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Cteea/S5/20/C19/C069 CTEEA/S5/20/C19/C069 CULTURE, TOURISM, EUROPE AND EXTERNAL AFFAIRS COMMITTEE CALL FOR VIEWS ON THE IMPACT OF COVID-19 ON SCOTLAND’S CULTURE AND TOURISM SECTORS SUBMISSION FROM ROWAN CAMPBELL, SUMMERHALL I am writing following the government’s £1.57bn coronavirus arts funding announcement (including £97M allocated to Scotland) and the DCMS Committee report, in my capacity as the General Manager of Summerhall, a multi-space, multi- purpose Arts Venue located in the heart of Edinburgh. Due to the Covid-19 pandemic, we have been required to close our Pub, Café, Event Spaces, Galleries, Theatre and Gig venues. Our income streams have all been reduced to near to zero whilst our Utility, Waste Management, Building Upkeep and other costs remain in place. While the Edinburgh Festival Fringe Society receives limited public funding, and has received a Covid-19 funding/loan package to support its own operations, the venue, performing companies and artists who produce and enable the Fringe have not. And specifically Summerhall does not. As an independent venue producer, I believe that Summerhall is a key part of the Fringe ecosystem, nurturing and supporting creative companies and artists, and helping them market their work and attract audiences. We contribute to the success of many Scottish and UK businesses, both by direct custom to their suppliers, and indirect custom from their performing companies and venue staff and audiences. Like other Fringe venues, Summerhall functions independently of the Fringe Society, taking on direct financial risk. And this year we face very substantial losses from a summer with no income due to the cancelation of the Fringe, and ongoing overhead costs. Very few Fringe venues receive any significant public funding, and most receive none at all. Summerhall receives very small amounts of project specific funding from Creative Scotland, for year round, non-fringe related activities. All Fringe activities are at our own risk, risk that we can no longer afford. The Fringe Society has calculated the total losses faced by venues in 2020 at over £21 million and without support through 2020 and into 2021, many venues may cease to exist. Summerhall is unique in that our building is secure, but our ability to continue to programme a future Fringe is in real jeopardy and along with that comes the risk of staff redundancies. 1 CTEEA/S5/20/C19/C069 Edinburgh Festival Fringe • Edinburgh Festival Fringe is the world’s largest arts festival and a key part of the UK’s theatre and live performance industry; • Has recently been estimated at providing £1bn per annum for the UK economy; • Has a confirmed direct economic impact of £200m; • In 2019 more than 59,600 performances of 3,841 shows were staged in venues across the city; • Supports more than 6,000 jobs directly and indirectly, over 2,840 full-time in Edinburgh and over 3,400 across Scotland and the UK; • A place for emerging and developing and established artists to build their careers; • Gives more established artists and companies the opportunity to experiment or diversify; • Professional arts marketplace key to exporting UK cultural product; • More than 1,600 bookers and buyers of creative work, over 500 of these from overseas; • Improves access and accessibility to the arts across local communities and UK society; • An open-access festival – anyone can take part, show their work and learn from others; • Participants come from all over the world, boosting the travel and hospitality industry in the UK; • Multi-disciplinary – theatre, dance, opera, circus, comedy, cabaret, music, multimedia, film, immersive, site-specific and visual arts; • The range of activities include performances, talks, events, workshops, screenings, exhibitions Summerhall as an Organisation Summerhall was established in 2011 to be at the heart of the cultural life of Edinburgh, a welcoming and accessible place for a diverse range of people to create, present, watch and participate in art, as well as to work, meet, celebrate and socialise. Summerhall occupies and cares for a listed building, formerly the University of Edinburgh Veterinary School, known affectionately in Edinburgh as the Dick Vet. Our mission is to use the Summerhall building imaginatively and sustainably to present a year-round programme of ambitious contemporary performance and visual art to audiences in Edinburgh, to rent workspace to a varied creative community of residents, and to host a diverse programme of events in partnership with individuals, local businesses and community organisations. Summerhall’s work was most 2 CTEEA/S5/20/C19/C069 recently recognised by the Outstanding Venue award at The Herald Scottish Culture Awards 2019. Summerhall has a turnover of around £3million, the vast majority of which is spent and generated within Edinburgh. Of this figure, we estimate that around £1.5million is earned in August via ticket and hospitality sales. We employ 20 full time permanent staff, 6 part time permanent staff and 40 contract staff working across