sight. Don't be too foreign, too loud, too black, too different. Do everything you possibly can to assimilate. The concept of borders goes beyond the invisible lines we've drawn on the earth. Our minds become limited, stifled. Our differences are surely how we grow, right? Your eyes see things that I could probably never imagine. Your voice has just as much power as mine. Yet we seem to create a culture of silence and shame to our children, to ourselves, but when has silence ever protected you? Silence kills. Isn't it the inquisitive nature of childlike wonder that we're all trying to get back to? And if not, why not? I loved what Akram Khan was saying this morning about reaching to the past to imagine a future. Someone who doesn't know where they are from is someone who doesn't know where they are going. Those are the words that were ringing in my head when I made my show as British as a watermelon. We talk about giving a voice to the voiceless, but I have yet to meet a voiceless person. No one identifies as that. I think sometimes it's maybe a question of power. How much power a person thinks or believes they have, how much power has been taken away or misplaced, how often do we go out of our way to give a piece of power to every room that we enter, to every person that we meet? That's one of my favourite things about being part of creative and especially queer communities. That's based to grow, to carve out new ways of being, of being together, of learning from the trailblazers who came before us, of embracing the chaos, the mess, the risk takers who demanded change, the ones who crawl out of boxes they should never have been put in with their fists raised high. Chaos is an opportunity to rebuild. Learning is not being afraid to fail. I failed loads of times. When we understand that we're all capable of failing, of getting it wrong, that we will not always know that we could all do with a little bit of help, I definitely would not be with you today without help from a list of people and organisations longer than my short little legs. O'n mwyndwng, o'n mwyndwng a bandw. I am because of who we all are. I found that the more I embrace the dualities of intersections that make me who I am, instead of trying to push them down, the stories I tell get bolder, definitely weirder, queerer, more foreign, less concerned about trying to fit into traditions that weren't created with people like me in mind. I insist on speaking my first language, it's in devil, on as many stages and platforms as I possibly can in this country because this is a multicultural country and I think it's really important for arts spaces and political spaces to reflect the many languages spoken on this island. This room represents the world. Every single one of you is important. Ministers, cultural leaders, artists, activists, changemakers, trailblazers. I hope there's lots of silliness and playfulness involved in your importance. Peace, laughter, arts, youth. Party, learning, anger, yearning, planning, loving, action, you. Just a few different ways we can think of the word play. Silence, fear, loneliness is not how we build a future. Getting it wrong is an opportunity to rebuild. The world has changed, the world is always changing. Millions of billions of events have occurred since I got up here and started speaking. Now this 60 seconds is static and I look forward to more disruption, more questioning, more doing, undoing, more chaos. We now move to closing remarks and I would like to invite, in the first instance, Sir Stephen Duker, CBE, trustee for the British Council to the lectern to speak on behalf of Scott MacDonald, chief executive of the British Council. Thank you so much. Minister, cabinet secretary, colleagues and friends, it's a great pleasure as a trustee of the British Council to be taking to the podium as this summit draws to a close this afternoon. I have three things to say quickly. First, I want to extend my gratitude on behalf of the council to our fellow summit partners, to the Scottish Parliament for hosting us in this magnificent place, to the Scottish Government, to the Department of Culture, Media and Sport, to the UK Government, to the Edinburgh International Festival and, of course, to the Culture Summit Foundation led by Sir Jonathan Mills and his team. Much has been said about the disruption of the last two or three years. I would only add how marvellous it's felt to me to be with you all at this time in this place, digging deep and exploring the unrival role that culture can play in connecting us and why this is so important 75 years on from the founding of the international festival in the end of the Second World War. I'm very proud of the role that the British Council has played in making this happen alongside our partners. Our commitment to an investment in the summit is there, I hope, for all to see. We're really delighted to have brought significant numbers of ministers and delegates to this year's gathering, whether in person or hybrid. It brings me to my second point. Speeches like this often remark, don't they, on the extraordinary backdrop to an event or