 Rwy'n meddyg fel y baitfyniaeth. Felly, wrth gwrdd, i fyf yn fwy o'r plunaryg o'r 2014 Rwy'n meddyg ar Ffyrdd Smyth Merthyr. Felly, rwy'n meddylu ymgyrchu eich cyfnodol ond i digwydd, ac rwyf ynolaswyr mewn Twitter, Twitter Food i'r Ffyrdd Smyth Merthyr o'r Smyth Merthyr. Rwy'n meddyliau bod 975 arlangos cyllid yn gennerau. The summit has certainly triggered interest from cultural organisations across the world, academics, artists and people with a genuine interest in international cross-cultural dialogue. Please continue to follow us at culture summit altogether or hashtag culture summit. I can see that Fiona Hyslop the minister is impressed because she knows I do not twitter or tweet and know not a lot about it, but for those who do feel free. This session aims to bring together the various threads of discussion that have been issued from the past two days. Before we start, I say that this is, of course, the Scottish Parliament. It is a working parliament and we are meeting this afternoon. We need time to clear you all out, to check our technical equipment and to make sure that it is ready for the MSPs this afternoon. I am going into Presiding Officer mode today, and that means that you have absolutely got to keep to time. I am not going to go quite to the extent of cutting off your microphone, as I would with the members, but time is really, really vital. I now invite our three lead draper tours to report back on yesterday's policy discussions, starting with St Nicholas's canyon on values and measurements. St Nicholas has held various positions within the BBC and is currently managing director of the Barbican centre, Europe's largest multi-art in conference venue. St Nicholas, you have five minutes. On Des Crilly, who is chair of Kent County Council's strategic group for the arts. I don't think arts and cultural organisations are able to define the impact they are able to make. They don't trace it and make it visible. It drives me mad. They change someone's life and they don't even realise it. Well, actually, I think we do realise it. That's why we do what we do, but we have arguably not been good at articulating it or finding common ways of speaking about it. How can we move forward? That was the substance of these four sessions on values and measurement, which became three sessions as the last two amalgamated. I'm very grateful to Shona Reid, who summarised two of the discussions and our expert note takers. We started from two opposite ends of the spectrum, from Bazma El Hosseini's vivid portrait of the single individual unlocking their own creativity and how they were thus empowered and transformed by that act, to Michael Power's daunting picture of arts organisations caught in the vortex of supposedly rigorous audit and measurement systems, which actually created a false precision of what it was they were achieving. So the question is, as indeed it has been for a long time now, what languages can we find that are meaningful to express what we do and what are the outcomes of what we do? We do need measurement. It's just a question of what measures are meaningful. We spoke of the essential contestability of cultural value. If cultural value is so contested, what enables us to speak with conviction about it? First, who are we speaking to? The potential constituencies here are very different. What resonates with artists will not resonate with government. What resonates with private funders may not work for public funders. What is meaningful to auditors is not in the end what matters to our audiences. How do we reconcile those in our messages? A second issue is that different countries around our table are at very different stages of development in their work and their activity, and one size of assessment, one sort of language, does not necessarily fit all. Some are leaping ahead of those of us with more established procedures and processes in practice. A third issue is timescale. How long does it take to prove the worth of cultural investment? How long before Scotland knows that the labour-intensive music education activity of El Sistema here has actually been productive? In Venezuela it took 25 years. We do need evidence, but the issue, as Michael suggested, is that we need to move away from defining that evidence as a proxy for the value towards more effective assessment around culture and its effect. Here are some common approaches that emerged for us to build on. One is telling stories, creating narratives which demonstrate the power of what we do and what's it's achieved. Another is showing and talking more about the creative process itself rather than just the end result involving people in the act of creation participating in all senses. A further one is to be clearer about our intentions for our activity, what we are really trying to achieve and then being clear about the desired outcome. Using big data which, once we think we understand it, can give a range and depth of information about the reach and impact of culture building social as well as economic capital. Another is arguing and showing the impact of cultural activity in much more diverse areas of our life, sustainability, social justice, health and well-being, diplomacy. All these need their own narratives. What follows from that is the integration of cultural thinking into all areas of action, breaking down the separateness of the arts world in education and culture and the arts could be a spine around which other disciplines could be explored. In an extreme model here there would be no culture ministry at all but cultural agents in every ministry as a connected tissue linking areas of thought and action, at which point Edwaisie turned a little pale although he is already in two ministries which is a start. It feels as if there is still a lot of work to do to draw these things together. Three useful pointers. The first is the Scots initiative called Scotland for Forms, a set of national indicators. The second is the Arts and Humanities Research Council's cultural value project which has an active blog of case studies and new thinking. And the third is the British Council's ongoing exercise the arts effect which aims to gather this evidence together and make the case. We have one word on our side and that is which was strangely absent from our discussions until Graham Sheffield raised it emotion. We need to unlock the intensity with which people respond to what we do and need to find a way of harnessing the strength of that intensity and if we measure anything let's measure emotion because that leads to the simplest, clearest, most basic value message of all people really want this stuff. Thank you, Sir Nicholas. May I now ask Shona MacArthur to summarise the conversations held in the cities and culture policy discussions. Shona spent the last three years as chief executive of the culture company leading on Derry London Derry's hugely successful year as the first city of culture. Shona, five minutes. Thank you everyone this morning and I'm very emotional about finding out yesterday that I'm from the goodest country in the world. Even though coming from the northern part of it the outworkings of that aren't always clear. I'm going to cut straight to the themes that emerged because I just simply don't have time to cover everything. The theme of independence and interdependence and the balance between both was brought back to the individual level and the power of one and the responsibility on all of us as individuals to find a confident expression in ourselves and our own communities and from this standpoint to reach out to others or the other. That will extend to our institutions, cities and countries. There is an acceptance that the majority of the world's population will live in cities. 