We must protect this precious legacy in Edinburgh

Two years after the end of the Second World War, Rudolf Bing’s conception of an international festival to heal the wounds of war through the arts was launched with a performance of Mahler by the Vienna Philharmonic Orchestra.

We had been reminded of its origins at the launch of this year’s book festival by journalist Alan Little, days before I visited our city’s synagogue for its community service, and amid constant reminders that the world is at perhaps its most dangerous since the 1930s.

And at a time when the arts in this country, and the Festival in particular, face constant attrition in government support, recognition and value.

As a child growing up in Glasgow I was aware of an underlying jealousy as a city that Edinburgh had been chosen to host this jewel in the country’s artistic crown, legend has it because our capital reminded Bing of Salzburg.

That decision has brought billions to our economy over the years.

In 2022 alone Edinburgh benefitted to the tune of £407 million, and Scotland’s wider economy £367 million through the gateway which the festival provides for tourism in the rest of the country.

It also supports around five thousand jobs with an estimated £33 profit for every 31 invested from the public purse.

But too often recently it has seemed that the festival’s future has been clouded by complaints about the number of tourists, the cost of accommodation and that slow but constant undermining of the UK’s position as a creative superpower by Government negligence.

The Conservatives’ lack of investment and belief in creative education is leading to a lack of skills and potential talent deficit to undermine creative entrepreneurship and the economic growth it creates.

Now the new Labour Chancellor Rachel Reeves’ call for department cuts will hit the departments responsible for our culture and arts like everything else.

At the General Election my party called for consideration of extending the level of tax reliefs for the creative industries and to explore how they can support those still recovering from the pandemic.

We also need to address the barriers to finance faced by small businesses in the creative industry and do more to support the small venues which are the bedrock not just of our festivals, but of an industry that depends on them to nurture the artists of the future.

Many of those who grace stages across the globe have tales of their early days learning their craft and making their name in Edinburgh.

Their roll call includes world renowned conductors, musicians, actors and comedians who have become household names after performing at my own favourite, the Comedy Fringe.

I know not everyone is a fan. Many even leave the city every August to avoid it.

But as it draws to a close this year perhaps it’s time to recognise how the festival has enriched our city, its reputation across the globe and the part it has played in fulfilling that original vision of international understanding through the arts.

And make sure our politicians protect its legacy.