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‘This Machine Destroys Tyrants’: Dumfries, Print, and the Future of Community-Led Journalism

Rhiannon Davies of Greater Media

By Martin Joseph O’Neill

A few weeks ago, we hosted an event at the Stove called The Gaither Inn – a kind of open invitation to sit with an idea: What would it take to build a community-led publication in Dumfries?

We were joined by two brilliant guest speakers – Rhiannon Davies, founder of Greater Govanhill, and Judith Hewitt, curator and local historian – who helped us explore both the roots and future of grassroots media in Dumfries and beyond.

The evening was packed. Ideas were flying. It felt as though something was beginning – or perhaps picking up from where we had left off.

The Future

Let’s be honest: the future feels rather grim lately. Climate breakdown, inequality and a world run by billionaires can leave us feeling as if we are drifting further from control. But perhaps the future is not so distant. Maybe it is not even all that abstract – it may simply be the outcome of what we build (or do not build) now.

I like to think of it like this:

Imagine rowing out to sea. You are facing the land – your history, your memories – as you move away from it. The shore becomes blurrier, but you still carry what it has given you. You cannot see what lies ahead, yet your boat is strong. You have packed water and supplies, and you have learned how to read the sky. The future is unknown, but it is not unreachable. The direction you take depends on how well you have prepared and whether you are paying attention.

What Does This Have to Do with Print?

Quite a lot, actually. Dumfries has a history of shaping its own story and using words, print and collective knowledge as a means to connect, challenge and organise. And it is not always a history that people are aware of.

Here are a few things I did not know until recently – and perhaps you did not either (thank you, Judith):

Dumfries: Print Town

  • 1715: The Dumfries Mercury became the first newspaper published in Scotland outside the central belt.
  • 1750: Dumfries is recognised as one of just 15 official “Print Towns” in Scotland – on the leading edge of print culture.
  • 1830s: Dumfries print workers formed the Typographical Union – one of the country’s earliest trade unions. Their work was not just about ink and type – it was about connection, fairness and voice.
  • 1838: A local procession rolled through town with a flower-covered printing press on the back of a cart. On it, a banner read: “This machine kills tyrants.”

There were libraries, reading rooms, the Mechanics’ Institute at Nith Place and a culture of people sharing papers, passing them hand-to-hand, and reading them aloud in workshops and kitchens.

Henry Duncan, founder of The Dumfries & Galloway Courier in 1809, is remembered for creating one of the earliest examples of service journalism – a newspaper made not to stir scandal or sell ads, but to serve its people. He even has a statue in the town.

Henry Duncan Statue, Church Crescent | Image Credit: Kim Traynor 

The point is—Dumfries knew how to talk to itself: how to debate, record, reflect, and imagine.

And I think we still can.

So We Asked: What Could a Dumfries Publication Look Like?

After hearing from Rhiannon and Judith, we invited the room to break into editorial teams and design what a new community-led publication for Dumfries might be.

Constructive Journalism:
A form of reporting that focuses on context, solutions, and potential progress — not just problems. It aims to inform while also empowering and engaging the public.

A Diagram explaining ‘Constructive Journalism’
A Diagram Explaining ‘Constructive Journalism’ in More Detail.


Solutions-Based Journalism:
Journalism that investigates and reports on how people are responding to social problems — focusing on what’s working, how, and why, without ignoring challenges.

A Diagram explaining ‘Solutions Journalism’.
A Diagram explaining ‘Solutions Journalism’ in More Detail.

Here’s what they came up with:

Shared Values

  • Rooted in place: The river, the ridge, the land – not just a backdrop, but part of the story.
  • Many Dumfrieses: Georgetown, Lochside, Maxwelltown, the town centre, the places on the edge. Dumfries isn’t one identity – it’s a gathering of them.
  • Welcoming, but with gaps: People in Dumfries are kind, but not everyone receives the same welcome – especially asylum seekers, young people and older folk. How do we create something where everyone sees themselves?
  • Tell the good stuff too: Instead of always reacting to vandalism or decline, why not report on what’s working? Who’s doing good work? What’s bringing people together?

One popular idea was to organise the publication into three parts:

Past

  • Invite people to share stories and snapshots of Dumfries life.
  • Run intergenerational interviews – young people asking older people real questions, for example:
    • “What was your first job?”
    • “Have you ever vandalised anything?”
  • Let memory guide us – not to dwell, but to ground.

Present

  • Address local issues: housing, racism, flooding, and public space.
  • Ask: What’s being done? What’s needed? What’s worth celebrating?
  • Include event listings and practical information.

Future

  • Create a “dream dump” where people can send in their literal or imaginative dreams for the town.
  • Invite people of all ages to describe what Dumfries could be.
  • Include deeper dives into issues, comparisons with other places, or real‑world examples of people trying something new.
Other Ideas
  • Community Newsroom: A drop‑in space where people can come and share what they believe should be discussed.
  • Platforming underheard voices: Create space and support for those who often feel excluded from civic life – asylum seekers, people without stable housing, and young parents.
  • Youth‑led Journalism: Flip the script. Support young people to report on what matters to them and how they see the town.
  • Supporting groups to tell their own story: Enable local charities, community campaigns, and neighbourhood projects to speak in their own voice.
So What’s the Point of All This?

This isn’t just about ‘making a magazine’. It’s about offering people a way to see themselves in the story of Dumfries – and to see each other. It’s about moving beyond the idea that only certain people “get to” speak or be heard. It’s about creating something that reflects real lives and provides a space for people to imagine what comes next – together.

What’s Next?

This summer, we’re getting ready to launch something new at The Stove – a space in the town centre where print, design, stories and civic imagination can come together. We don’t know exactly what it will look like yet, but we’re hoping it can be part news desk, part ideas lab and part open studio. We’re also hoping it will be one way for us to start talking – and listening – differently as a town.

If you’re curious, have an idea or simply want to be part of the conversation, come and find us. We’ll be here.

Categories
News

From Creative Spaces Associate to Vice Chair: Announcing Jodie Barnacle-Best’s New Role at The Stove

When Jodie Barnacle-Best first joined The Stove as a Creative Spaces Associate in 2021, she was just beginning to carve her path in community arts. