►
Description
1. Decision on taking business in private: The Committee will decide whether to take item 4 in private.
2. Draft Budget Scrutiny 2018-19: The Committee will take evidence from—
Janet Archer, Chief Executive Officer, and Iain Munro, Deputy Chief Executive, Creative Scotland;
and then from—
Fiona Hyslop, Cabinet Secretary for Culture, Tourism and External Affairs, David Seers, Head of Sponsorship and Funding, and Karen Watt, Director of External Affairs, Scottish Government.
3. Draft Budget Scrutiny 2018-19 (in private): The Committee will consider the evidence heard earlier in the meeting.
4. EU strategy: The Committee will consider its approach to the EU strategy.
Published by the Scottish Parliament Corporate Body.
www.parliament.scot // We do not facilitate discussions on our YouTube page but encourage you to share and comment on our videos on your own channels. // If you would like to join in our conversations please follow @ScotParl on Twitter or like us on Facebook at www.facebook.com/scottishparliament
A
And
welcome
to
the
30th
and
final
meeting
of
2017
of
the
culture,
tourism,
Europe
and
External
Relations
Committee
I'd
like
to
remind
members
and
members
of
the
public
to
turn
off
mobile
phones.
Any
members
using
electronic
devices
to
access
committee
papers
during
the
meeting
should
please
ensure
that
they
are
switched
to
silent.
Apologies
have
been
received
from
John
MacAlpine
the
convener,
hence
my
chairing
of
this
morning's
proceedings
and
also
from
Travis
Scott
and
I
welcome
Kate
Forbes,
who
is
here
as
a
substitute
of
this
meeting
for
John
Micawber.
A
So
our
first
item
of
business
today
is
a
decision
on
taking
agenda
item
four
in
private.
Our
members
agreed.
Thank
you
very
much.
It's
much
appreciated.
Our
main
item
of
business
today
is
to
take
evidence
on
the
Scottish
Government's
draft
budget
for
2018
19.
We
will
hear
later
from
the
cabinet
secretary,
but
first
I'd
like
to
welcome
our
first
panel
from
creative
Scotland
and
a
warm
welcome
today
to
John
tarcher,
the
chief
executive
and
to
Ian
Monroe,
deputy
chief
executive
and
I
believe
Janet
Archer.
You
wish
to
make
an
opening
statement.
Thank.
B
You
thank
you
very
much
deputy
convener,
it's
very
good
to
be
here
today.
So
I
want
to
start
by
thanking
the
committee
for
inviting
us
to
give
evidence
this
morning
and,
as
always
with
such
evidence
sessions
we're
here
to
represent
not
just
creative
Scotland,
but
also
the
people
and
organisations
working
across
culture
and
creativity
in
Scotland,
to
whom
we've
made
1130
funding
awards
worth
a
total
of
sixty
six
point,
two
million
over
the
past
year.
In
terms
of
the
draft
budget
announced
by
the
Scottish
Government
last
week.
B
And
it's
been
warmly
welcomed
by
the
cultural
sector
and
as
such,
I
would
like
to
formally
thank
the
cabinet
secretary
Fiona
hislop
government
officials,
creative
Scotland
staff
and
board
MSP
is
including
this
committee
and
the
cross-party
group
on
culture
and
everyone
in
the
culture
sector.
Everyone
has
worked
hard
to
raise
awareness
of
the
cultural,
social
and
economic
value
that
creativity
brings
to
all
of
our
lives
and
I'm
in
no
doubt
that
this
will
be
a
significant
factor
in
delivering
a
positive.
B
We're
mindful,
however,
that
while
our
settlement
from
the
Scottish
Government's
positive
demand
for
regular
funding
continues
to
be
high
and
we've
received
184
eligible
applications
and
over
all
those
applicants
requested
a
total
amount
of
153
million
over
a
three-year
period.
So
we
are
now
in
the
process
of
finalizing
our
recommendations
to
our
board
and
we're
going
to
set
that
against
an
impact
analysis
of
each
of
our
recommendations
and
inequalities.
Impact
assessment,
so
creative
Scotland's
board
will
meet
on
the
18th
of
January
and
we
will
set
the
budget
for
1819
at
that
point.
B
And
importantly,
the
board
will
make
decisions
in
relation
to
regular
funding.
Provisional
date,
for
the
announcement
to
applicants
is
on
the
25th
of
January.
So
in
terms
of
highlights
from
the
annual
view
1617
looking
back,
we
shared
that
with
the
committee
and
we've
now
published
that
on
our
website.
B
So
in
the
last
year,
the
last
full
year
regularly
funded
organizations
delivered
an
8%
increase
in
the
number
of
performances,
festivals,
exhibitions,
projects
and
events,
reaching
23%
more
people
in
more
parts
of
the
country,
particularly
in
the
20%
most
deprived
areas
of
Scotland
and
with
their
work,
also
supported
jobs
and
skills
development
as
well,
of
course,
the
local
and
the
national
in
economy.
And
it's
interesting
to
note
that
across
the
creative
industries,
there
are
11
thousand
more
jobs
in
Scotland
now
than
there
were
a
year
ago.
B
That's
a
tremendous
uplift
in
relation
to
where
the
creative
sectors
now
are.
In
the
same
year.
We
also
made
nearly
600
awards.
We
have
averaged
19
thousand
pounds
to
creative
individuals
and
organisations
through
our
open
project
funding
program,
rewarding
almost
11.5
million
at
National
Lottery
and
grants
nage
funding
to
projects
across
Scotland
and
again.
The
increased
funding
available
from
the
Scottish
Government
next
year
means
that
we'll
be
able
to
continue
to
allocate
national
literary
funding
to
project
funding
and
strategic
funding.
B
So
this
sits
the
open
project
funding,
which
is
a
project
that
funding
that
runs
throughout
the
year
with
which
is
it's.
Alongside
the
436
awards,
we've
made
through
targeted
funding,
which
is
time-limited
funding
for
a
strategic,
specific
purpose
amounting
to
more
than
20
2.7
million
for
key
initiatives,
including
our
support
for
screen
for
the
youth
music
initiative
and
for
cashback
for
creativity.
We
work
really
closely
with
the
young
people
through
our
creative
learning
work,
developing
current
and
future
opportunities,
and
that's
particularly
important
to
us
in
the
run-up
to
2018.
B
Another
key
part
of
our
budget
for
1819
is
an
additional
ten
million
pounds
which
will
be
invested
in
the
screen,
which
will
double
our
annual
screen
budget
to
twenty
million,
and
this
is
going
to
help
us
further
build
on
the
record
level
of
film
and
TV
production
that
we're
seeing
in
Scotland
at
the
moment.
So
70
million
spend
in
2016
that's
up
200%
over
the
last
decade
and
30
percent
in
the
last
year
alone,
so
much
to
build
on.
B
So
this
proves
that
Scotland's
talent,
cruise
facilities
and
award-winning
locations
continue
to
be
a
huge
attraction
to
film
and
TV
productions,
including
in
the
past
year.
Trainspotting
Outlander,
the
wife
and
outlaw
King,
which
is
just
finished,
shooting
and
outlook
King
has
been
its
overall
budget,
is
120
million
US
dollars
so
significant
in
relation
to
what
it's
achieved.
B
So
that's
growth
is
going
to
be
accelerated
by
the
new
screening
unit,
which
creative
Scotland
the
proposals
which
were
signed
off
by
the
cabinet
secretary
and
published
last
week.
The
collaborative
proposal
has
been
developed
by
Creative
Scotland
and
screening
at
partners
which
includes
Scottish,
Enterprise,
Highlands
and
Islands
Enterprise
skills,
development,
Scotland
and
the
Scottish
funding
Council,
as
well
as
input
from
people
and
organizations
working
in
the
screen
sector
and
I'd
like
to
particularly
thank
the
screen
set
day.
B
Leadership
group
with
John
McCormack
as
their
chair
for
their
invaluable
input
into
the
process,
so
combining
the
expertise
of
creative
skills
and
that
mr.
Pryce
partners,
the
screen
unit
proposal
sets
out
a
shared
vision
and
sets
our
ambitious
targets
for
the
Scottish
screen
sector
and
we've
now
begun
the
work
to
implement
the
plans
and
ambitions
set
out
in
the
proposal.
B
So
in
conclusion,
creativity
really
does
matter
to
Scotland.
So
this
year's
figures
shows
the
90
percent
of
Scotland's
population.
Think
that
public
funding
for
culture
and
creativity
is
a
good
thing
that
the
arts
and
creative
industry
contribute
did
4.6
billion
to
the
Scott
GBA
and
that's
up
from
3.7
last
year,
and
it
supports
almost
8
to
6,000
jobs,
and
we
know
that
90%
of
the
population
takes
part
in
regular
cultural
activity.
So
culture
has
a
huge
role
to
play
in
a
successful
future
of
our
country.
B
It's
fantastic
that
this
is
recognized
by
the
Scottish
Government
in
the
draft
budget.
It's
a
budget
that
recognizes
the
talent,
energy
ambition
of
our
creative
sectors
and
clearly
positions
culture
as
a
vital
parts
of
the
fabric
of
our
society.
So
I
look
forward
to
this
morning's
discussion.
Thank.
A
You
very
much
and
I
know
colleagues
will
have
questions
on
our
range
of
issues.
Perhaps
we
can
start
with
the
screen
unit
and
the
proposals
for
that.
Clearly
we
came
to
creative
Scotland
a
couple
of
weeks
ago.
At
least
a
number
of
members
of
the
committee
were
able
to
attend
on
that
occasion,
but
not
really
to
get
the
kind
of
detail
that
perhaps
we'd
hoped
for
I
wonder
if
you
would
just
like
to
say
a
little
bit
about
that
meeting
that
we
had
two
weeks
ago
after
Scott.
Yes,.
B
Well,
first
of
all,
I'm
pleased
that
were
able
to
speak
openly
about
the
contents
of
the
proposal
in
this
forum
and
I'm.
Sorry,
we
weren't
able
to
discuss
the
detail
of
that
when
we
met
at
creative
Scotland.
You
have
all
now
I
think
seen
the
screen
proposal
and
we'll
have
a
sense
of
its
vision.
It's
founded
on
a
partnership
between
agencies,
but
it's
a
partnership
between
agencies
and
government
and
the
sector,
particularly
working
together.
B
So
the
way
that
we're
setting
it
up
is
to
have
a
governance
structure
that
sits
within
creative
Scotland
that
will
bring
in
industry
expertise.
Our
partners
and
creative
Scotland's
board
members
who
will
hold
responsibility
for
ensuring
that
the
outcomes
that
are
set
in
the
screen
unit
are
delivered.
B
Was
just
an
administrative
reality
that
the
the
proposal
that
are
the
lesser
which
approved
this
green
unit
proposal
had
not
arrived
with
us
on
that
date
and
rather
than
try
to
adjust
in
order
to
be
able
to
accommodate
that,
we
just
had
to
be
straightforward
and
honest
with
you.
