| Celtic Festival- No Participation from Wales |
Arts Policy Report |
| Cultural Policy , Government & Agencies of Wales , September 18, 2025 |
Once upon a time BBC Cymru Wales took an interest in what the artists of Wales were doing at the Edinburgh Fringe. Documentaries were commissioned and shown. Kiri Pritchard-McClean and Carys Eleri walked exuberantly on Arthur's Seat. Edinburgh is the city where the world in August gathers for performance exuberance and Wales was there too. No longer so it seems. The article, below 24th July, listed the nations and regions show-casing in Edinburgh. Wales in 2025 has ceased to show. A Celtic Festival took place this summer in Lorient, Brittany. Its popularity has grown to close on a million visitors. Ireland had a huge presence with stalls seemingly everywhere. Galicia, Cornwall, the Isle of Man, the Basque Country had promotional stands. Wales had no promotional stand. Keith Darlington reported from the Festival. “Disappointed, embarrassed, annoyed, and bemused” he wrote “These words sum up our feelings towards the Welsh Labour government after visiting the Celtic Festival in Lorient, Brittany, a few days ago. We are regular visitors to this festival, having seen some prolific Welsh performances there over the years that include Amy Wadge, the Manic Street Preachers, the Welsh harpist Robin Huw Bowen, and many more.” “Why is Wales not represented? The cost of a promotional stand is peanuts compared to its budget. Is the Welsh economy in such a bad state that it cannot afford to do so when tiny non-autonomous regions can? Penny pinching in matters like this can lead to false economies – especially given that it’s an opportunity to promote tourism and put Wales on the map. “Welsh government say that they have to prioritise the front-line services and that spending on culture and the arts should be cut in times of strife. However, promoting national culture can be beneficial to the Welsh economy. For example, Ireland has created a booming economy partly by promoting itself throughout the world. Their representation at the Celtic Festival is enormous, with stalls seemingly everywhere. But Welsh Labour seems to be at war with culture and the arts in many other ways too.” The report by Dr Keith Darlington on the Festival can be read at: https://nation.cymru/opinion/welsh-governments-cultural-penny-pinching-a-false-economy/ * * * * The Government has declared itself in a policy document. It is titled “Priorities for Culture 2024–2030” and contains: “We recognise the importance of investing in artistic and creative talent and want to encourage ambition that enables our specialist practitioners, artists and creators to gain international recognition, and become cultural ambassadors which benefit Wales far beyond the individual, group or production. “The Welsh Government’s network of international offices, our high profile international cultural events, sporting diplomacy, and cultural relations partnership working with strategic stakeholders and co-investors are already strengthening Wales’ international presence. The brand and profile of our national cultural and heritage organisations also have a role to play in promoting Wales and in developing the profile of Wales abroad.” The Labour Party has an honourable history relating to culture. A lead figure called for “a brighter, more colourful country”. Britain must have “more open-air cafés, brighter and gayer streets at night…more riverside cafés…more murals and pictures in public places…statues in the centre of new housing-estates, better-designed street-lamps and telephone kiosks, and so on ad infinitum”. That was Anthony Crosland. The year was 1956. The Labour party in Wales looks higher than murals and statues. “We want a Wales that’s dynamically connected to the rest of the world through the richness of its arts and the networks that they create” said the Minister for International Relations 10th May 2019. The weighty document on priorities for culture has been made public. Media and critical attention have been zero. An assessment will follow. |
Reviewed by: Adam Somerset |
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