Ian Mitchell: and career of the musician who played with the Edinburgh pop rock band Bay City Rollers at the age of 62.
25 questions from a 2020 laugh ad contest: fun and original anecdotes to do in your virtual quiz, more answers
The culprit framework for selling the Edinburgh World Heritage site is to spearhead efforts to create new paintings for the city’s new city in popularity for its many links to slavery.
Temporary works of art encouraged through the Black Lives Matter movement have given the impression that Edinburgh in recent years is a component of a ‘wall path’ throughout Scotland.
The task of creating permanent art paintings will be to redesign the Edinburgh World Heritage Site on how the city beyond is promoted, taught and commemorated.
The plans for the art paintings were revealed through the new director of the charity, Christina Sinclair, who is committed to ensuring that her paintings reach many more people in BAME communities (black, Asian and ethnic minority) in the future.
Two years ago, the charity organized an exhibition in Tron Kirk, which highlighted the role of the slave industry in financing the immediate progression of the city in the 18th century.
Months later he gave a lecture through Scotland’s first black teacher, Geoff Palmer, on how wealthy Scots owned more slaves, more plantations and had a higher percentage of the transatlantic industry in plantation products such as tobacco and sugar than England or other European countries at most.
Edinburgh World Heritage has also been concerned in discussions with Professor Palmer and the City Council about the proposed new plaque to be added to the Melville Monument in St Andrew Square to reflect the fact that Henry Dundas, whose statue is the most sensitive in the pedestal, is said to have played a key role in the attempt to block the abolition of the transatlantic slave trade.
The Edinburgh World Heritage Site now intends to commission and lead fundraising efforts for a new main art painting, the form it will take and the precise location are kept secret.
The task will evolve weeks after the launch of the Black Lives Matter Mural Trail in Scotland, which now includes more than a dozen sites in Edinburgh, Playhouse, Usher Hall, The Traverse Theatre and The Hub, home of the Edinburgh International Festival.
Ms Sinclair said: “One of the things that we will be focusing on in the long term is our inclusive engagement, painting our assignments and other areas, so that it resonates with more varied audiences. We need it to be more meaningful and coherent”. .
“The questions and discussions of recent months are incredibly important. I’m sure many other people have a greater understanding of the history of the city. This is nothing to avoid.
“It is vital that we maintain our momentum, that we take advantage of positive opportunities to make sure it is represented in the city. The form this takes will have to come from the commitment of the base.
“We believe it is vital to acknowledge Edinburgh’s varied history, both positive and negative.
“We do not support calls for the removal of the Henry Dundas statue. It is vital to acknowledge the afterlife and acknowledge our deep understanding of it. It is more vital to maintain the monument and provide a new interpretation. “
When asked why the history of slave industry in Edinburgh had been little identified until recently, Sinclair added: “I think it’s a sign of a shift towards a more progressive society; other people wonder and challenge more now. “