90 per cent of population growth will take place in cities. Urban populations are already at 80 per cent in New Zealand and 65 per cent in Iceland. There was much discussion about the nature of cities and particularly their relationship to nation states, their relationship with the hinterland and the contextual landscape around them. While cities can, we acknowledge be hubs of creativity, culture, co-operation and interdependence, there are also cities that represent the opposite. There is no one model, each city is different, European different from US and Asia different from European. Cities can be hotbeds of inequality and lack of access. Might a concentration on the role of cities in global governance create a new battleground between cities and nation states, all of these questions we deliberated over. Do we need a redefinition, then, of what we mean by cities that takes in their histories, complexities and multiple narratives, metro regions, collections of micro-cities or neighbourhoods with a strong centre but heartbeats in every borough? Because cities, by their very nature or amalgamation of many people's identities, to push a dominant positive narrative can sometimes be exclusive, cities can be dangerous, edgy, full of tensions and conflicts and art is the thing that is not black and white, it sits in those grey areas and can sometimes emerge out of the tensions and conflicts that I'm speaking of. In championing cities we urge that you shouldn't be afraid to acknowledge the dark sides, the conflicting histories, the danger, the objectives is a peaceable diversity, non-violent coexistence and often the greatest creativity is found in the layers beneath the dominant narratives. Another thing then that emerged strongly was education. It first came out when Jory Soval talked about music moving through beauty and emotion and he asked, can beauty save the world? Should we be battling ignorance through education, through arts and culture that has arts and culture at its heart? Again, Benjamin reminded us that we live in a world of defective imagination and creative learning and arts and education introduces imagination, encourages curiosity and experimentation, empathy and understanding and there are some very positive models that we discussed in Scotland and indeed in Northern Ireland. We suggested that the next summit might begin with education or even the notion of enrichment. Arts is essential services and the impact of that in policy. Irina Bacova and Robin both referred to this and posed the view of arts as essential services and how might that be written into the post-2015 development agenda and can culture be put at the heart of sustainable development? And what will that mean in real terms, in budgets, in freedom of creative expression particularly for women, in the status of artists and more specific to cities? If it is acknowledged that increasingly culture and arts plays a vital role in defining the uniqueness or identities of a city, then does there need to be a new kind of contract with cities and their artists, curators and cultural producers that can be imagined through a currency of trust avoiding any implication of control, influence or service? That will address the practical realities of artists and creatives and a requirement of policy makers to create support structures for their artists and young innovators to stay in the city. It is acknowledged that they are a crucial element of the lifeblood. Ia Sola talked about honesty and acknowledging what is there in her moving memory of war and the legacies of pain, suffering, sacrifice, loss and poverty. She took us on her artistic journey from vengeance to empathy. That idea of acknowledging what is there came up again and again, whether it is trauma, conflict, dereliction, honesty and acknowledgement allows us then to deal in the currency of trust between ourselves initially and then others. No airbrushing. Derry did joyous celebration but it also did purposeful inquiry and that worked for us. Edge to Centre was another one of our major themes in London Derry's UK city of culture where we talked about and brought those on the periphery of cultural access to the centre and we brought those in the centre to the edge and the margins of the city. Ia also paid tribute to the role of the curator, the programmer, the cultural producer as a broker, as an honest broker and that came up again and again in our conversations about cities. So in conclusion there were two core ideas and recommendations that emerged. One was the notion that Saskia put forward as the city as an event in itself. We put all this energy into the Commonwealth Games or the cultural Olympiad or the UK city of culture or the Edinburgh festivals. Can't we apply the same principles that make those collaborations, cross sectoral collaborations, really work for a place but apply it right across the year? To do that is our second proposition, the implications of that on the leadership of development and planning of cities that should involve cross collaboration, architects, designers, artists, creatives, curators, educationalists, health ministers, all of these sectors working together to plan our cities as opposed to having the artists and curators outside of the door and only brought into play whenever we have a special initiative. In closing, Nandi Mandela asked us what can we take from the lessons of her grandfather and his approach was to observe, to listen and to try to find some level of consensus. I don't think that in any of our discussions we found a consensus but the invitation is to come back again and meet again and the suggestion is that we might then talk about education and enrichment. I want to thank you very much. I now call Louise Richardson. Louise is the principal and vice