There
was
no
issue
in
terms
of
the
time
frame
we
resented
of
cabinet
secretary
in
on
the
7th
of
November,
and
after
that
date
we
obviously
wanted
to
take
feedback
into
account
in
relation
to
producing
the
final
blueprint
proposal.
B
In
order
to
do
that,
we
needed
to
work
with
our
partners,
of
which
there
are
many
and
we
we
needed
to
go
through
that
process
to
produce
the
final
proposal
before
we
published
it.
So
that's!
That's
all
that
we
were
doing
in
that
in
that
in
that
window
in
relation
to
time,
but
there
was
no.
There
were
no
issues.
The
partners
are
all
very
positive
in
relation
to
their
contribution.
B
A
B
B
So
the
broadly
20
million,
which
is
our
screen
budget,
will
see.
12
million
invested
in
different
types
of
content,
development
in
production,
3.8,
5
million,
will
support
audiences
and
exhibition.
A
million
will
go
into
skills
and
talent.
Development,
two
million
will
go
into
business
development
infrastructure
and
we
estimate
that
there
will
be
around
a
million
in
relation
to
extra
investment
in
relation
to
staffing,
and
some
of
that
is
about
supporting
the
new
data
hub,
which
is
a
critical
part
of
this
new
project.
B
A
This
year,
as
this
coming
year,
is
a
critical
year
for
the
establishment
of
the
intern
for
taking
a
fall,
what
you
anticipate
as
the
future
funding
requirements
and
and
how
much
of
this
funding
for
the
coming
financial
year
will
will
meet
needs
that
will
continue
beyond
that
and
how
much
will
be
the
current.
Obviously,.
C
Much
just
a
specific
question
on
em
Gallic
Scots
and
traditional
arts
I
noticed
that
last
year,
you're
able
to
M
give
words
amounted
to
almost
a
million
pounds,
in
particular
Gallic
in
terms
of
looking
to
the
year
ahead,
which
you'd
be
expecting
to
be
able
to
give
similar
levels
of
awards
to
a
Gallic,
Scots
and
traditional
arts.
Yes,.
B
So
are
all
of
our
awards
are
based
on
applications,
so
what
we
award
is
subject
to
the
applications
that
we
receive.
We're
really
pleased
with
the
increase
in
awards
for
Gallic,
particularly
over
the
past
period,
and
we
would
hope
that
we
would
continue
to
receive
applications
over
the
course
of
the
next
year
we
had
a
Gallic
language
plan.
B
We
have
an
increasing
number
of
galaxies
kurz
in
the
organisation
and
I
think
we're
genuinely
starting
to
embed
garlic
in
a
much
more
meaningful
way
across
everything
that
we
do,
including
screen,
in
fact
where
we
supported
Bannen
with
energy
Oliver
in
a
really
proactive
way.
So
it's
a
really
important
part
of
all
work.
Okay,
thanks.
D
I
wanted
to
ask
you
a
few
specific
questions
wearing
one
of
the
clerk's
glasses,
so
bear
with
me.
I
just
wanted
to
ask
you
about
the
funding,
the
capital
funding
that
will
be
allocated,
the
1.8
million
for
the
Rural
Development
Fund,
which
is
going
to
go
towards
promoting
the
south
of
Scotland
and
I.
Just
wondered
if
you
had
any
more
information
about.
You
know
who
would
be
responsible
for
spending
this,
this
capsule
funding
and
and
when
it
was
likely
to
kick
off.
D
E
Happy
to
good
morning
everyone
we
have
a
range
of
programs
that
we
run
different
funding
groups,
but
in
broad
sense
there
is
a
kind
of
model
process
which
means
that
we
receive
the
applications.
We
have
set
timescales
that
we
we
publish.
We
have
criteria
that
we
publish
and
for
the
specialist
officers
and
teams
within
creative
Scotland
do
is
apply
their
expertise
to
the
assessment
of
those
individual
proposals.
E
We
know
what
budget
allocation
is
as
we
move
throughout
the
year
and
we
make
sure
that
we,
particularly
through
the
open
project
fund,
which
is
a
rolling
program,
are
able
to
manage
that
budget
throughout
the
year
to
ensure
that
there
are
ongoing
opportunities
for
people.
So
those
are
specialist
assessments
then
move
into
a
panel,
which
is
a
different
set
of
expertise,
combined
staff
and
this
year,
we've
also
been
working
with
a
pool
of
external
specialists,
who've
been
setting
with
staff
to
make
decisions
on
those
applications
and
then
they're
communicated
by
accordingly.
E
We
know
that
we
have
many
more
fantastic
ideas
and
projects
and
and
so
on,
from
artists
and
practitioners
and
organisations
than
we
are
able
to
fund.
So
the
application
of
that
expertise
has
to
be
open
and
transparent,
and
it's
captured
in
the
assessment
reports
and
that
decision-making
process
which
is
available
to
any
and
every
applicant,
and
we
often
engage
in
a
very
positive,
constructive
way
on
the
outcome
where
there
is
an
unsuccessful
application
with
the
individual
applicant.
In
order
to
give
them
positive
feedback
to
help
them
consider
how
they
might
strengthen
any
future
proposals.
E
D
E
We
we've
got
good
data
collection
and
analysis
and
and
we're
increasingly
trying
to
make
sure
that
we
share
that
visibly
so
that
people
can
see
that
in
the
transparent
way,
principally
through
our
website,
and
we
pom
publish
monthly
grants
listings.
What
we
do
recognize
is
that
there
are
parts
of
Scotland
there
are.
There
are
particular
communities,
and
indeed
indeed,
individuals
who
would
welcome
a
more
engaged
dialogue
with
creative
Scotland
in
order
to
help
support
them
to
build
capacity,
to
make
confident
applications
and
I.
Think
it's
also.
E
It's
always
a
contention
between
the
the
capacity
that
we
have
versus
the
demand
that
exists
to
respond
to
that.
But
we
absolutely
are
proactively
ensuring
that
we're
across
Scotland
or
a
staff
for
a
debate
across
Scotland
engaging
with
people
in
dialogue,
trying
to
support
them
to
talk
about
their
ideas,
explain
what
the
opportunities
are
and
how
they
can
make
an
application
to
Scotland.
E
We
have,
for
example,
a
partnership
called
the
police
partnerships,
which
is
with
the
local
authority
and
individual
principal
organisations
in
that
area,
to
try
and
build
capacity,
enable
them
to
make
future
funding
applications
and
we've
got
12
of
those
active
across
the
country.
At
the
moment,
many
of
them
in
the
the
constituencies
of
the
committee
members
today.
B
I
think
it's
important
to
recognize
that
creative
Scotland
funding
isn't
we're
not
the
only
player
in
the
game,
so
there
are
many
other
funders.
Local
authorities
are
a
key
part
of
of
Scotland's
cultural
landscape.
Regular
funding
where
we
invest,
33
million
generates
109
million
through
other
sources.
B
That
includes
other
public
funding,
but
also
private
funding
and
Trust
funding,
and
our
role
is
to
understand
how
best
to
utilize
our
money,
not
just
in
and
of
itself,
but
also
to
leverage
and
unlock
partnerships,
so
that
collectively
we
can
create
the
best
conditions
for
the
creative
sectors
in
Scotland
to
thrive.
Think.
D
That
I
mean
one
of
the
examples
in
their
borders
is
Galashiels,
where
two
and
a
half
million
of
that
funding
will
go
towards
the
tapestry
and
the
rest
will
be
provided
by
the
local
authority.
Of
course,
there
is
a
benefit
there
from
a
social
and
an
economic
point
of
view.
However,
much
of
many
of
my
constituents
are
split
by
you
know
with
the
with
the
budget
cuts
within
the
local
authorities
as
to
whether
this
is
a
good
idea
now
to
take
this
forward.
D
But
of
course
these
things
are
are
arranged
way
in
advance
and
you
can't
necessarily
predict
what's
going
to
happen
in
the
future
in
terms
of
cuts
anyway.
Just
lastly,
if
that's
okay,
I
just
wondered
if
you
could
give
me
an
overview
of
what
the
you're
partners
with
in
the
sexual
development
their
responsibilities
are,
for
example,
arts
and
business
Scotland
and
creative
Carbon,
Scotland,
Culture
Enterprise
office,
culture,
Republic
and
the
Federation
of
Scottish
theatres.
B
They're
all
very
different,
so
I
would
say
if
you
go
through
that
list,
you,
the
Federation
of
Scottish
theatres,
is
a
membership
organization
for
theatre
and
dance
and
provides
support,
and
for
that
particular
sector.
So
it's
very
specific.
Creative
Carbon
Scotland
is
effectively
the
organization
that
works
with
us
to
encourage
more
consideration
in
relation
to
carbon
footprint.
So
we
work
with
with
creative
Carbon
Scotland
in
a
very
strategic
way
to
ensure
that
all
of
the
organizations
that
we
fund
them
to
take
environmental
concerns
into
account.
B
Culture
Republic
is
an
audience
development
agency
which
is
was
set
up
for
that
purpose
and
applied
to
us
for
funding
to
be
able
to
deliver
a
service.
Arts
and
business
provides
a
range
of
support
for
the
broader
creative
sectors
and
exists
to
unlock
private
sector
investment
and
provide
training
and
development
for
individuals
and
organisations
to
be
able
to
drive
that
and
I'm
going
to.
B
Enterprise
office
was
set
up
through,
in
fact,
an
identification
by
Scottish
Enterprise
that
the
sort
of
business
services
that
the
cultural
sectors
require
are
different.
The
services
that
Scottish
enterprise
would
provide
in
relation
to
driving,
high-growth
and
so
cultural
enterprises
office
was
set
up
in
order
to
be
able
to
provide
that
that
service.
B
Have
a
funding
relationship
with
all
of
our
organisations,
we
would
have
a
the
ability
to
be
able
to
sit
on
as
advisors
on
board
meetings.
We
have
one-to-one
relationship
through
relationship
management,
so
an
office
is
allocated
to
those
organizations
and
we
conduct
annual
reviews
where
will
formally
sit
down
and
asked
organisations
to
account
for
the
work
that
they
do.
We
also
require,
as
Asians,
to
complete
an
annual
statistical
survey
where
we
gather
data
relating
to
the
outcomes
that
they've
set
for
themselves
and
measure
whether
or
not
they're,
successful
or
not
in
achieving
those.
You.
F
E
E
Submission
that
we've
published
and
has
been
sent
to
the
committee
you'll
see
the
latest
analysis
within
section
three
of
that
which
were
in
place,
and
that
gives
you
a
sense.
Local
authority
by
local
authority
of
the
numbers
of
our
applications
and
the
the
numbers
of
awards
are
made.
What
you'll
be
able
to
identify
is
that
there
are
in
that
list,
some
local
authorities
and
if
you
track
it
over
a
number
of
years,
where
we
we
do
need
to
be
continue
to
be
proactive
to
build
that
capacity.
E
E
More
fulsomely
in
order
to
generate
the
ideas,
it's
not
just
about
the
the
number
of
applications
which
in
some
instances
is
quite
low,
is
about
the
quality
of
those
submissions,
because
in
a
competitive
environment
of
the
and
the
the
kind
that
you'd
see
in
the
statistics
were
funding
roughly
one
in
three
applications.