the context that none of us would have thought possible only a decade ago when the summit first got started? Well, in terms of life changing events, the mould has certainly been broken since the 2018 meeting and then a few times more for good measure. The extraordinary has become ordinary, calamity, almost routine, conflict, familiar. That's why this meeting has been so important. No one suffers and millions may ultimately gain from conversations that explore ways in which culture can enhance freedom, improve education and combat climate change. The soft power that culture and education create and the role they can play in producing hard outcomes which improve trust between countries, that's well understood by all of us here today. We know its potential to increase prosperity, to support peace and security and our planet's survival, but let's make sure that the rest of the world comes to believe this too as passionately as we do. Finally, I'd like to say, I believe we're all in the optimism business. Not blind optimism, but optimism founded in determination and resolve. Yes, we've been tested and sometimes it's hard to see beyond here and now, but I want you to know that the British Council, we're firmly focused on simply making the world a much, much better place. As Lord Parkinson said on Friday, we're connecting all four nations of the UK to the world, 650 million people last year alone through culture, education and the English language. That's undoubtedly an optimistic pursuit and we're very proud of it. Optimism and belief drives our commitment to Mondio Cult, the UNESCO World Conference on Cultural Policies and Sustainable Development, which, as you've just heard, will be taking place next month in Mexico City and will build on some of the pathways actually identified here in Edinburgh. Optimism has also powered the partnership delivering the UK-Australia season to such great success with one of our closest friends and allies. And it's why, through the UK-Ukraine season of culture, as our Prime Minister explained in his opening address to the summit, we're investing so much in the role that culture can play, even in the most desperate of times. That's always worth fighting for. No matter how messy it can be or uncomfortable for those in power, freedom of expression and creativity should never ever be taken for granted. It's more than enough of a reason to spend days like these together in Edinburgh at a summit like this. So wherever you've travelled from and behalf of the British Council, I wish you the very safest of journeys home. Let's stay connected and I look forward to seeing you all again very soon. Thank you. Thank you, Sir Stephen. I would now like to invite Fergus Linehan, director of the Edinburgh International Festival to speak. As many of you will know, Fergus is stepping down as director at the end of the 75th festival, so I'm sure everyone will want to join me in thanking him for all his work and for all his work in supporting the summit and wish him well for the future. Thank you, Presiding Officer. Delegates, it's an honour to be here today to address you all on the last day of the summit and the last day of the festival season, and as you say, my last day as festival director before I hand over to Nicola Benedetti. A lot of people have asked me just, you know, about the highs and the lows of the last eight years, that it's very hard to go beyond the last three years. The pandemic was a really challenging time for those of us involved in the arts, culture and entertainment, and in particular people who were involved in putting on live performances or gathering large groups of people together. Those of us who were charged with running institutions have spent a lot of time buried in Zoom calls with our colleagues in government or budgeting or programming or reprogramming or rebudgeting as seasons were cancelled and put on again and cancelled and put on again, but in the middle of all of this something quite exceptional started happening and letters and cards and emails started arriving, some of them with small donations, imploring us just to make sure that the festival survived. When we did return very cautiously last year in 2021, tears were shed by artists and by audiences and over the past month we still feel that emotional charge burning incredibly brightly. It might take us some time to be able to work out exactly why that's the sense, but we talk quite rightly about the extraordinary benefits that our cultural and intellectual lives offer our communities, better health, better learning jobs and prosperity, counterpoint to prejudice and conflict, but I think that it was something else, something perhaps that was considered less tangible, that really began to find concrete form in the past two years and that was just the foundational role that culture plays in our lives. In her book Dancing in the Streets, the author Barbara Ehrenreich writes, humans are social animals and rituals ecstatic or otherwise could be an expression of this sociality, a way of renewing the bonds that held a community together, a mechanism for achieving