our box office, front of house, café and bars. In addition to this, in a normal year, we would employ 125 seasonal workers during the Edinburgh Festival Fringe. We support the Fair Fringe campaign and have recognised Unite the union with whom we work closely to improve staff pay and conditions as the business develops. Summerhall has set aside a proportion of our recent crowdfunder donations to create a hardship fund for staff – both salaried and zero hours – recognising the pressure on staff at this testing time. The multiplicity of Summerhall’s work makes it unique in Scotland and vital to the country’s creative economy. There is no other organisation contributing in the same way with such a range of work. Summerhall as a Fringe Venue Most of Summerhall’s theatre and performance programme is part of the Edinburgh Festival Fringe and 2020 would have been Summerhall’s 10th Fringe. Over the previous 9 years our Fringe programmes won multiple Fringe First and Total Theatre awards, and brought leading international, Scottish and UK theatre-makers to the Fringe. We collaborate with multiple producers and cultural agencies to present international programmes including Aurora Nova, Big in Belgium, CanadaHub, La Manufacture (Avignon), Swiss Selection Edinburgh, From Start to Finnish, the Taiwan season and the Arab Arts Focus. Our Fringe programmes include a high proportion of artists from Scotland as well as international artists; we support a Scottish theatre-maker each year with the Autopsy Award and work with many theatre makers and musicians who are funded by the Made in Scotland programme and go on to tour internationally as a result of their Fringe seasons at Summerhall. The Autopsy Award has created a space for ground- breaking performance and live art from Scotland at the Fringe. Autopsy Award winners include Leyla Josephine, Ellie Dubois, Greg Sinclair, Amy Conway and FK Alexander, whose piece I Could Go On Singing (Over the Rainbow) has toured to 6 countries since its sell-out run at Summerhall in 2016, which FK describes as a ‘watershed moment’ for her career. Complementing the Autopsy Award, there is always space in our programmes to introduce and support emerging theatre-makers. In partnership with Eclipse Theatre, in 2019 we initiated the Eclipse Award, the first time a Fringe venue had taken positive action to support BAME artists to access the 3 CTEEA/S5/20/C19/C069 Fringe. We had just chosen the 2020 Eclipse Award winner when the UK lockdown was announced. The Edinburgh Fringe is an important R&D site for the Scottish and UK theatre sector. It’s an opportunity for artists to develop their work, for UK and international programmers to find work for onward touring and for key players in film and TV to spot new talent. Summerhall’s curated programme has become known as a place where visiting programmers will always find innovative, high quality, engaging work by new artists. For the last two years we have participated in the Fringe Society’s ‘Fringe Forward’ initiative to help international promoters find the best work, as well as Screen Scotland’s ‘Screen Fringe’, the Made in Scotland showcase and the British Council showcase. Thus Summerhall makes a significant contribution to the export potential of Scottish theatre, dance, live art and music. Our vital role in the Edinburgh Festival Fringe goes beyond the programme: recognising that many elements of the Fringe model are seen as problematic by artists and by Edinburgh residents, we have worked hard to create a Fringe venue which is welcoming, sustainable, accessible, and respectful of its local community, its visiting artists and its staff. Summerhall runs a year-round development programme for local artists, ranging from free rehearsal space through support slots for emerging bands to opportunities to make and show new work. Our 2018-9 artist development programme, supported by Creative Scotland, benefited 65 individual artists with residencies, free rehearsal space or opportunities to show their work. During 2019 Summerhall was the host of the Dr Gavin Wallace Fellowship, funded by Creative Scotland – and we were honoured to have Jenni Fagan as our writer in residence. Covid/Fringe 2021 Related Concerns With no income, other than reduced bar income, Summerhall will struggle with any cost that are associated with the very real requirement to become Covid-secure (requirements for Covid-secure live performance not yet known). Covid-secure requirements could make a Fringe (or any ‘live’ activity) not viable (reduced audience capacity, backstage capacity limitations, cleaning between shows, cost of Covid- secure measures/accommodation requirements). Next year’s Fringe may be smaller than usual, owing to lack of confidence and funding amongst artist and many suppliers have said/suggested costs may rise due to the Covid-19 pandemic. It is clear to me that the combined financial and operational impact of a cancelled Fringe followed by a reduced one may take years to recover from and support may be required beyond 2020.
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