We
want
to
make
sure
that
we
get
those
high
quality
ambition,
ideas
coming
through
too
so
we
were
prior
to
linkage,
stand
in
that
on
a
kind
of
more
local
level.
B
Observed
when
I
doing
the
organization
that
we're
building
on
historic
practice
of
investing
in
the
central
belt
and
use,
if
you
see
you'll,
see
when,
when
you
look
at
our
budgets,
that
a
significant
amount
of
our
funding
goes
into
into
Glasgow
and
Edinburgh
in
order
to
reach
out
we've
got
two
choices.
We
can
either
find
new
forms
of
funding
to
be
able
to
really
extend
what
we
do,
which
we
know,
there's
a
demand
for
or
we
can
disrupt
and
change.
B
The
way
we
fund,
which
obviously
doesn't
doesn't
go
down
well
in
terms
of
the
really
important
organizations
that
have
been
built
up
in
in
in
in
in
in
in
the
central
belt.
So
we've
got
a
real
conundrum
to
deal
with.
We've
rebalanced
an
extended
reach
a
wee
bit
over
the
past
three
four
years
and
we're
committed
to
continuing
to
do
that.
But
the
reality
is,
if
we're
really
going
to
unlock
the
full
potential
of
Scotland's
creative
endeavor,
we're
going
to
have
to
find
a
way
of
injecting
new
resources.
B
In
order
to
be
able
to
do
that,
the
rewards
are
great.
We've
seen
the
increase
in
terms
of
GPA
we've
seen
the
increase
in
terms
of
jobs,
we've
seen
towns,
particularly
across
Scotland,
who
have
been
been
rejuvenated
and
we
and
and
with
through
through
creative
and
cultural
endeavor,
and
you
know,
you've
got
to
walk
along
the
high
street
of
places
like
uber
feldy,
where
you
can
see
almost
every
other
commercial
enterprise
on
the
high
street.
B
It
relates
to
some
form
of
creativity
in
one
way
or
another,
but
if
we're
really
going
to
be
serious
about
that,
we're
going
to
have
to
find
a
way
of
unlocking
new
investment
and
in
all
of
its
forms,
in
order
to
be
able
to
really
generate
the
step,
change
that
I
think
Scotland
could
achieve,
and
I
honestly
think
that
we've
got
the
talent
base.
We've
got
the
ideas.
We've
got
the
ambition.
We
just
need
to
find
a
way
of
really
giving
life
to
all
of
that
in
a
really
dynamic
way.
Thank.
G
Yes,
you
actually
mentioned
in
fact
you
made
reference
a
moment
to
go
to
the
the
areas
of
members
of
the
committee.
I
noticed,
therefore,
that
the
second
least
successful
area
in
Scotland
is
Richard.
Locke
heads
and
the
third
least
successful
area
is
my
own,
so
we,
the
committee
countries,
he'll,
be
well
on
that
basis.
What
I
want
to
be
assured
of,
because
I
have
obviously
representations
from
disappointed
groups,
is
that
this
local
authority
spread
is
an
outcome
and
not
a
design,
because
I
mean
obviously
in
the
way
it's
presented.
G
E
Can
give
you
absolute
assurances
not
by
design?
There
are
two
sides
to
this.
One
is
the
application
that
comes
in
as
driven
by
the
applicants
from
individual
local
areas,
and
that
goes
into
a
competitive
process
in
the
round,
but
our
analysis
of
that
enables
us
to
make
proactive
decisions
around
that
when
we
understand
that
analysis,
but
the
other
side
of
it
is
the
the
work
that
we
do
proactively
when
we
recognize
these
things
like
place,
partnerships
where
we
are
absolutely
going
in
a
very
targeted
way
with
human
and
financial
resource
in
that
local
area.
E
They
work
right
across
the
whole
of
Scotland
and
indeed
internationally,
but
also
those
those
targeted
programs
around
youth
music
initiative,
for
example,
or
cashback
for
creativity.
All
these
national
programs
are
very
much
looking
at
how
intervention
across
the
geography
of
Scotland
can
be
proactive,
not
just
reactive,
in
terms
of
what
naturally
comes
from
a
local
area.
Okay,
thank
you
for
that
assurance.
A
H
I'm.
So
really
just
to
get
a
bit
more
about
yeah,
like
I,
say
your
working
relationship
with
local
authorities
and
how
you
do
we
work
together
in
terms
what
they're
trying
to
do
I
mean
and
all
that
a
lot
of
councils
look
at
other
models
now
translating
a
lot
of
their
cultural
organisations
over
to
trusts
and
rather
than
being
directly
managed
by
the
council,
but
just
be
interested
to
eat
a
bit
more
debate
that.
B
Working
with
authorities
in
different
ways,
we
have
a
team
place
team
whose
remit
is
to
work
into
all
32
local
authority
areas
and
we'll
monitor
what
we're,
as
ian,
has
said,
what
we're
delivering
in
each
of
those
areas
and
maintain
a
dashboard.
If
you
like
of
data
in
order
to
be
able
to
ensure
that
we
we
can
invest
wisely.
We
are
scotland's
creative
industries,
partnership,
which
includes
representation
from
local
authorities
in
in
the
mix,
and
we
will
we've
been
working
with
local
authorities
through
the
city
deals.
B
We
work
with
local
authorities
in
terms
of
that
they
are
partners
in
in
terms
of
investment
into
regularly
funded
organizations,
and
we
also
work
strategically
with
local
authorities
through
place
working
which,
where
we
will
work
with
a
local
authority
and
genuinely
identify
local
needs,
I
think
our
place.
Partnership
working
is
really
interesting
because
it's
a
ground-up
process.
So
it's
very
much
about
us
working
with
a
local
authority
to
identify
what
the
strategic
needs
are
from
from
a
community
perspective
and
then
to
allocate
resource
in
accordance
with
what
community's
own
ambitions
are.
B
So
we've
got
many
different,
1213
different
place.
Partnerships
where
you
can
see
that
the
communities
in
different
parts
of
Scotland
have
come
together
to
be
able
to
identify
how
they
can
deliver
cultural
endeavor
in
in
different
ways.
I
have
relationships
with
chief
executives
in
in
in
many
local
authorities,
and
so
we've
got
an
open
line.
B
If
we
want
to
have
a
discussion
about
how
to
find
new
opportunities
to
be
able
to
embed
creativity,
not
just
in
terms
of
budgets,
but
also
in
terms
of
policy
in
to
local
authority
work
and
not
just
increasingly
we're
seeing
us
but
move
not
to
see
culture
not
just
being
seen
as
a
box,
far
away
from
everything
else.
But
culture
is
something
that's
central
that
provides
cultural
and
social
and
economic
value,
and
it's
where
it
sits
in
policy
both
in
the
cultural
and
leisure
space,
but
increasingly
in
the
education
and
health
and
economic
development.
H
H
B
B
We
one
of
the
things
I'm
interested
in
anecdotally
I've
had
a
lot
of
feedback
that
schools
are
starting
to
use
the
new
attainment
fund
to
deliver
creative
activity
in
order
to
increase
attainment
in
in
those
schools
that
benefit
from
that
I'm
really
interested
in
mapping
that
to
see
what
the
outcomes
of
that
work
have
been,
because
that
gives
us
a
good
basis
for
what
we
should
look
at
amplifying
in
in.
In
the
future.
B
We
have
a
creative
learning
team.
It's
got
creative
Scotland
who
are
involved,
in
fact
at
a
leadership
level
on
a
global
basis,
so
we're
involved
in
many
networks,
drawing
on
learning
and
and
good
practice
in
other
places
which
we
bring
into
the
practice
that
were
delivering
in
Scotland.
So
we
welcome
the
curriculum
for
excellence.
In
that
expressive.
Arts
are
a
really
core
component
of
what
young
people
benefit
from
in
Scotland.
B
What
we
want
to
do
is
to
work
with
schools
to
be
able
to
help
scale
up
a
wider
workforce
in
terms
of
teacher
practice
in
order
to
be
able
to
deliver
against
that
in
a
proactive
way.
So
all
of
those
things
part
of
our
thinking
in
in
in
relation
to
the
education
space,
we
know
that
engaging
in
creativity
and
and
cultural
practice
opens
curiosity.
It
enables
young
people
to
be
able
to
see
beyond
their
their
life
experience
into
understanding
what
their
wider
opportunities
might
be.
It
increases
confidence.
B
There
are
many
things
that
well,
as
you
all
know,
culture
and
creativity
offered
to
young
people,
and
we
see
our
job
as
being
the
broker
that
brings
together
creative
practitioners
and
the
wealth
of
talent
that
sits
in
in
in
in
terms
of
filmmakers
or
in
artists,
in
Scotland,
with
teachers
and
schools
and
and
I.
Think.
It's
really
important
that
we
do
that.
Oh.
H
You
mentioned,
and
your
I
think
it
would
mean
your
opening
statement
about
their
meeting,
that
you
have
on
the
18th
of
January
to
finalize
the
decisions
or
about
the
regular
funding
I'm.
Are
you
able
to
give
us
any
sort
of
idea,
though,
today
of
the
what
sort
of
percentage
of
the
organization
organizations
have
applied
for
regular
funding
will
be
successful
in
that?
What
is
that
like
saved
decisions?
Are.
B
B
F
E
Talking
about
this
year
and
last
year
we
talked
about
this
round
and
last
range
just
to
be
absolutely
clear.
The
last
range
was
2015
218,
so
ends
on
31st
Amar's,
but
the
analysis
of
that
is
painted
on
the
website,
but
we'd
be
happy
to
provide
a
kind
of
further
briefing
on
that
if
the
committee
would
find
it
welcome.
Welcome
that
we're
happy
to
do
that
for
you,
but
you
can
see
that
analysis.
E
But,
as
Janet
said,
you
know
we're
going
through
due
process
at
the
moment
and
that
will
conclude
in
in
in
January
and
there's
no
predetermined
outcome
on
that.
It's
again
an
application
based
process
with
the
application
of
specialist
expertise
and
strategic
judgment
applied
to
that
to
determine
the
final
outcome.
Okay,.
A
I
You
in
terms
of
your
comments
about
chain
to
help
different
parts
of
Scotland
build
capacity,
so
they
can
apply
more
and
be
more
successful,
hopefully,
and
light
of
Jax
and
Carlos
comments
about
certain
local
authorities
it.
What
does
it
actually
mean
in
practice?
I
was
looking
at
your
table
again
and
of
the
41
million
parents.
Go
to
look
authorities
29,
knowing
parents
roughly
is
going
to
Glasgow
Edinburgh,
which
is
quite
a
big
chunk
and
I
expect
the
other
46
or
47
million
roughly
this
under
others
need
not
local
authorities.
I
suspect.
I
E
I,
don't
know
about
in
those
local
authority
areas
engaging
with
the
the
key
partners,
but
also
the
individuals,
because
what
you'll
also
see
in
the
breakdown
of
the
awards
is
that
roughly
a
quarter
of
all
funding
Awards
goes
to
individual
artists
and
three-quarters
to
organizations.