chancellor of the University of St Andrews to recap the dialogue held within the advocacy and identity policy discussions. Five minutes, Louise. First warm thanks to all of you who have worked so hard to make this a sum of the success it is from the delegate assistants to the people in the kitchen to those who conceived this gathering and a special warm thanks to my partner Rapporteur Neil Murray. Reducing eight hours of discussion to five minutes is a challenge, but I briefly outlined the three themes of the advocacy and identity groups before making 10 recommendations. The three themes were education, change and politics. With concepts as broad and as abstract as advocacy and identity, the conversations were wide-ranging. The strand was launched by the clarion call from Marina Buckover that our mission is to make sure that all voices are heard. This led to a discussion of who we want to hear the voices and the centrality of education to generate cultural consumers. Education was seen as the crucial cog that drives the cultural identity wheel and indeed is the link between advocacy and identity. The theme of change was implicit throughout. The whole notion of identity and community are being questioned by the explosion of social media and the internet. The notion of partial continuous attention will challenge the physical shape of our changing identity. Recognition that in time of turbulence culture is dispensable is disposable, the first item dropped in part because it is expensive but also because it is challenging. Finally, politics. We tend to assume that the freedoms of democracy are best for artists, but we were reminded that the heretical nature of the art are such that they thrive too under authoritarianism. We tend to assume that culture is benign, but were reminded that culture can be linked to state ideology and used for propaganda purposes that this instrumental approach can restrict the interpretation of identity. We were caused to consider what culture and identity mean in a society in which 80% live below the poverty line. What culture and identity mean at a time of political and social turmoil? What culture and identity mean during a time of political occupation? Implicit in this discussion was a sense of embracing a spectrum of identities and a mosaic of cultures. Then on to 10 recommendations from the modest to the ambitious, from the specific to the broad. First, invite finance ministers to the next cultural summit and ensure that culture ministers are invited to financial summits. Second, at the next culture summit each delegate should bring with him or her a grassroots maverick, a cultural connector from their own societies. Third, at the next Edinburgh festival we should highlight cultural activism as so much extraordinary work is being done at the grassroots level below the radar. Fourth, we must lobby for visas for freedom of mobility for artists. Fifth, we should identify international pockets of density where we can seek to implement cultural exchange such as Poland and Scotland or Vietnam and Sydney. Sixth, we should build a cultural platform where dialogue can take place, provide only a venue and each country brings one company to this venue. Seventh, we should lobby for culture to be included in the UN 2015 Sustainable Development Goals. Eighth, we should work to ensure that culture is in the mainstream, not a silo, not an optional extra, that it is deeply embedded across all portfolios within government but also between governments and within and between cities and local governments. Ninth, we must educate cultural consumers. We should adopt a microfinance approach whereby we teach teachers to teach to instill cultural curiosity and they must be supported by public broadcasters. In doing so, we must in fact turn STEM into STEAM. STEM, for those of you unfamiliar with this term, is science, technology, engineering and mathematics and the inclusion of A for Arts. Tenth and finally, and reiterating a point that has been made in the other two groups, we should mobilise the storytellers, harness the power of the arts assisted by broadcasters to tell stories, to create powerful narratives based on hard facts and tangible evidence, tangible examples, to demonstrate the power of the arts to address societal problems, specifically issues like health, longevity, inequality, inclusion, corrections facilities and so on, by demonstrating practically the power of the arts to improve our lives. So the final summing up of these eight hours was the statement that, no, it's not the economy, stupid, it's the culture at genius. Thank you very much, Lee Jue, Shona and Nicholas, I've completed your summaries fantastically, capturing the vital points raised during discussions and presenting them in the chamber. Thank you all very much for all of your hard work. There's now an opportunity to hear comments from you, the guests and delegates of the culture summit. I've received a number of requests to speak during this session and I do hope we have the opportunity to hear from you. I will call your name and before you speak could you stand and wait for the red light to come onto the microphone. That way the microphone is live and we will all hear your comments. First speaker, Minister for Education, Culture and Science for Iceland. Thank you, Madam Speaker. I just wanted to use the opportunity to express my heartfelt thanks to the organisers of this very useful summit. I have to say that my expectation of what I would get out of this discussion were surpassed by a mile, I have to say. I think that this idea that the culture should be at the centre of government policy. It should not just be the job of the Ministry of Culture, but of every department of the government, it's quite a compelling one. And the one that I look forward to introduce to the Minister of Finance. I wish you all the best and I have to say that I look forward to coming back here to Edinburgh for the next summit. Thank you very much. Many thanks indeed. Our technical equipment, our microphones are really quite sensitive so if you have a telephone or a blackberry or an iPad or whatever right next to the microphone it's going to pick up some noise so if you could just move it to the side or put on the floor before you speak that would be helpful. Our second speaker is the Minister of Culture for the Ukraine. Dear colleagues, we are very honoured to be invited to this forum. Very grateful to the British Council for making this trip possible. As a country compared to a young democracy, it was important to listen to the topics that have been discussed with us. This return to itself, this sharing of the between through culture, this building of the nation through culture. The themes that we are interested in is finding