cohesiveness and generating feelings of unity. Well, in our city and for many if not most of the citizens of our city, that renewal of the bonds and those feelings of unity happen each August in theatres and concert halls and in the back of bars and up in the castle Esplanade. For a moment in 2020, there was this frightening sense that what we do was too delicate and too ephemeral to be able to survive the challenges that we're facing, but we found perhaps that we'd been underestimating how important singing and dancing and reading and listening and watching was in people's lives. And speaking to colleagues from all over the world, it's clear that this wasn't just our community. So although we have many challenges in the years ahead and there's a certain amount of exhaustion after everything that went through, we actually emerged from this pandemic renewed and with confidence and ambition. And we also emerged with a new generation of artists and administrators and new ways of making work. I genuinely believe we're at the beginning of a new era. We're certainly at the beginning of a new era for our festival, but I think we're at the beginning of a new era for our cultural landscape. And there's been many, many wonderful observations that have taken place here and in this chamber and in the rooms around the Parliament, but they do have to be translated into action. The author Susan Sontag said that really you just have to supply artists with three things. The first is support, the second is support and the third is support. And so if I leave you with a thought or a plea or a reminder is that I know that anyone involved in public life is going to be under incredible pressure in terms of government finances in the coming year. But please do all that you can to remember that the individual artist is going to be the driver of the explosion of new ideas and visions that we've all talked about here. And we need to find the meaningful support which can take many forms to allow them to speak their voice. So thank you very, very much for visiting us in 2022. Congratulations to the summit team and I will perhaps be back as a delegate or open the gallery in future years. Thank you very much. Thank you, Fergus. Before I welcome our next speakers, I'd like to welcome Lady Grossart and Fleur Grossart to the Scottish Parliament and to the 2022 Edinburgh International Culture Summit. Sir Angus Grossart, formerly chair of the Summit Foundation, will be remembered fondly by everyone involved with the summit. I'd now like to invite Sir Jonathan Mills, programme director and Andrew Wilson, chair of the Edinburgh International Culture Summit Foundation to speak. Presiding Officer, may I first of all thank you not just for the splendour of the colours that you are wearing today and the appropriateness of them, but for the wonderful way in which you have deftly chaired this meeting. Thank you from the bottom of my heart. Before offering other thanks, I want to talk about a friend of mine, Angus Grossart. I miss him very much today. Angus was ambitious for Scotland and he was proud of the ideas that originated here that have had and will continue to have global impact. He was so ambitious that it was in this room that he addressed members of this Parliament to change an act of Parliament that enabled you to go and see a revived, renewed, rejuvenated, burl collection with global ambition to share its collections and to share the generosity of Sir William Burrell to the world. I can't wait to share that experience with you this afternoon as many of you travel to Glasgow. Most of all, I want to thank Angus for making this summit possible in his inimitable way. He made a deal, a deal with the other partners, with the Scottish Government, the UK Government and the Scottish Parliament. He realised that events like this are costly and he said—he didn't actually say it quite this way, I'm translating this into Australian—he said, I'll go your halves. What he meant was, I will make it possible for this kind of gathering to happen because I'll ensure that it is affordable for all because I will raise the money from some of my friends and I'll put some of my own money in as well. He was a person that actually backed up his beliefs with action. So I want to thank Angus and I want to thank Gay and Fleur for their continuing support. I also have other thanks. I want to thank the British Council not only for their support but their incredible sensitivity and care and nurturing our Ukrainian many delegations but most of all our Ukrainian delegation to get here at all. I want to acknowledge the support of Fergus and the Edinburgh International Festival from which the ideas for this summit emerged as a natural outcome of what the festival and many festivals here do every year to create and nurture connections with the whole world. I want to thank the Scottish Government for their steadfast and ambitious support, the Scottish Parliament for being such wonderful hosts and partners and broadcast partners and voiceover experts and wonderful improvisers to the evolving and emerging hybrid nature of the summit in 2022 and I want to thank the UK Government for the ambition of bringing not just one but several ministers and to thank you Lord Parkinson for your incredible enthusiasm for the summit. 