Although
a
we
should
recognize
that
organizations
to
support
individual
artists,
of
course,
but
he
to
this
I
think
is
understanding
that
picture
but
being
proactive.
We
have
limited
staff
capacity,
as
you
might
understand.
So
it's
about
how
you
can
make
her
into
a
staff.
E
We
have
great
inquiry
service.
The
people
engage
with
all
of
the
time,
as
well
as
as
being
I
invited,
engaging
on
an
individual
basis,
but
also
taking
part
in
different
fora.
So
there
are
often
funding
forums.
The
range
of
funding
partners
get
together
to
deliver
in
local
areas,
but
also
these
strategic
funding
interventions
that
we
have
like
the
police
partnership.
So
we've
mentioned
a
few
times
already,
so
it
comes
through
a
range
of
mechanisms
in
a
very
practical
sense.
I
I
Of
we
can
maybe
get
more
details
in
your
course
how
you
can
inject
some
urgency
into
that,
because
some
local
authorities,
of
course,
of
scrapped
or
arts
budgets
and
some
of
the
local
authorities
have
scrapped
arts
budgets
happen
to
the
ones
in
your
table
who
are
getting
some
of
the
most
amount
of
money
through
creative
Scotland.
So
it's
like
a
double
whammy
for
those
particular
local
authorities.
So
perhaps
these
areas
are
losing
area
compared
to
the
rest
of
Scotland
and
I.
I
Just
wonder
in
terms
of
Edinburgh,
there
isn't
on
going
to
be
to
the
Edinburgh
benefiting
greatly
from
Arts
and
Culture.
Understandably,
so.
Capital
nets
are
amazing,
him
rich
of
of
culture
and
all
the
festivals.
But
there
is
a
to
be
over
there,
the
two
dozen
tax,
and
if
you
give
any
thought
to
pull
that
big,
did
a
bad
thing
in
terms
of
Judaism
tax,
which
would
help
take
off
some
of
the
the
button
of
national
agencies
having
to
fund
Arts
and
Culture
and
Edinburgh
before.
E
We
answer
the
tourism
tax.
Can
I
can
I
just
talk
a
wee
bit
more
about
the
the
point
that
you're
making
I
think
the
local
authority
analysis
is
only
one
is
what
one
lends
to
view
things
I
mean
I,
I
I
think
we
recognize
that
it's
it's
forever
a
challenge
to
make
sure
that
we
are
able
to
work
across
the
geography
of
Scotland.
So
you
know
combination
of
factors
but
including
things
like
the
local
authorities
or
an
individual
commitment
to
to
culturally.
It's
not
statutory.
E
E
But
absolutely
that's
why
things
like
the
police
partnership
approach,
which
is
about
not
just
engaging
with
the
local
authorities,
but
actually
the
key
act
of
organizations
and
individuals
in
different
areas
comes
to
the
fore,
because
actually
the
energy
is
what
we
tap
into
and
we
work
with,
and
we
build
capacity
around,
including
with
a
kind
of
financial
resource
I,
think
it's
forever
going
to
be
a
challenge
to
make
sure
that
we're
we're
able
to
respond
to
all
of
that
and
be
as
proactive
as
we
can
that
we
do
recognize.
Absolutely.
E
B
Mean
I
would
just
add
something
else
in
relation
to
reach
in
in
without
defending
the
position
in
relation
to
investment
in
the
central
belt,
which
is
historic
and
is
based
on
many
building
based
organizations
in
many
instances
which
provide
really
exciting
programs
for
people
the
people
of
Scotland,
but
also
people
visiting
Scotland,
who
will
often
enter
Scotland
through
the
central
about.
We
know
that
tourism,
for
example,
is
now
tourism
in
Scotland
is
about
33%
of
it.
B
If
you,
if
you
look
at
visits,
Scotland's
figures,
there's
now
driven
by
cultural
and
heritage,
which
is
quite
an
incredible
figure,
it's
higher
than
the
rest
of
the
UK,
and
we
need
those
anchor
organizations
to
bring
that
tourism
tourism
into
play.
But
the
other
point
I'd
make
is
that
digital
has
transformed
access
to
organisations
in
in
the
central
belt
and
I
think
we're
going
to
see.
B
We've
already
started
to
see
some
of
the
work
of
organisations
in
the
central
belt
be
made
available
much
more
widely
and
because
it's
an
example
of
that
isn't
an
organization
that
we
directly
fund
but
Scottish
ballet.
The
Rite
of
Spring
is
now
on
the
BBC's
space
platform,
and
anybody
can
see
it
anywhere
and
that's
one
way
of
ensuring
that
that
work
is
able
to
be
enjoyed
by
people
in
different
places.
B
It's
not
the
same
as
a
live
experience
like
completely,
except
that
on
the
tax
point,
we
welcome
any
initiative
and
that
can
be
brought
into
play
in
relation
to
tax.
So
clearly,
the
culture
and
creative
sectors
have
benefited
from
tax
credits
on
a
UK
level,
which
is
has
made
a
real
difference
to
people's
budgets
in
terms
of
freeing
up
resource.
B
It's
not
a
level
playing
field
at
the
moment
and
and
and
and
and
that
creates
challenges
in
terms
of
Lottery
income
all-round
for
the
UK,
the
UK
Lottery
distributors,
which
include
us.
There
are
examples
in
other
countries
of
planning
gain
which
enable
cultural
regeneration
to
be
driven
more
rapidly
in
towns
and
cities.
A
G
Carlos,
just
a
quick
follow-up
on
on
the
issue
of
police
partnerships.
I
see
that
there
are,
there
were
13
of
them
operating
in
2016-2017,
I
just
know
how
many
of
them
were
initiated
in
the
course
of
that
year.
How
many
new
place
partnerships
began
last
year
and
how
is
a
police
partnership
initiated
I
mean
I
can
see
from
the
structure
around
what
it
seeks
to
achieve
that
it
is
a
mechanism
which
might
assist,
but
where
does
the
initiative
to
establish
identify
and
progress
a
place?
Partnership
come
from
and
as
I
say,
of
the
13?
E
I'd
need
to
go
and
check
the
the
answer
to
the
question
about
how
many
were
initially
it
initiated
in
that
year
and
we'll
get
that
answered
to
you
after
the
committee
in
terms
of
how
they
are
initiated.
It
comes
in
a
variety
of
ways,
but
what
we
sought
to
do
is
to
to
now
put
structure
around
it
because,
as
people
have
seen
and
recognized
that
they
can
be
quite
successful
in
being
able
to
galvanize
local
sense
of
energy
and
and
bring
resource
and
and
so
on,
around
it
to
deliver
change
and
strategic
improvement.
E
What
were
what
we're
looking
at
is
a
kind
of
framework
that
enables
it
to
be
a
combination
of
us
understanding.
The
picture
from
our
data
that
we
publish,
but
also
for
there
is
interest
from
across
Scotland
those
individual
local
authorities,
making
an
approach
to
us
or
individual
or
individuals
or
organizations
within
those
local
authorities.
Making
approach
to
us
to
open
up
the
dialogue,
then
to
establish
whether
there
is
an
opportunity
for
a
place.
Partnership,
remote.
E
It
comes
both
ways
and
it's
varied
over
the
course
of
those
13
the
basis
on
which
they've
come
to
the
fore.
What
we're
seeking
to
do
now
is
to
make
that
structure
of
how
it
happens
and
how
it
comes
about
and
and
which
ones.
We
then
will,
on
a
time-limited
basis,
actively
engage
with
really
sponsorship
to
make
that
structure
much
clearer,
so
that
there's
a
process
by
which
it
and
it
can
come
to
be.
B
Cameron,
who
leads
our
place
work
who's,
probably
watching
this
wanting
to
come
in
he
is,
is
a
new
appointment
he's
come
to
us
from
Aberdeen
Council.
He
is
stimulating
a
different
way
of
thinking
in
terms
of
how
we
approach
police
partnership
working,
and
so
we
are,
as
as
Ian
says,
reviewing
how
we
approach
that
our
current
place,
partnerships
are
mainly
based
on
historic
working.
So
what
we
need
to
do
now
is
take
stock,
really
understand.
B
What's
work,
what's
worked
and
what
hasn't
and
identify
and
look
at
how
we're
going
to
move
forward
so
we're
entering
into
a
period
of
strategy
review,
as
you
would
expect
us
to
do.
Our
10-year
plan
is
now
nearly
four
years
old
and
we're
moving
into
the
middle
part
of
that,
so
we're
taking
stock
of
all
of
the
the
outcomes
that
we've
achieved
over
the
past
period
and
looking
at
how
we
position
ourselves
into
the
future.
B
There
was
a
lot
of
pan
local
learning
that
came
out
of
it,
and
what
we
want
to
do,
of
course,
is
to
record
that
and
make
that
available
more
widely
for
local
authorities
to
be
able
to
utilize
in
terms
of
the
lessons
learned
from
this
kind
of
ground-up
Community
Development
through
culture,
which
I
think
could
be
a
value
in
a
much
broader
forum.
So
Gary's
is
very
proactive
in
wanting
to
make
sure
that
we
join
up
the
dots
across
all
of
those
place.
Partnerships
in
a
proactive
way
in
the
future,
very.
J
You
and
just
a
for
Mary
gooze
Ron's
point
around
young
people.
The
cultural
sector
has
got
quite
a
significant
role
next
year
in
marking
the
year
of
young
people
in
Scotland,
I
was
wondering
what
the
administration
process
has
been
for.
Funding
awarded
to
projects
and
events
that
are
directly
related
to
that
year.
Has
it
gone
through
the
normal
grant
funding
processes
or
have
there
been
separate
streams
for
the
the
year's
events,
so.
B
This
is
really
an
it's
a
sort
of
leadership
program,
so
she
is
tasked
with
developing
a
project
which
will
bring
together
young
people
from
across
the
world.
I'm
mentoring,
her
directly
in
the
framing
of
that
and
she's
just
begun,
she's
been
with
us
for
just
over
a
month
and
she's,
pulling
together
a
partnership
around
that
project.
B
D
Because
I
think
the
committee
should
really
be
addressing
the
potential
problem
that
the
National
Lottery
fall
in
funding
may
have
caused
and-
and
we
received
a
number
of
letters
and
so
did
the
Scottish
Government.
The
MSPs
received
letters
of
concern
from
culture
bodies,
and
you
also
mentioned
about
the
loophole
where
there's
a
distinction
between
betting
and
the
National
Lottery.
Clearly,
the
additionality
will
fund
projects
that
the
Scottish
government
currently
can't.
So
we
have
perhaps
and
I
have
a
number
of
questions.
D
How
do
you
feel
that
you
can
further
strengthen
the
connection
between
the
National
Lottery
and
culture
bodies
and
creative
scotland
in
order
to
absolutely
define
that
there
is
a
need
for
national
lottery
funding
and
people
are
absolutely
aware
of
that,
and
secondly,
I
wondered
what
you
might
recommend
if
you
were
speaking
in
the
future
about
the
laying
the
fears
of
the
culture
bodies
when
we're
looking
at
an
increase
in
the
budget
which
will
potentially
ameliorate
the
loss
in
natural
national
lottery.