our own identity, building the nation. Osoblifodd dla nas aktualnym e'r tema, oesyniwfania'r cwlturi, bo'n nas e'n nadzwychai'no zaras aktualno. Ocefydnaisia'r tema dda'n nas potribwya'r prodofzynia'r dyskusii i e'i zaleisiaidse'r iddynt. We have faced this problem in this discussion that we have now. We have a great fight with the financial block. We are looking for how to recognize the business of the financial group and give them an understanding that they did not think of the category of the cost of a watch or a costume. Ukraine is the country that goes through the economic crisis. Of course, the theme that is very important for us right now is measure and valuation of culture. It is very important for us to talk to our minister, to talk to business and make sure that they understand that culture is essential for the nation, the state building. We want to make sure that they are not looking for the price of the watch or the price of the suit, but they are ready to invest in something much more essential to their future well-being. We cannot tell right away how much human morality costs human rights, how much human desire for freedom costs. But those values are really important for the future existence of the country. And this is what will allow us to be integrated into the rest of the world. Our third speaker is the Minister of Culture, Arts and Heritage of Qatar. Thank you, President. I am very glad to be with you today. Thank you for the organisation of one of the best conferences. Culture and its comprehensive connotation is a fundamental mean for the progress and rise of societies. And entering the cultural arena became an urgent necessity. The great challenges that face the world countries at all levels oblige all parties to follow the path of the global progress and to be able to participate in the drafting of the future and in the civilizational edification of mankind. Thus, it is highly important to change the aggressive pattern that prevails in international relations and to work towards a cooperative pattern in order to alternative attention and violence, strengthen the values of understanding and tolerance and reinforce cooperation among nations. There is an urgent need for a constructive dialogue among the different cultures in a way that leads to construction and development rather than conflict and competition. Culture is a common human production that fosters its communication with the other without each nation, with every nation, a nation preserves its distinctive cultural and civilizational constants. Allow me to say a few words about Qatar. In the state of Qatar, we believe without any restriction in the impact of culture and the sum of relations between nations. Mutual acquaintance among cultural produces a common understanding that achieves peaceful relations among nations and builds relationships based on common interests and strengthen by values of tolerance, mutual respect and stability. The goals have been interpreted in the reality through events such as cultural weeks between the state of Qatar and the other countries. The Scottish cultural week organized last year in Doha was a good illustration of the strength. In addition, we came to a pioneering and unique idea that concentrates a whole year to give countries including mutual events organized in both countries. The first year was dedicated in 2012 to Japan, the second in 2013 to the United Kingdom while the current year 2014 is dedicated to Brazil. We have since the returns of these cultural years, their success and their impacts on all sides of relations. In brief, we can say that culture in the context of international relations became the mean to repair what has been corrupted by politics. Placing culture at the heart of development policies is a fundamental investment for the future of the world and a prerequisite for a successful globalization that takes into account the principles of cultural diversity. Progress is not synonymous with the inclusive economic development. It is the mean of creating a more comprehensive intellectual, moral and spiritual life. Therefore, we cannot separate development from culture. In its main features, comprehensive development in Qatar relies on the society encouraging of culture and the efforts to spread it among its members. Cultural development is in fact the main pillar of human development in general. In general, the human development that poses and requires investing in human elements and developing practical and theoretical sciences and knowledge and technical and supplied skills and expertise in order to achieve creativity in all cultural development domains. Therefore, the cultural dimension is currently the backbone of the comprehensive development targeted by the state of Qatar, and it is difficult to achieve the development goals in the absence of simultaneous cultural change that creates the appropriate context to reap the desired rewards. Culture became a strategic choice among the other choices related to political, social, economic updates and aiming at the construction of a modern state that has a proper place among other developed countries in our contemporary world. The founding of its blended cultural infrastructure, including several cultural landmarks, among which the Museum of Islamic Art, the Arab Museum of Modern Art and works for going on for the establishment of Qatar National Museum, the building of six theatres among the most important in the Arab world in addition to the cultural quarter Qatar that became a shining centre for Qatar. In addition, the Arab culture and for the interaction with the other cultures. Attention dedicated to heritage and reservation, the state allows a great interest to the country's heritage. This appears as well through the interest that governmental, civil or individual entities and institutions allow to this precious legacy from the fathers and forefathers and heritors. The hosting by Qatar of the World Heritage Committee's session in June 2014 and the financial support of 10 million US dollars to the World Heritage Emergency Fund are strong signals revealing the latitude of Qatar towards heritage. We would like to point in this regard that as Zubara has become classified in the list of world cultural heritage and that falcony hunting with falcons has been registered in the list of the world in tangible cultural heritage. We are also working with the UNESCO to register the Arab coffee among Sidlist as well as the traditional medallist that is a deep rooted phenomenon in our society. Attention dedicated to the theatre, attention dedicated to music, cinema and its development. Attention dedicated to the National Library, supporting and encouraging inventory, attention given to the child's culture, to the Doha