29 countries are here with us in this parliament today, represented as I should say, taking to 71 the countries that have been represented at the summit since 2012 which is a small number of the 80 countries or more that are every year in Edinburgh for its festivals. This truly is a remarkable place for international dialogue on culture and the summit is a natural extension of it. Thank you all for your great support. I'll hand over to Andrew. Presiding Officer, ministers, ladies and gentlemen, it's a privilege for me to speak on behalf of trustees of the Edinburgh International Culture Summit Foundation and I would like to thank Sir Jonathan Mills and his excellent team for all they have done to bring together such an important inspirational and special summit at a time in our world where dialogue between peoples has never been more important and at a time where creativity, culture and art have never had more to give. Scotland is lucky to have Sir Jonathan Mills as one of ours a national treasure. Australia I have to say have enough, we will be having Jonathan as ours. We sincerely thank our supporters whose generosity makes this summit happen and affordable for our UK and Scottish Governments at a time when the call on taxpayer money is so intense. Philanthropically we thank the Binks Trust, the Carnegie Corporation of New York and the Northwood Charitable Trust. From the world of business, Aberdeen and Bailey Gifford, to global jewels in the crown of Scottish and UK business. Individuals of great generosity, James and Morag Anderson, Sir Ewan and Lady Brown, Alan McFarland, Chris Van Der Kyle, Scobie Ward and other donors who wish to remain anonymous. Finally, of course, the late Sir Angus Crossart and Lady Crossart and Fleur and the family of Angus whose generosity has been remarkable. On behalf of trustees, just to add to Jonathan's tribute, Angus had a profound impact on the world, on Scotland, the UK and on many people including myself. This summit is just one example. He started life in a small town in Lanarkshire, which for those of you from outwith Scotland is the bit out between Edinburgh and Glasgow, where the industrial revolution was forged literally. He started there, but he grew a true citizen of the world. He was very proud and deeply knowledgeable of the story of his own country and loved and was engaged in the history of everyone else's. In a beautifully fitting address to open the summit, Irina Bakova, the former director general of UNESCO, quoted one of the greatest sons of Edinburgh, David Hume, from the 17th and 18th century on the importance of reading and understanding history and in doing so living at all points of the story of the human condition. Angus was true to that. He had a deep sense of history, respect for its lessons and value, and that helped him to be a source to many people of intelligence, perspective and composure beyond measure. He thought and invested for the long term and backed people and ideas and how we miss what he would be giving us in these times for the world. I like to say that Angus would have fitted well into the salons of Enlightenment Edinburgh. He would not have looked out of place. The same would be true in Florence, Vienna, Paris, London or any of the great capitals of European endeavour. David Hume also told us that the truth springs from arguments among friends. The world needs that more now than ever and how dearly we wish Angus was part of it to take part. Thank you for everything and thanks for a wonderful summit. Thank you both. Thank you very much. To close today's proceedings, I would like to introduce Feinti Balogun, an actor, theatre maker and activist. Feinti has written a poem about the 2022 summit and I am delighted to invite Feinti to deliver this poem as a very fitting way of officially ending our summit. Feinti sat down heart-pounding. He's on a date. It's okay to share they might relate. It's a young lady. Actually she's older. Thought she would have given a cold shoulder to warm for snow. I give smiles that make glaciers flow. I give winks that make you want to know. I'm confident. Lee Nervus, sweat patch, is doing a disservice. It's hot in here. The paper towels won't make them disappear. Imagine a big man like me, a low neck V and sweat making rivers like the sea just pouring out. Oh, there's a text. She's here now. So calm down. Take a breath. Ignore it. It's a nice vibe. Dear God, help me. Endure it. She walks in. Eyes on her. It's kind of crazy. Clicheys feel a bit lazy, but she is buff, you know? A translation. Very good looking. Conversation starts to flow. The hello, how are yous come easy. Romcom to the point of cheesy. She's impressed. You gave an address. She explains. Yeah, yeah, I spoke at the UN COP26, not a big deal. Here's some pics. I'm confident. Lee Nervus, she's gone quiet. What's the purpose? She says, don't you think maybe we deserve this? Casually flicking through