Funding
moving
forward.
B
E
Genican
can
add
sort
of
two
parts
to
your
question.
I
think
one
of
the
things
that
were
very
proactive
with
the
other
Lottery
distributors
and
Camelot,
indeed,
is
the
need
to
really
paint
the
picture
of
what
the
National
Lottery
is
supporting
currently
and
make
those
connections
in
a
very
sort
of
visible,
tangible
way.
So
we
have
funding
contracts
that
are
bespoke
to
National
Lottery
funded
activity.
E
So
it's
really
important
that
we're
all
proactive
across
the
sector,
not
just
creative
Scotland,
but
all
those
individuals
and
organizations
that
we
support,
understand
the
source
of
funding.
If
it
is
national
luck
today,
or
indeed
grant
an
aid
that
they
are
able
to
paint
that
picture
for
people,
and
we
can
elevate
that
through
the
channels
that
we've
got
so
I
think
that's
a
key
key
aspect
of
it
and
we
need
to
keep
working
harder
on
that.
I.
Think
the
other,
and
it's
connected
to
the
second
point.
I
think
again.
E
E
So
I
think
again,
there's
something
about
us
working
as
distributors
with
Cam
Ward
and
the
DCMS
to
look
at
that
regulatory
framework
alongside
what
it
might
do
to
unlock
marketing
budgets
to
then
profile
and
lift
up
the
work
of
the
National
Lottery
in
the
positive
sense
to
generate
the
ticket
sales
that
flow
back
into
the
big
good
causes
of
which
we
are
one.
We
get
one
point
so
is
formula
based.
E
We
get
one
point:
seven,
eight
percent
of
the
overall
National
Lottery
good
cause
expenditure,
I
think
the
just
going
back
to
the
very
start
of
the
the
session.
You
know
the
the
Scottish
government
budget
settlement
is
very
welcome
in
helping
to
address
that
volatility.
It's
always
been
subject
to
ticket
sales,
of
course,
so
always
fluctuates
in
terms
of
National
Lottery
income.
E
But
it's
been
more
volatile
in
in
recent
years,
which
has
led
us
to
the
position
that
we
that
we
see,
but
there
is
very
prior
to
work
as
I
say
across
the
distributor
family,
to
try
and
with
Camelot
to
try
and
make
sure
that
that's
addressed,
but
it'll
take
time
for
that
to
flow
through.
In
the
meantime,
the
Scottish
government
settlement
has
enabled
us
to
get
a
more
confident
planning
horizon
over
that
three-year
period,
which
is
we
we
recognize,
is
absolutely
exceptional
in
the
current
climate
of
the
public
finance.
A
Much
and
I'd
like
to
thank
Jones
Archer
and
in
a
row
for
giving
evidence
this
morning,
I
think
we've
been
able
to
consider
quite
a
range
of
issues
in
front
of
Scotland
and
we
will
hear
shortly
from
the
cabinet
secretary,
so
we
will
now
suspended
meeting
briefly
to
allow
a
changeover
or
witnesses.
Thank
you
very
much.
A
A
A
We'll
take
evidence
on
the
Scottish
Government's
draft
budget
from
the
cabinet
secretary,
Fiona
Hyslop
for
culture,
tourism
and
External
Affairs
and
I
welcome
the
cabinet
secretary
meeting,
along
with
her
officials,
David
Sears.
They
had
a
sponsorship
and
funding
team,
cultural
and
historic
environment,
division
and
Karen.
What
the
director
of
External
Affairs
so
welcome
to
the
committee
and
cabinet
secretary
I
believe
you
would
like
to
say
a
few
opening.
Yes,.
K
Thank
you
very
much
convene
just
a
very
short
opening
statement
and
I
consider
that
the
draft
budget
for
22192
delivered.
Oh,
you
don't
come
for
the
portfolio,
particularly
for
culture
and
External
Affairs.
We've
worked
hard
over
a
number
of
months
to
deliver
lists,
demonstrating
the
value
of
the
portfolio's
work
and
the
benefits
it
delivers
right
across
the
priorities
of
the
government.
I'd
like
to
just
highlight
a
few
points
from
the
draft
budget.
K
Firstly,
I
was
very
pleased
to
be
able
to
not
only
give
creative
Scotland
a
positive
outcome
on
its
core
grant
indeed,
and
that
being
a
small
increase
to
cover
staff
pay
awards.
But
I
was
also
able
to
deliver
an
additional
6.6
million
pounds
to
allow
a
creative
Scotland
to
maintain
its
regular
funding
program
budget
level
so
that
creatives
got
this
decisions
and
funding
are
based
on
the
merits
of
individual
organisations
rather
than
any
serious
restriction
on
resources
available.
K
I
was
also
pleased
to
be
able
to
deliver
the
programme
for
government
commitment
to
invest
a
further
10
million
pounds
for
investment
in
the
screen,
bringing
public
spending
to
20
million
and
finally,
on
the
artists
budget.
As
we
go
into
the
year
of
young
people,
2018
I
was
pleased
to
be
able
to
protect
the
9
million
pounds
for
the
youth
music
initiative
and
meet
the
commitment
to
increase
funding
for
Systema
Scotland.
K
K
A
You
very
much
cabinet
secretary
and
will
perhaps
approach
it
broadly.
The
questions
broadly
in
the
order
in
which
you've
approached
the
statement
and
start,
perhaps
with
those
questions
on
the
cultural
aspects
of
your
brief
I,
wonder:
you'll,
be
aware,
cabinet
secretary
of
the
campaign,
the
correspondence
that
members,
this
committee
and
noted
yourself
and
others
received
from
many
organisations
in
the
cultural
field
concerned
about
the
prospect
of
a
loss
of
funding
and
clearly,
as
you've
indicated,
so
to
address
that.
K
Well,
I
think
the
budget
settlement
is
a
strong
statement
by
the
Scottish
Government
in
our
belief
in
culture,
life
with
Scotland.
The
issues
and
concerns
that
have
been
particularly
arisen
in
recent
times
have
been
related
to
the
changes
in
the
levels
of
lottery
funding
the
creative
Scotland
have
received
and
a
quarter
percent
of
their
funding
comes
from
last
year.
K
K
This
is
something
that
we've
been
trying
to
address
for
some
time
to
try
and
see
if
there
was
some
way
of
and
mitigation
from
the
UK
government
because
of
the
decisions
about
the
deregulation
exception,
and
there
have
been
measures
taken
by
the
UK
government
and
they've
communicated
to
to
us
what
they
might
be.
But
there's
no
outcome
as
to
whether
that
will
result
in
increased
income
from
watching
we're
not
responsible
for
the
lottery
is
completely
independent
from
from
the
Scottish
Government,
but
it
clearly
has
a
major
impact
on
the
cultural
life
of
Scotland.
K
So,
therefore,
in
answer
to
your
question,
what
are
we
doing
to
help
going
forward?
Is
the
protection
of
the
create
of
Scotland's
core
budget
for
three
years
provides
stability
for
them
in
making
their
decisions,
as
they
may
explain
their
regular
funding
cycle,
which
they're
about
to
embark
in
is
a
three
year
cycle,
so
that
gives
us
stability
for
that
area
and
also
in
relation
to
Lottery
and
loss
of
income.
We've
identified
funding
which
have
my
secured
for
this
year,
but
also
going
forward
for
the
next
three
years.
K
A
Important
part
of
all
creativity
is
on
the
in
the
area
of
film
and
screen
and
if
clearly
made
technical
steps
you've
described
around
that.
Can
you
indicate
how
much
or
to
what
extent
funding
for
the
screen
unit
is
coming
into
the
your
budget
from,
for
example,
the
enterprise
agencies
in
order
to
support
and
sustain.
K
K
Scotland
will
still
provide
funding
in
relation
to
their
activities
there,
but
the
driver
and
in
terms
of
the
you
know,
you've
seen
the
blueprint
that
will
be
led
from
creative
Scotland
so
and
Tim
I
mean
is
not
if
you're
asking
me
is
that
the
beyond
end
of
the
funding?
No,
it's
not
because
we've
still
got
the
additional
support
as
been
set
out
in
different.
A
A
We
perhaps
expected
it
to
be
two
weeks
ago
today,
and
so
we
we
did
ask
creator
Scotland
this
morning
for
the
reason
for
that,
and
they
said
that
they
were
not
in
a
position
to
publish
that
document
two
weeks
ago,
which
was
surprising
at
the
time,
and
they
explained
the
partnership
process
that
followed
in
developing
the
document.
But
it
appeared
that
the
committee
was
not
included
in
that
consultation
of
the
last
minute.
Was
there
any
reason
for
the
delay
in
make
not
available.
K
No
I
met
with
Scott
on
the
7th
of
November
and
we
discussed
the
blueprint.
I
was
broader
content
had
some
issues
that
had
to
be
addressed,
asked
them
to
address
that
and
returned
the
blueprint
for
me
to
approve
and
I
finally
received
I.
Think
the
blueprint
to
approve,
probably,
must
have
been
I
think
it
the
Wednesday
evening,
before
your
before
you
I,
think
your
visit
street
of
Scotland
I
was
at
the
UK
government
China
government
people-to-people
event
on
the
Thursday
I.
K
Think
I
wrote
to
you
and
Friday,
having
received
on
the
Wednesday
evening
approved
the
final
blueprint
sent
it
to
the
committee,
as
I
agreed
to
do
previously
appeared
Assessor
in
the
Friday
and
I
think
it
was
published
for
general
awareness
on
the
Monday.
So
you
know
the
blueprint
it's
there.
It's
been
well
received
a
Scottish
screen
leadership
group,
which
I
think
we've
taken
evidence
from
and
have
also
been
consulted
to
ensure
that
they
met
their
requirements.
I
think
it's
in
a
very
good
place
and
we
now
have
the
funding.
K
H
You
I
just
like
to
go
on
you
mentioned
in
your
opening
statement
about
historic
and
vitamin
Scotland
and
I
was
a
really
successful
year,
method,
more
visitors
and
additional
income
I'm,
and
it
was
really
just
to
see
about
that
additional
income,
the
historic
and
vitamin
Scotland
have
deceived.
No,
it's
not
something
that
remains
with
them,
or
does
that
use
more
broadly
across
the
the
portfolio.
K
The
talking
varmint
Scotland,
obviously
look
after
the
properties
in
care
and
behalf
Scottish
Ministers
and
every
year
when
we
were
agreeing
what
their
budget
will
be,
we'll
discuss
with
them.
What
their
you
know,
what
the
requirements
are,
what
their
spend
is,
what
their
incomes
likely
to
be
and
to
make
an
agreement
with
them
as
to
how
much
of
that
income
can
be
retained
for
reinvestment
back
into
the
historic
environment
and
how
much
can
be
released
to
the
portfolio
so
that
we
can
then
help
support
the
wider
portfolio
interests
and
indeed,
a
wider
government
interest.