International Book Fair, to the cultural publication. This cultural scene did not only make Doha recognise cultural capital, it has transformed it into the UN International Central for Rich Continuous and Attractive Events. Culture in Qatar has become one of the main pillars of renaissance and the driving force in the way of development and prosperity. We enjoyed last night the tattoo and we hope that it will be with you next year. Thank you very much. Many thanks. Can I now call the Minister of Tourism and Arts from Zambia? Thank you very much, Madam Presiding Officer. Ladies and gentlemen, allow me to start by thanking and congratulating the organisers of this important event. Through the Presiding Officer, the Right Honourable Trisha Mawik, Member of the Scottish Parliament, for the excellent manner in which this culture summit has been organised. Distinguished ladies and gentlemen, Zambia and Scotland share a long and historic relationship standing from the work of a Scottish explorer and missionary, Dr David Livingstone, who is buried in Zambia and whose heart is buried in Zambia and where the heart is buried has since become a national monument. Zambia is repositioning its cultural sector from a social to an economic sector. The experiences gained from the summit are enormous. The summit has also given us an opportunity to create new links and partnership, which in the wrong run would be useful in the development of our country. As we embark on the marking of the 50th years of our political independence, Zambia is standing 50 years this year. I wish to promise you that Zambia will not only participate in the next summit, but will also bring with us part of our rich culture to participate in the Edinburgh festivals. Let me end by inviting artists, tourists and entrepreneurs to Zambia, a country of peace, love and endless investment opportunities. Thank you so much for your kind words and your kind invitations. David Livingstone is at the heart of this Parliament. One of our committee rooms is named after David Livingstone. While his heart may be in Zambia, he is at the heart of all Scots. I now call the next speaker, which is the Minister of Cultural Affairs for Bangladesh. Thank you very much. It was a great pleasure for us to be here in Edinburgh festival. This is not my first visit. I came earlier twice, but this is the first time in the festival. This was a wonderful experience. During the session we have learnt a lot. I have taken over as the Minister only a few months. So I am going through a learning process. I have learnt a lot. I just want to mention one thing, which is not a problem, but I think there is a kind of gap. When we come from a developing country and when we are talking to the representatives of the developed countries, sometimes I feel that we are not actually understanding each other's problem. Because our problem is so different from yours. My country has 160 million people and only 56,000 square miles. We are handling so many basic problems of daily life, poverty, education, health and culture gets the minimum importance for any government of our country. So there lies a problem. We are really, I don't know how to resolve this problem, how to handle this problem. Yesterday when we were talking where we are actually discussing the probability of forming a common platform to help each other, I think this is very, very important. And if we can really decide something on this, that forming a common platform to help each other to maintain their own cultural identity and move forward and make a greater culture for the whole world. That will be the ultimate success of this conference and I wish it will. Thank you very much. Thank you so much. Can I now call Pavel Potorolskis. You wish to make a contribution. The real name is Potorocen. Presiding Officer, your Excellencies, ladies and gentlemen, brothers and sisters. Let me first thank identity and advocacy group reporters for doing a fantastic job. This didn't make much sense from what you have talked about yesterday. Thank you very much indeed. Also I wanted to thank organisers for their kind invitation. I've learned so much and I'm so motivated and inspired that tomorrow I will not go to work. I will run. What I think I have learned, there's two things I wanted to briefly summarise. First coming to talking about measurements. I think we have measured everything. We know how to evaluate what we do. We are indexing pretty much everything including innovation. It's not of much help in our day-to-day business and that brings me to a thought that we should go political. That's something I have learned here. It's my second cultural summit. It's the first time it came so clear to me. We should go political the way we did in Poland when social movement called citizens of culture have effectively lobbied for the government to double the funding for culture in the midst of crisis between 2008 and 2014. So this can be done. I think we all, brothers and sisters, we should go political. That's inevitable in the wrong ground. We should go political also because, as it turns out, not everything that can be measured counts and not everything that counts can be measured. There isn't good enough to go political with our cultural agenda. Another thing that I have learned, I'm an international cultural exchange professional and something that I keep on learning on many international gatherings of my colleagues, my associates, my partners, my friends. That's my call to our stakeholders, heavy hitters, decision makers, policy makers, politicians, elected officials. If you think cultural exchange is expensive, try ignorance. Thank you. Thank you. I have got a very, very brief period in hand so if anybody would like to make a spontaneous brief contribution from the floor, just put up your hand. Thank you. Stand up and the microphone is now on for you. Briefly, thank you. Well, I couldn't prepare a long speech because I used to be a TV reporter and it doesn't fit with my work. I would like to thank you for this great opportunity on which I represent my country Iraq in this critical time. I would like to invite you to go from the theoretical part to a practical part and to support Iraq against the destruction of the Iraqi heritage, which has been committed by ISIS in the city of Mosul. Thank you very much. The gentleman in the pink shirt, if you just stand up, the microphone will follow you. If you could just say your name for the benefit of all the delegates, that would be helpful. Yes, all that. My name is Rob Bryant and I'm speaking from Jersey. A couple of things really. One is the one thing that we haven't spoken about. We were talking yesterday about words that we haven't used. Two words in particular strike me. One is fun. I've had a