• Share on Facebook
  • Share on Facebook
  • Share on Linkedin
  • Share by email
  • Share on Facebook
  • Share on Facebook
  • Share on Linkedin
  • Share by email

Creative Scotland’s ten-year plan leaves important questions unanswered, says Joyce McMillan.

A new piece of information flits across my screen, on a bright Edinburgh spring day. It’s the announcement of a Fringe show, planned for this year’s Festival, in response to David Bowie’s “Scotland, stay with us” plea. It’s called All Back To Bowie’s, features artists such as Karine Polwart, Cora Bissett and the playwrights Peter Arnott and David Greig, and – most importantly – it will be different every day, offering a huge range of “gentle thought and hard day-dreaming” about Scotland’s independence referendum.

Meanwhile, just down the page, there’s a gorgeous time-lapse film of the construction of Andy Scott’s wild and magnificent Kelpie sculptures, just about to be officially unveiled in the former post-industrial badlands beside the M9, near Grangemouth. There are images of the new Reid Building at Glasgow School Of Art, opened with great emotion on Wednesday by art school graduate Robbie Coltrane. There are excited responses to the previews of Vanishing Point’s new show The Beautiful Cosmos Of Ivor Cutler, about one of Scotland’s most eccentric and best-loved humorists. And there is a thrilling series of tweets about the West End debut of the National Theatre of Scotland, with their haunting teenage vampire drama Let The Right One In, first seen in Dundee last summer; including a brilliant blog by young London-based critic Dan Hutton about how the show subtly shifted his attitude to the Scottish independence debate, offering him, as he puts it, a chance to see “the other” in a context where that group isn’t ordinarily represented.... Keep reading on The Scotsman