K
If
that's
required,
and
in
relation
to
what
that
means
this
year,
it
means
that
there
will
be,
and
in
terms
of
an
increase
in
their
expenditure,
they
will
have
an
increase
in
their
income
available
to
spend.
They
need
to
be
able
to
spend
more
because
they
have
more
visitors.
More
visitors
obviously
means
that
they
have
to
have
more
provision,
some
basic
facilities,
etc.
So
you
were
in
a
very
comfortable
place
with
historic
environment,
Scotland's
and
they're
comfortable
with
the
resources
they
have
available
to
them.
K
It's
an
increased,
spend
and
they've
had
previously,
and
also,
very
importantly,
in
something
that
we
very
much
appreciate,
and
for
the
first
time
ever
last
year,
I
managed
to
achieve
a
capital
investment
of
more
than
5.6
million
pounds.
That's
actually
increased,
so
not
only
maintain
that
for
a
second
year,
but
also
increase
that,
because
I
think
it's
really
important
that
we
reinvest
back
in
our
historic
environment.
It's
so
you
know
the
we
have
big
challenges,
whether
its
climate
change
or
indeed
other
areas.
K
H
You
just
further
to
that,
there
I
mean
have
there
been
any
discussions
with
them
about
how
the
suppose,
more
specifically,
they
could
use
those
funds
to
improve
visitor
experience
and
in
terms
of
increasing
and
improving
accessibility
to
some
of
the
visitor
attractions
as
well
and
in
terms
of
addressing
their
years
and
building
repairs.
Absolutely.
K
K
But
also
be
able
to
use
the
digital
as
well,
so
they
really
are
cutting
edge
in
so
many
different
ways,
whether
it's
in
digital,
whether
it's
in
conservation
and
I,
think
we
should
be
very
proud
of
the
work
we
do
and
I'm
very
pleased
with
the
the
investments.
We
have
I'm
delighted
that
you
can
help
them
reinvest
back
into
it.
There's
always
going
to
be
challenges
and
and
what
property
is
dealt
with
wearing,
etc.
But
we
have
to
rely
on
their
judgment,
but
the
other
important
part
is
we're
also
investing
in
the
skills
for
this.
K
So
our
investment
as
a
government
was
there
was
a
view
where
we
had
30
modern
apprentices
in
traditional
building
skills
really
important
to
make
sure
we've
got
the
skill
base
and
also
you'll
know
that
the
engine
shed
has
been
open
this
year.
I'm,
not
sure
if
the
committee's
had
a
visit
to
the
engine
shed
in
Sterling,
but
I
would
strongly
recommend
if
you
could,
because
it's
very
much
an
investment
in
supporting
and
understanding
awareness
of
the
importance
of
traditional
building
skills
for
Scotland,
very
good
educational
resource,
but
also
it
works
with
the
the
sector.
K
H
That
was
good,
actually
gonna,
be
my
next
point,
because
that
was
something
videos
with
historic
environment
Scotland.
When
the
came
to
the
committee
was
about
their
all
the
traditional
skills
and
what
was
being
done
there.
I'm
have
a
heritage
and
moments
ago.
They
raised
any
concerns
with
you,
but
gentle
deductions
from
the
Heritage
Lottery
Fund
I
mean
in
order,
is
something
my
hometown.
H
K
Me
and
unlike
creatures,
got
creature,
Scotland
and
historic
environment,
Scot
do
administer
lost
refunding,
but
obviously
within
the
heritage
sector
and
there's
complementarity
and
quite
often
you'll
see
different
projects
come
to
fruition
because
they
have
a
package
of
investment.
So
it
comes
from
historic
events,
condor
heritage,
lash
extension
and
the
other
other
Heritage
Lottery
Scotland
to
deal
with
funding
less
than
five
million
I
understand
and
and
the
majority
large-scale
investment
is
on
a
uqy
basis.
The
two
obviously
have
concerns
about
the
impact
or
reduced
lost
income
to
to
their
effects.
K
It's
slightly
different
from
Croatia
Scotland
in
that
and,
as
you
will
have
heard,
the
lottery
funding
for
creative
Scotland
tends
to
be
for
individuals
and
organizations
and
people
delivering,
whereas
a
lot
of
the
Heritage
Lottery
Fund
is
for
actual
capital
works
and
the
colossi
schedge.
Although
and
I
understand
that
Heritage
Lottery
Fund
UK
have
made
a
publication
themselves
about
what
they
expect
from
from
lottery
and
they're,
actually
downgrading
their
funding
for
1819
down
from
I.
K
What
they
don't
want
to,
obviously
I
would
imagine,
do
is
to
have
to
clawback
grants
that
they've
already
made
so
they're
having
to
make
readjustment,
so
there
will
be
almost
like
a
pause
while
a
real
I
know
that
will
have
an
impact,
because
that
means
that
there's
less
capital,
therefore
very
important
works
and
Pekin
and
other
places,
and
so
that
will
have
a
that
will
have
an
impact,
but
we
obviously
try
and
work
and
and
align
with
not
just
historic
environment,
Scotland's
investment,
but
also
Heritage
Lottery
Fund.
We
can't
again
they're
independent.
K
We
can
direct
them
in
any
shape
or
form,
but
some
of
the
some
of
the
successes
we've
had
in
the
past
is
when
would
be
able
to
coalesce
or
align
funding
from
from
historic
environments,
colander
and
terraces
lottery.
So
I,
if
you
have
an
interest
in
that
I
can't
speak
for
her.
She's
lost
your
phone,
so
the
committee
may
want
to
contact
them
directly
themselves.
A
J
You
cabinet
secretary
just
to
go
back
to
the
screen
sector
for
a
moment.
Obviously
the
bread
and
butter
of
that
industry
in
Scotland
is
domestic,
but
as
Janet
Archer
mentioned
previous
session,
there's
a
significant
role
for
international
back
budget
projects
I
or
king
was
resistors
are
a
good
recent
example.
An
answer
to
a
written
question
I
watched
recently.
It
was
entirely
unclear
if
the
scottish
government's
north
american
office
played
any
role
in
supporting
the
industry.
I
mean
given
the
geographical
nature
of
that
international
industry.
J
K
Well,
for
example,
when
I
visited
the
u.s.
in
the
past,
the
north
american
office
supported
me
when
I
was
in
Hollywood
and
I
met
with
Lionsgate
and
Warner
Brothers,
and
we
were
discussing
specifically
issues
around
investment
at
that
time.
I
think
it
was
the
King
Arthur
film
and
particularly
discussed
with
Warner's.
So
you
know
the
the
and
indeed
SDI,
remember,
there's
also
the
aspects
of
inward
investment,
so
some
of
the
some
of
those
areas
are
SDI.
Sdi
have
an
interest
in
as
well.
So
that's
a
very
practical
example
of
how
that's
happened
in
the
past.
K
J
K
I
think
it's
very
important
that
everybody
contributes
to
do
of
young
people-
it's
not
just
in
by
one
minister
of
one
one
portfolio.
Obviously,
in
terms
of
the
sims
years,
I've
had
responsibilities
across
all
the
seemed
years.
This
year
being
the
year
of
history,
heritage,
archaeology
and
there's
always
budgets
are
available
for
events
related
to
young
people
saw,
and
the
overall
budget
is
about
3.4
million.
We
had
to
be
obviously
in
the
parent
just
the
other
day,
and
a
lot
of
that
will
be
about.
Events
will
be
run
by
major
events.
K
I
could
be
helpful
for
the
rest
of
parent
as
well,
is
to
try
and
maybe
bring
together
all
that
in
one
place
so
that
you
can
people
can
see
what's
being
spent
where
and
from
the
different
rules.
But
I
wouldn't
I,
wouldn't
just
limit
your
thinking
to
think
oh
well,
it's
got
to
be
a
budget
line
and
they
got
to
budget
for
it
to
be
spending.
So
I
know
in
my
own
portfolio
there's
a
lot
of
work
happening
with
our
National
Gallery's.
K
Our
collections,
I'm
National
Theatre
of
Scotland,
so,
although
it
wouldn't
appear,
isn't
necessarily
in
a
budget
licensing
year
of
young
people,
everybody's
been
gearing
up
to
this,
so
the
actual
impact
of
spends
should
be.
You
know
really
quite
critical,
but
I
do
think
that
and
for
the
purposes
of
understanding.
What's
there,
our
work
with
Murray
Todd
is
the
the
lead
minister
and
four
years
young
people,
but
whether
we
can
give
a
better
understanding
of
what
you
know.
K
What
is
being
spent
we're,
but
it's
being
well
resourced,
well
supported,
right
across
government
and
in
different
portfolios
and
I'm
quite
keen
to
right
through
the
year
and
sure
how
different
portfolios
are
contributing,
whether
it's
justice,
whether
it's
house,
you,
because
if
this
year's
to
be
as
impactful
as
we
want
it
to
be-
and
this
has
got
to
be
something-
that's
just
changing-
how
we
do
things
I'm,
making
it
mean
stream
that
young
people
I've
got
a
central
role,
but
also
we
raise
the
profile
of
what
they're
doing
so
I
find
it
useful.
We.
K
J
Just
to
drill
down
to
one
specific
area:
that's
not
for
the
year
young
people
very
timely
on
the
youth
experience
fund
evidence
that
we've
taken
as
a
committee
previously,
which
I
the
last
time
you
were
here
around
that
fund.
It's
very
welcome,
but
the
evidence
from
the
sector
seemed
to
be
that
they
felt
directing
it
towards
secondary
schools
may
prove
more
beneficial
than
primary
because
they
didn't
have
as
much
of
a
challenge
attracting
primary
schools
and
to
their
venues,
have,
as
a
government
done
any
further
work
on
that
had
any
further
discussion
with
the
sector.
J
K
So
I
think
it's
worth
taking
stock
about
where
we
stand
during
the
year
of
young
people
to
see
what
has
an
impact
and
then
ensuring
the
use
experiment
has
maximum
leverage.
So
it's
not
just
displacing
something:
it's
actually
adding
value
and
it's
a
new
experience,
I
think
the
key
issue.
It
comes
back
time
and
time
again,
it's
transport,
you
can,
you
know,
there's
a
lot
of
opportunities
for
young
people
and
a
lot
of
free
ticketing
and
subsidized
ticketing
and
all
the
rest
of
it.
D
K
The
culture
strategy
is
something
that's
developed
over
some
time
where
people
realize
that
you
know,
as
a
country
it'd
be
very
helpful
if
we
had
a
statement
as
to
the
importance
of
culture
what
it
means
right
across
the
area.
Creative
scotland
was
obviously
some
responsibility
for
some
aspects
and
lead
for
a
culture,
but,
for
example,
our
national
performing
companies
or
other
others
are
independent
of
that
process.
We've
had
a
quite
comprehensive
set
of
engagement.
K
We've
had
you
know,
I've
taken
part
in
numerous
and
we're
funding
about
nine
ten
public
sessions
on
the
culture
strategy,
as
well
as
very
bespoke
I'm
other
sessions
where
people
are
get
sharing
their
views.