lot of fun since I came here. I've seen a lot of smiles. We were in lots of places yesterday where the smiles just never seemed to disappear. So I thank you intensely for that. The second word is kindness. I have seen exhibited such kindness since I came here and I've enjoyed it immensely. We've discussed between us every moment where I felt a little moment of doubt or I'm not sure where I'm going or I'm not sure where I'm supposed to be saying or doing. Somebody has helped me along the way for that. So I think that's fantastic. And I want to leave just with one thought. Or 4th of August 1944, a young girl, a 15-year-old girl was taken away by the Germans and taken to Bergen Belsen and she left behind her a small book. It was originally in the dress book. She was given as a gift on her 13th birthday and we now know it as Anne Frank's diary. And we have all read that, I think, to some extent. And she said in there, isn't it wonderful that we don't have to wait a single second to improve the world. I have felt that through this conference I am going to take away so much that I'm going to be taking back to Jersey that it's going to improve the lives of the people of Jersey, making people's lives better. And I thank you for that intensely. And thank you for all your comradeship and your kindness. Thank you. Does anybody else like to make a brief contribution? Is this your chance? No? Well, what we'll do now is we'll just move on. Can I thank all of the guests who have contributed? And now can I ask Paul Carter to once again take the floor? You have the significant duty of addressing the delegates with what next? Presiding Officer, Excellencies, colleagues, friends and our most important citizenry. It is obviously an impossible privilege to be placed at the apex, if you like, of these discussions over the last two days. I drew for you at the end of my presentation on Monday, a string figure, a cat's cradle. It's a universal plaything. The remarks that I'll make in the next very few minutes should be thought of as one knot or crossing point in that cradle. So the cradle is our collective wisdom. It's all the exchanges we've had. It's the radiating networks of care and concern and responsibility that all of us have in this room to our communities. And so all I'm doing is being like a spider in the web, responding to a little trembling and just trying to capture something that is a personal, a personal view about what should happen. I wanted to enter in to that collective discussion and to enrich it. And although I stated in bold terms, I present it with great humility. Urgent steps need to be taken to embed creative thinking and making in the procurement of peaceful coexistence. Place-based knowledge, access to creative opportunities, lifelong encouragement to participate in making of all kinds. These are techniques to foster the cultural literacy and spiritual confidence which makes identity a matter of identification rather than separation. An entirely new model for funding cultural production is needed. It targets complexity, it is situational, it is archipelagic. A creative brief, not a report, a creative brief needs to be commissioned by UNESCO that identifies an underlying obstacle to societal creative empowerment. It is the non-recognition of the fact that creativity and complexity go together. The inherited administrative silos need to be broken down. Arts funding, applied scientific inquiry, the whole arcana of investment and infrastructure growth and renewal need to be thought together in concrete forming situations. The forming situation is a concept described in my book Material Thinking. Urban renewal, threatened linguistic diversity, gender prejudice, the eradication of places to dream, lack of water. They all present fundamental forming situations. They are real world laboratories for managed development. Above all they represent creative choices. They pivot our lives between loss and growth. Our cultural responsibility, whether we operate within the political culture, the civil culture or our own local communities and all of us of course operate across all of those, our cultural responsibility is to seize these forming situations. As opportunities to embed the triad of memory, imagination and invention in the physical, emotional and symbolic fabric of the future, we need our stories. The great creative works of the past envisaged new possibilities. It is that great inheritance of future imagining that we cannot afford to forget. The great temples of the past, the great poems of the past always point into the future. They educate us in making ourselves anew. To remember well is not to blindfold ourselves to change. It's not to stand in opposition to evolution. It is to find and share the metaphors that can resist the rhetoric of fear and navigate turbulence cooperatively. Situated thinking turns cities into creative regions. It de-territorialises community. It relocates global responsibility to creative communities with shared interests. This creative brief, which I'm outlining for you, is called Situations. Situations makes a compelling case for a fundamental reorientation of funding priorities based on the new collaboration between arts, science and design. It redefines planning, replacing a top-down approach with a process-based, culturally enriched pathway to the design of complexity. It reconnects innovation to creativity. The client of the new collective artwork is the creative community itself. When it has formalised, and this is the value of the creative brief, when it has formalised the educational governance and practical craft skills needed to have a place at the tables of power. Situations formalises and advocates the recognition of an archipelago of interest that transcends national boundaries, extends and modifies the hegemonic status accorded to the city, speaking instead of creative regions. Cities always extend beyond themselves. Originally we learned cities were built next to water. Now there is water everywhere, but not enough to drink. The old muses need to be upskilled, and in becoming more cosmopolitan learn to care for the common ocean, which is within as well as without. Identifying emerging situations, creative regions share, situations is a creative brief that maps a new archipelago of concern, thematic, material and geographical. It would define the tools of cooperation and trust needed to rest back public space from the corruptions of unlegislated power. Situations would establish the value of the cultural formations, the techniques of translation and collaboration and the creative alliances needed to secure the common, not for survival but for wellbeing. Thank you very much. Paul, thank you very much. You did indeed have a daunting task of summing up for