my phone. We're the disease. I'm like, what do you mean? She says, we're cutting down all the trees, killing all the bees, getting down on our knees, asking why we can't breathe. We're the disease. My guy is 40 degrees. Everything is dying. Our government isn't even trying. How many oil fields are they trying to open up? And that jack door thing, they don't even try and cover up. And I still order from Amazon. I'm the disease. I chime in. She cuts me off. Get going. What's the goings good? No. You got money now. You're out the hood. No. I mean, you grew up poor, but now you're good. No. And all of a sudden you get punished. So that's a joke. So what are we supposed to do? I just want my piece of the pie. Yeah, it's rotten, but I got a slice. I'm full of disease. I let linger. I see fear dressed in anarchy styled by uncertainty because it is easier to imagine the end of the world than the end of capitalism. It is easier to imagine the end of the world than the start of something better because you don't know how. You've no examples of it outside of a white privilege gaze that never includes the most vulnerable, never questioned structure. Real change is not comparable. I mean, how many speeches have I done talking about artistic hope and not about money? Isn't that funny? Because money has such a big part, no? Governments allow subsidies for oil because it makes certain people money. Our pensions are invested in fossil fuels because that's money. We get funded by fossil fuels to make up that money. We get exploited because we don't have enough money. The British Empire colonised the made slaves, which produced a great amount of money, slaves for industrial revolution that made even more money. And I'm sorry, how are we having this event in Scotland? The host of COP26 and the Jackdoor oil field is still an idea. Money. Ain't got enough time because we ain't got enough money. Ain't it funny? I feel heads leaning on the, as the conversation gets heated. I feel things chime in that felt depleted because she's like my cousins who make me want to fight because they know I know that something's not right. They're just tired and uninspired and need more than pledges in a faraway 2050 that do the bare minimum. I mean, how the fuck are you supposed to be an active citizen when all forms of resistance are being made illegal? It's an active effort to make you feel feeble. Shout out to Pretty Patel, you know. Laws and legislations make a living hell, you know. And you got rent and food prices on the rise and police stops that are always authorised. So where does one begin? Big pause. Because now I've got the room's attention, eyes on me, like I've got a new invention. Take a breath, speak without condescension, mind open. Take him to a new dimension. I'm confident that you are no disease, that we have a system that doesn't care for your needs, and it makes everything feel like it's your fault. So you recycle in the hope that it will halt and it doesn't. You ignore the fact that they care for the rich and not our poor cousins. You know that even if there was some magical device to clean the air and make everything nice, it wouldn't operate in your postcode. The system's rotten the most, no. Climate change is a close foe, but if it didn't make someone a lot of money, these colonial companies will go home. The infection is premeditated. You are no disease, so be no bystander. I say don't take it out on your own. Join a group or a union or something that resists, be radical with where your money is as your business or your pension or your art. Where is it coming from? Where is it going? Find your community, feed your community, resource your community, call out injustice and don't wait for someone to save you. Build on hope as you would on love. To the collaborators, to the delegates, to the artists, to the companies here, we have to do more. We must grab it out at its root. We must inspire. We must show example. We must see how hope is a verb and perpetuate it. Build on it. We need to see what the future looks like outside of the systems that cause the problem in the first place, because I'm confident. If we further the radical, how we create culture, how we work together, how we think about money, how we challenge these styles, we add the tides that change the world. I thank Fenty for encapsulating the essence of the last three days in your poem. I think that that's a very fitting note on which to draw proceedings to a close. I would like to give a massive thanks to everyone who has participated over the past three days for your contributions and reflections, for the little chats that we've had offside, for the friendships that we've made and the relationships that we'll go on to build. I'd like to thank everyone. I see that they've all left, but those who have fed and guided us, because they've gone on to work again, for those who've guided, fed, facilitated, planned in any way to each and every one of you who have made this event possible and delivered it, I hope that you have enjoyed your time here in the Scottish Parliament and in Scotland. Thank you. Travel safely on.