We've
now
come
to
an
end
of
the
constant
of
the
first
session
of
engaging
with
people.
We're
now
be
into
you
bring
something
for
you
can
then
consult
on
I
want
this
to
be
developed
by
and
for
Scott,
and
this
is
not
you
know
a
government
saying
this
is
our
view
of
our
state
view
of
culture.
That's
not
what
it
is.
K
So,
therefore,
the
speed
at
which
it
is
developed
will
be
with
the
sector
itself.
I.
Think
with
this
statement.
That's
come
through
from
the
budget.
I
think
people
have
more
confidence
as
well.
It
can
be
planning
for
a
stable
future
and
be
ambitious
about
what
they
want
from
culture
and
in
terms
of
resourcing
budgeting
there
isn't
there
isn't
a
budget
line
that
says
cultural
strategy
as
if
there's
going
to
be
some
additional
resource
coming
with
a
cultural
strategy,
what
it
will
do
was
an
able
what
has
been
a
very
good
settlement
effort.
K
People,
dentists,
identify
ok.
What
matters
to
Scotland
in
terms
of
prioritizing
is
it
young
people?
Is
it
access?
Is
it
geography?
Is
it
traditional?
Is
it
modern?
Is
it
your
people
going
to
have
a
view
as
to
what
matters
to
them
and
that
can
help
shape
and
form
the
type
of
your
distribution
that
we
can
have
in
the
future?
But
that's
it.
It's
a
collective
process,
and
so
I'm
not
pre,
determining
it
I
think
it'd
be
wrong
to
predetermine
it,
but
there
isn't.
I
saw
a
specific
line
that
you
can
point
to
single.
K
That
will
be
that
cultural
strategy
will
somehow
leverage
an
extra
resource.
What
it
might
do,
however,
is
if
we
can
set
it
out
in
a
very
clear
and
comprehensive
way
and
a
clear
steering
strategic
direction.
It
can
help
ensure
that
the
contribution
that
culture
makes
for
whether
it's
health,
whether
it's
injustice,
whether
it
in
other
areas
and
you
can
see
the
benefit
on
that
not
all
culture
spends
sits
in
my
portfolio.
K
So,
for
example,
cashback
for
creativity,
which
has
had
a
big
impact,
is
not
something
that
we
benefit
from,
but
it's
something
that
is
obviously
coming
out
of
the
the
justice
provision
and
so
I
think
that's
one
of
the
big
things
that
we
can
get
from
the
culture
strategy,
a
clear
articulation
of
how
that
the
how
the
impact
of
culture
reaches
all
areas,
not
just
what
we
the
traditional
sector,
mr.
portfolio
responsibilities.
Okay,.
L
D
K
K
Lion
just
know:
I'll
move
that
I
think
I
think
it's
important
that
that's
identified
as
tourism
capital
we've
not
really
had
a
tourism
capital
fund
before
so.
That's
why
it's,
maybe
not
as
clear
in
the
budget
as
it
might
be,
and
I'd
like
to
see
that
maybe
changed
a
future
revisions,
so
that
it
would
help
the
committee
and
indeed
others,
identify
where
tourism
capital
funding
and
it's
a
point.
D
K
So
there's
a
rural
infrastructure
fund,
which
is
the
new
fund
to
help
with
pressured
areas,
there's
some
funding,
that's
half
a
million
pound
for
assets
of
Scotland's
in
particular,
and
to
help
with
tourism,
which
will
be
some
of
it.
We
were
working
with
logistics
with
local
partners
on
that,
so
some
of
that
will
be
around
and
adventure,
tourism,
forestry,
tourism
and
additional
international
promotion.
What
we
can
do
there
and
then
there's
also
an
element
for
airship,
and
you
should
coastal
paths
which
will
help
and
the
air
shows
in
particular
again
working
with
local
partners.
K
D
K
Certainly,
working
councils
will
be
key
partners
and
what
we're
doing
as
well,
hi
and
the
sense
of
Scotland
and
in
relation
to
the
south
of
Scotland
organization.
So
you
know
this
will
be
done
in
coordination.
Agreement
with
them
and
I
would
establish
I'm
likely
to
establish
a
group
with
key
individuals
to
help
us
determine
which
projects
actually
can
go
ahead,
but
we'll
certainly
involve
the
council's
in
that
as
well.
Thank
you
thank.
C
And
obviously,
I
too
am
welcome
that
commitment
to
move
quickly
on
the
tourism
infrastructure
and
development
fund,
but
moving
on
to
visit
Scotland
in
particular,
I
notice,
I'm.
A
very
welcome
increase
of
two
hundred
seventy
five
percent
in
the
visit
Scotland
capital
budget
to
undertake
maintenance
and
upgrades
of
Visitor
Information
centers.
Could
you
sketch
out
a
little
bit
more
what
the
the
the
priorities
are
for
visit
Scotland
in
terms
of
capital,
particularly
in
light
of
recent
announcements
to
em,
to
close
some
centers
and
to
move
in
sort
of
in-house
and.
K
Obviously,
visit
Scotland
could
answer
for
themselves
and
in
relation
to
what
their
program
and
priorities
are
in
relation
to
what
we
expect
of
them
in
terms
of
our
guidance
as
we
expect.
Obviously,
the
marketing
promotion
of
Scotland
and
in
terms
of
some
of
the
dish
like
to
a
tid,
there
hasn't
been
a
capital
line
really
for
tourism
previously.
K
So
that's
what
I've
identified
in
a
number
of
rural
infrastructure
fund
I've
just
described
a
set
of
Scotland
fund
and
also
the
issues
so
path
as
well
as
for
the
first
time
this
funding
that's
available,
particularly
to
help
with
them
with
some
of
the
delivery
model.
In
relation
to
how
do
you
harness
the
marketing
that
actually
does
go
on,
but
across
a
whole
different
use
more
effectively
and
efficiently
to
get
better
value
and
use
existing
operational
budgets
in
relation
to
their
their
own
deployment?
K
They
obviously
need
to
refresh
some
of
their
adversary
information
centers,
and
there
is
an
issue
in
relation
to
the
58
percent
reduction
in
footfall
people
aren't
working
using
knots
in
they're,
not
working,
but
very
a
big
reduction.
The
number
of
people
are
booking
accommodation
via
visit,
Scotland
premises.
So
that's
obviously
why
they're
carrying
a
change
way
of
operating.
They
need
to
rely
more
in
a
digital
platform
for
that
to
support
what
as
I,
think
somewhere
between
1400
and
1600
and
Visitor
Information
partnerships.
K
If
you
look
at
the
look
in
very
example
where
the
local
community
actually
wanted
to
take
over
what
the
provision
you
might
be
more
familiar,
that
was
necessary
myself,
but
they
wanted
to
take
over
what
was
being
said
and
promoted
in
their
local
area
and
so
they've
taken
over
that.
But
the
information
can
still
be
be
be
available.
So
so
the
investment
is
actually
to
help
some
of
the
additional
online.
It
can
support
and
is
underpinning
that.
That's.
C
Quite
impressive,
and
and
also
in
terms
of
developing
that
in
digital
connectivity
in
obviously
digital
lies
within
your
colleague
the
cabinet
secretary
for
M
connectivity.
How?
What
does
it
look
like
working
with
him
in
terms
of
ruling
out
digital
across
Scotland
and
particularly
ears,
and
then
assisting
businesses
to
in
the
tourism
industry
to
be
able
to
harness
a
digital
ma
and
and
and
develop
a
notice
that
one
of
the
priorities
this
year,
for
example,
was
developing
an
app
at
to
the
map
for
the
a
main
corridor?
So
what
do
the
priorities?
C
K
Digital
is
actually
responsibility
of
all
men.
All
ministers
are
carrying
out
some
degree
and
the
Scottish
Government's
digital
programmer.
We
have
to
I've
also
got
responsibility
for
some
of
the
inclusion
issues,
but
the
impact
of
digital
is
is
considerable.
Your
de
facto,
by
the
end
at
the
end
of
2017,
we're
going
to
have
95%
you're
all
out
of
fibre
broadband
you
know
is,
is
is
very
very
importantly,
announcement
this
week,
600
million
pounds
for
30
megabytes.
There's
gonna
be
really
you
know
it's
likely
have
a
big
development.
What
does
that
mean?
K
It
means
more
people,
connect,
transact
and
obviously
we're
living
in
a
world
where,
particularly,
if
you're
looking
at
the
new
markets,
the
Millennials
are,
you
know
those
are
travelling.
Pacific
to
Scotland
for
adventure,
tourism,
Scotland,
new
Rough,
Guides,
saying
the
most
beautiful
country
in
the
world.
A
lot
of
people
will
be
booking
internationally
and
will
be
booking
online,
no,
unfortunately,
to
date,
and
a
lot
of
it
might
be
because
of
the
the
either
speeds,
or
indeed,
accessibility,
not
as
many
people
I've
been
transacting.
K
Additionally,
as
they
should,
the
Kudrin
should
be
from
from
businesses,
and
so
what
we
are
doing
is
coordinating
that's
a
program
with
visits
God
and
he's
Scottish
enterprises,
district
tourism.
Yes,
there's
gonna
be
another,
a
key
focus
for
this
activity,
where
there's
an
intensive
period
of
training
and
support
for
those
companies.
Those
were
that
small
hotels
bed-and-breakfast,
you
name
it
tears
and
businesses
that
aren't
translating
online
to
encourage
them
and
support
them
to
transact
online,
and
that
should
up
the
figures,
because
I
was
quite
short
dying.
K
Those
training
sessions
are
there
to
help
people
to
be
able
to
translate
online
I've
made
digital
I've
got
my
level
and
to
some
group
where
I've
got
the
the
industry
and
Scottish
Tourism
Alliance
there,
as
well
as
for
the
Scottish
Enterprise
hi,
and
we
will
have
the
size
of
Scotland
body
and
add
my
additional
tourism,
one
of
the
key
things
that
we
keep
going
back
to
or
not
so,
there's
a
journey
to
go
on,
but
we're
we're
well
on
that
way
to
help
deliver
that.
Thank
you.
Thank.
I
Thank
you
and
congratulations.
The
cabinet
secretary
in
securing
a
good
settlement
for
your
portfolio
I'm
sure
it
was
very
tough
negotiations,
but
this
would
not
be
a
meeting
of
the
Smiths.
This
committee
didn't
discuss
places,
therefore
I.
Just
wonder
if
you
would
like
to
comment
on
the
implications
for
your
budgets
of
brexit
and
also
refer
to
how
free
to
future
fuel
you
may
have
to
be
moving
forward.
Okay,.
K
And
I
may
may
bring
in
Karen
waters
as
well
on
this
issue.
I
thought
we
were
to
get
through
this
without
discussing
braces.
Thank
you
very
much
provide
ways
to
to
reach
it
and
I
suppose
you
know
a
lot
of
it
is
the
unknown
what
we're
dealing
with,
but
in
terms
of
resources,
a
couple
of
things
there's
some
of
it
will
be
about
the
day-to-day
issues
about
how
we,
as
a
government,
can
deal
with
things
and
the
resources
that
we
have.