the culture conference, but I do think that it was one that you rose to. Thank you on behalf of all of us. I now call on Sir Vernon Ellis, who is the chair of the British Council. Sir Vernon Ellis is a few words that he would like to say to us all. Thank you. Thank you very much. I was listed as saying thanks, and I'm going to thank... Jonathan is going to thank many people in his speech. He won't thank himself, so I will. He was the inspiration behind this conference. He's led it with great distinction. Although he's the last year, he's his very distinguished residence at the Edinburgh International Festival, we hope it won't be his last year in this position with this summit. More of that later, no doubt. I just want to say a few words because I thought I'd also like to thank you because this has been a very interesting conference at which I've learnt a great deal. I've melded it as I reflect if I match that against my experience as chair of the British Council and also my experience in the arts. I think a number of things come together. Travel at the British Council gives you a number of prodigies, one of which is to see both the problems and challenges of the world, as well as the opportunities. Of course, the challenges are obvious. They're magnified in our faces through TV news every day. Travel gives you a more nuanced view, sometimes in a good sense, in that it reminds you of the extraordinary resilience and community of people. Everything is not quite as bad as it is on television, but nonetheless, underneath, there are some real problems and schisms in society caused by insecurity and victimhood, exacerbated by the politics of identity. I also, though, can see the opportunities in the areas that British Council works. English is the lingua franca for a common understanding. Education, which is the fundamental weapon against ignorance and bigotry. Society, the pillars of a good society, such as the rule of law, quality opportunity for women, but also the arts, which we know. We know about the arts. We have stories that illustrate how they can benefit understanding, perspective, imagination, bringing communities together, being communal societies across these schisms. We and politicians celebrate the way in which culture can enrich great public events such as the Commonwealth Games. We know how the arts can enrich education. Just yesterday, I read a report from some research in the US, which has shown how music making in gun children from deprived backgrounds actually physically enriches neural connections that are essential for learning. We've seen that and I've seen it around the world and I've seen it in London. We know how the arts have an essential synergy and symbiosis, both intellectual and digital, with the creative industries so vital in modern economies. We know, too, the potential wider economic impact. You only have to look at this great city and the impact that the great festivals have on this city. And yet, in many ways, and it comes out in this conference, the arts feel beleaguered. It's regarded sometimes in government by other government departments as entirely marginal, nice to have, but not essential. Therefore, a fear that the roots are not being nurtured sufficiently. And that's true, by the way, even in countries merging richer economies, which are putting a little more money into these areas, but often it's going to buildings, not into content, not into skills, not into audience development. We feel marginalised in the media. It's interesting, statistic the other day, 22 million people visit London theatres. 14 million is for total attendance at Premier League football matches in England. The newspaper coverage is probably about 10,000 to one the other way. There's quite an interesting statistic also about education in that how many people go to museums. Many of them young people, 56 million last year in Britain. We often feel embarrassed in the arts about being tainted by elitism and somehow we have to be a little careful about how we talk about the arts because of that fear. An underlying theme though of this conference I think has been the need for a more confident unified voice for the arts. We shouldn't feel embarrassed or shy. We know the value of the arts. With many of the suggestions coming out of these, each of the three strands has some commonalities, I think, mainstream, putting the A into the arts, having some pride. I like to go political. I think we have to be stronger, more confident and speak of the value which we know about. Robin Archer called for a new language. We still are searching for that. We're not articulate enough, which is strange and many of the artists contributing to some of the discussions I think helped on this. But we need to work more on that common language so we can speak this message with more confidence and I hope with that carry some of the themes forward from this conference. So thank you. Thank you, Sir Vernon, and also for the words that you said about Sir Jonathan Mills. We heard Simon Ann Halt in one of the opening sessions talking about good countries and countries that are perceived throughout the world as being good. Can I say that Jonathan Mills is a good man. He is a force for good. He has been as director of the Edinburgh festival. I think it is no secret that the whole culture summit in 2012 and this culture summit would not have happened without his drive and his initiative. So can I ask Sir Jonathan to come up and say a few words? Sir Jonathan, thank you on behalf of all of us for the work that you've done. Well, with so much thanks given to me, it's my turn to thank all of you. I want to thank you, the delegates and contributors for travelling to Edinburgh, for taking time out of your busy lives to be with us. But more than that, for engaging very deeply in the quite complex topics that we have discussed. Not just to engage with them at a theoretical level, but actually more importantly for sharing your practical approaches and experiences. We have now assembled, I think, a number of very tangible achievable steps. Much more needs to be done, of course, but there are some steps that we, I think, can take. I was struck by what Paul Carter described as a creative brief. Not a report, but a creative brief. It's great that he suggested that UNESCO should take this on, but actually to acknowledge that UNESCO is now a partner with the summit. I would suggest that with Daniel Clich nodding at me there that actually this is something that the summit and UNESCO will take on together. Not only ourselves, but obviously with our partners, with the British Council, with a number of you. A creative brief is not, I think, something that will gather dust. Not that something that will tell us what we already know, but