So.
K
Therefore,
the
overall
government
protection
of
the
administration
budget
has
been
very
important
to
make
sure
we've
got
resourcing
people
and
very
skilled
people
to
be
able
to
deal
with.
You
know
the
issues
as
they
arise
and
particularly
relation
to
and
the
brother.
It's
the
framework
issues
are
in
relation
to
future
treating
issues
as
we
go
into
the
phase
two
in
terms
of
presence
and
capability
and
reach.
K
One
of
the
things
that
the
cabinet
secretary
economy
had
announced
was
an
expansion
of
the
number
of
SDI
resources
and
staff
in
Europe
and
that's
again
not
microphone
bus
in
his.
But
it's
a
signal
of
you
know
quite
a
long
Faro
identifying
that
we're
gonna
have
to
have
more
intensive
on
on
the
ground
and
activity
to
support
businesses
in
Europe.
K
K
Germany
is
a
major,
a
major
source
of
tourism
and
a
very
focus,
and
also
this
budget
will
support
the
Paris
help
as
well,
and
that
allows
us
to
to
bring
together
and
align
more
our
government
deployment,
whether
it's
in
treat
an
industry
or
whether
it's
in
governmental
or
indeed
in
other
areas.
So
that's
part
of
the
explanation
of
the
expansion
of
the
External
Affairs
line,
so
it's
got
different
areas.
K
International
trade
will
become
of
increasing
focus
for
the
government
and
will
need
to
be
both
in
I
suppose
it's
the
practical
delivery
and
support
of
those
that
are
seeking
more
business,
but
also
I,
think
there's
the
the
operational.
How
do
we
prepare
for
a
brexit
and
perhaps
I
don't
fit
as
anything
Karen?
You
want
to
add
to
that
as
well.
Okay,.
L
Yes,
I
think
the
fundamental
point
is
that,
having
retained
the
resource
element
of
the
administration
budget
for
the
Scottish
Government
at
170,
9.5
million,
then
I
think
that's
the
envelope
that
we're
working
within
across
government
and,
of
course
it's
not
just
this
portfolio.
It
is
every
portfolio
that's
affected
by
by
brexit
and
I.
L
Think
our
general
approach,
both
in
this
portfolio
and
elsewhere,
has
been
really
to
look
at
what
assessments
and
preparations
we
can
make
for
whatever
outcome,
we're
facing
and
I
think
that's
part
of
the
challenge,
this
portfolio
and
others
in
trying
to
work
through
how
hybrids
that
might
be
affected.
Therefore,
we're
looking
at
a
range
of
scenarios,
so
we're
constantly
reviewing
where
our
resources
are,
whether
we've
got
the
right
skills
and
the
requirements
in
place,
and
at
this
point
in
time,
I
think
we've
got
the
right
level
within
this
portfolio
of
staffing
and
resources.
L
We
are
investing
in
our
overseas
offices
and
in
our
hubs
to
have
people
on
the
ground
and
we're
also
being
quite
resourceful
about
bringing
in
experts.
So
we
have
people
seconded
in
from,
for
example,
Edinburgh
University.
We
have
the
Standing
Council
of
experts,
which
the
First
Minister
cabinet,
secretary
and
others
can
turn
to,
and
we've
got
a
raft
of
external
stakeholders
that
we're
working
with.
I
Going
to
ask
but
Scotland
House
and
how
you
envisage
that
rule
being
resourced
moving
forward
and
breaks
it,
and
we
mentioned
this
for
extra
staff.
I
think
you
said
it's
going
to
be
located
in
Scotland
House
and
meanwhile
it's
been
reported
that,
during
the
transition
periods
for
exits
that
the
UK
will
not
be
represented
at
the
councils
are
taking
decisions
over,
for
instance,
fish
quarters,
which
means
that
the
role
of
Scotland
Terrace
and
indeed
domestic
civil
servants
and
officious
section
it
will
be
influenced
I.
L
The
there's
additional
resource
for
resident
director
posts,
so
we
have
now
put
a
director
into
Brussels.
We
also
have
other
administrative,
but
also
policy
experts
who
will
be
in
there
and
I
guess.
The
overall
objective
is
to
be
making
sure
we're
protecting
Scotland's
interest
in
the
round,
making
sure
Scotland's
voice
is
heard,
but
also
being
more
visible
with
key
portfolios.
You
mentioned
fisheries.
There
are
a
range
of
justice,
agriculture
other
portfolios,
but
by
investing
in
the
office
and
also
transforming
it
slightly
into
a
hub
that
will
bring
together
our
Scottish
government
interests.
L
More
generally,
we
are
aiming
to
be
more
influential
both
around
the
corridors
in
Brussels,
but
also
to
feedback
more
useful
intelligence
about
what
is
happening
on
an
ongoing
basis
and,
as
you
know,
Brussels
works
through
networks
and
through
contacts
and
by
having
a
more
senior
presence
and
and
an
enhanced
staffing
complement,
we'll
be
able
to
do
more.
Of
that.
F
Morning,
camera
secretary,
you're,
late
out
of
the
14th
of
December,
was
a
very
helpful
thought
and
a
couple
of
questions
just
regarding
that
Israel
and
also
discussed
the
versus
cross
regarding,
but
they're
sitting
at
the
benefice
of
the
single
market.
Crucial
event
might
have
chosen
not
to
be
in
the
single
market,
and
can
you
provide
some
information
in
terms
of
analysis
that
the
Scottish
Commons
end
up
taking
there
on
the
economic
impact
of
a
city?
Well,.
K
We
will
be
making
public
further
analysis
and
at
some
point
in
the
new
year,
which
I
think
will
help
the
committee
out
and
can
I
also
just
put
on
record
my
thanks.
The
committee
I
think
this
committee
is
on
a
fantastic
piece
of
work
in
terms
of
the
various
inquiries
you've
had
in
relation
to
brakes
and
I.
Think
you
yourself
have
provided
a
very
useful
analysis
has
helped
the
Paramount
and
indeed
the
country
go
forward.
K
Obviously,
some
of
the
the
letters
I
let
I
refer
to
I
wrote
to
you
refers
to
the
phrase
arounded
under
and
forecasts
of
a
reduction
of
11
million
pounds
a
year
by
2030
and
80,000
fewer
jobs
compared
to
remaining
a
member
of
the
EU
but
I
I.
Suppose
when
we
are
in
formalwear,
there's
still
a
position
where
we
don't
know
what
the
state
of
brexit
will
look
like.
We
are
very
clear
that
a
single
market
membership
customers
union
membership
is
what
we
think
would
be
the
preferable.
K
It
will
be
the
least
worst
option
in
relation
to
the
the
the
negative
impact
of
where
we
might
be,
but
I
think
it's
very
important
for
us
all
to
be
vigilant,
but
also
to
set
out,
particularly
in
the
areas
that
we
have
responsibility
for
what
that
and
what
that.
What
that
would
look
like,
whether
it's
in
tourism,
whether
it's
in
creative
industries.
So
you
know,
we've
got
to
all
be
very
vigilant
on
it.
K
We
have
to
make
sure
that,
in
terms
of
setting
out
what
the
decisions
and
the
options
are,
we
are
moving
into
a
period
and
where
businesses
will
be
making
decisions.
If
they
haven't
got
certainty
around
just
transition,
particularly
a
steady
state
transition
is
desirable
or
what
the
future
state
of
the
end
of
the
brexit
deal
will
be.
There
are
so
many
many
questions
about
that:
I'm,
not
necessarily
position
to
forecast
what
that
will
be,
but
we
have
to
make
sure
that
we
have.
K
F
K
Happy
to
be
corrected,
but
we've
yet
to
see
and
definitively
what
that,
what
that
funding
will
be
to
substitute
for
all
the
different
areas
that
we
have
concerns
of
in
this
port
for
its
creative,
creative
Europe,
for
example,
and
others
it
will
be
horizon.
2020,
I,
really
sincerely
hope.
Programs
like
Erasmus
horizon
2020.
We
could
still
continue
in
some
shape
or
form
to
be
ma'am
resolved,
but
for
those
areas-
and
there
are
meteor
ones-
not
my
responsibility
but
obviously
for
the
common
agricultural
policies-
is
the
the
subsidies
are
available
to
our
farmers.
A
Sure
expertise
arranging
as
well
as,
of
course,
at
your
own
hand,
simply
to
refer
to
the
consistent
underspend.
In
a
number
of
recent
years
of
the
External
Affairs
budget,
it's
been
an
on
to
spend
of
only
a
million
pounds
or
so
a
year,
but
nonetheless
it
does
raise
the
question
of
how
confident
you
are
that
the
adjusted
figure
for
the
current
year
will
be
fully
spent
and
and
also
your
projection
for.
K
The
committee's
obviously
had
a
consistent
interest
on
in
various
budgets.
I
mean
there
is
a
point
that
some
of
what
we
do
next
interferes
is
reactive,
particularly
for
and
visits,
whether
its
incoming
or
outgoing,
in
terms
of
what
can
or
should
be
spent,
and
also
in
the
past,
in
relation
to
some
of
the
humanitarian
issues
and
as
to
whether
spends
is
made
or
not
not
made.
K
What
we've
tried
to
do
this
year
and
in
our
program
for
government
is
consolidate
humanitarian
need,
so
there
is
actually
is
a
fund
and
I
think
you've
had
Australian
and
fairly
recently
going
through
how
that
operates.
Now
that
should
I
suppose
provide
a
bit
more
predictability
in
relation
to
that.
But
you
I
think
when,
when
resources
are
very
tight,
just
because
you
have
a
budget,
it
doesn't
necessary
mean
you
have
to
spend
all
of
it
just
to
spend
it.
It's
really
important
that
you
only
spend
on
what
you
need
to
and
I
think
you
know.
K
Some
flexibility
is
required,
particularly
in
something
that
is
quite
a
reality.
You're,
particularly
External
Affairs
is
a
bit
more
reactive,
perhaps
than
others
most
of
my
and
most
of
my
budget
in
the
portfolio
goes
out
immediately
in
terms
of
grant
need
to
visit,
Scotland
historic
environments,
college
etc.
And
you
know
it's
it's
it's
very
much
front
facing,
but
some
of
it
has
to
be
a
bit
more
flexible,
but
we
know
that
you've,
you
keep
a
very
close
eye
and
marching
on
that
will
make
sure
you
keep
you
in
touch
I'm,
sorry,
I'm
suffering
here.
E
K
A
K
Well
clearly,
Michael
Russell
is
the
is
the
minister
responsible
meeting
and
the
brexit
negotiations,
and
we've
had
no
indication
as
yet
I
think
as
to
be
the
the
person
that
we
normally
have.
Dialogue
was
in
relation
to
devolve
administration,
of
course,
was
the
former
first
secretary
Damon
green
I
obviously
have
to
reassess
what
the
relationship
will
be
with
the
Scottish
government
and
who
will
leads
for
the
UK
in
relation
to
those
dialogues.
So
as
we
go
forward,
but
there's
nothing
else.
I
can
add
to
that.
At
this
moment.
Okay,.