will actually be compelling us into a different kind of action. Because I think one of the things that struck me about the discussions that we've had is how much we know already that doesn't need to be reinvestigated, but actually needs to be re-communicated and reinvigorated. I mean, it is true that there are some people, not just countries, but people within various governments who need to be here. And one of the things that I'm going to hope we will work very hard to do is encourage some people with responsibilities, core responsibilities for the spending power of governments to be here in the future. I would like to thank the delegate aides and all of the volunteers who have made your time in this parliament so seamless and so friendly. I appreciate that the number of many, many people who have given of their time so freely and with such enthusiasm. Please join me in thanking them. I would like to thank the summit steering group, members of the various founding partners of the summit who have given far more time than their jobs required. To thank you therefore to Lloyd Anderson, the director of the British Council in Scotland, Joanna Baker, my colleague from the Edinburgh International Festival, Roy Devon here at the Parliament. Thank you Roy. Liz Humphries from the Scottish Government and Dominic Lake from the UK Government. Thank you very much for your enormous wisdom and support. Can I also thank the dedicated team who have been working in this building since January to make this the event that we have enjoyed. So to Sarah Love Day, the project coordinator, Douglas Miller, the logistics manager, Lisa Scali, the program manager, Fiona Stewart, the communications manager, Laura Stewart, the delegate manager and Fiona Zapperen, the partner liaison and project coordinator. Thank you all so very much for your incredible hard and dedicated work. We started with music and we will conclude with music. And I want to thank Jordi Saval and his musicians from Hesperin 21 for their moving and extremely appropriate Omanase a la Convinvencia homage to coexistence. Because I'm sure as you heard in those three different pieces of music from the Sephardic, from the Christian and from the Islamic tradition. A very similar melody interpreted with very different textures in which in the very body of the music itself within the material to quote Paul Carter, the fabric of the coexistence, the poetic realisation of so much of what we've been talking about was there. It was physical, it was palpable and it was poetic. And of course, before we conclude, but may I say in anticipation, thanks to Lady Smith Black Mambazo who have been so wonderful at the festival and will conclude these proceedings. Please be assured that we will stay in touch. We will share these discussions in non attributable ways, in ways that do not in any way compromise the confidentiality of the discussions, but we will share them very widely. And we have a very wide group of people with whom to share them. 25,000 artists visit this city this month. We will be making sure through our networks that all of the people that come to this city know about what you've discussed and we will urge them to contribute to the debate. Many of them have been in the chamber, but of course it's impossible to get all 25,000 of these artists here at one time. But be assured that your messages and your suggestions and your practical experiences will be shared with artists to make sure that they, not just us, form a coalition that can be of enduring assistance. Thank you very much. I look forward to the next summit. Thank you for your kind words, Presiding Officer, and thank you for hosting us in this wonderful building. Johnathan, thank you very much indeed. Before I introduce Lady Smith Black Mambasso, they are absolutely fantastic and I want to make sure that delegates get the best experience possible. So can I suggest that the people who are in the back rows here, that you come and join us over here so that you can get a better view? They are going to be playing from that gallery and I would like you to get the best view possible, so if you want to join us in these seats. Thank you very much. It is a great pleasure to welcome to the Scottish Parliament Lady Smith Black Mambasso. Thank you very much. Thank you very much. Thank you very much. To sing was written by Joseph Shabalala and Paul Simon in 1985. They wrote this song just to advise people that people are suffering. They sleep in the cliffs, they sleep in the shelters, they have no homes. Poverty is all around the world. We should take care of one another. We are homeless. Poverty is all around the world. We are all around the world. We are all around the world. We are all around the world. We are all around the world. We are all around the world. We are all around the world. We are all around the world. We are all around the world. We are all around the world. We are all around the world. We are all around the world. We are all around the world. We are all around the world. Sir Jonathan Mills, of course, and his team at the Edinburgh International Federal, the Scottish Government, and Minister Fiona Hyslop, the UK Government, and we have Ed Faze here, thank you very much. The British Council to all the staff of each of these organisations, and of course the staff of the Parliament itself. The Scottish Parliament has been delighted to host the Edinburgh International Culture Summit here in our own iconic building. Where else could an international culture summit take place, but in Edinburgh, with the original international festival of culture and the arts. However, this is a working building, and in a few hours the members of the Scottish Parliament will once again take up possession of their own chairs, where we will be talking about the issues in the Parliament that affect the people of Scotland. It has been a pleasure, it has been an honour and it has been an absolute joy to chair the plenary sessions. We have heard moving, thought-provoking, inspirational and challenging speeches. We have also enjoyed the finest of entertainment, particular highlights have been, of course, Jordi Seval and Hyperion 21, our own national youth choir of Scotland, the burn song and the national youth pipe band for Scotland at the gala dinner, and of course Lady Smith Black Mambazo, who have seen us out so well. Your Excellencies, ministers, delegates, speakers, thank you so much for your contributions over the last few days, and for your valued contribution and participation. I hope you have enjoyed yourself as much as we have enjoyed hosting you. There's a wonderful Scot saying that it says, take care, go home and come back soon. I will leave you with three little words, which sums it all up, and that is hasty back.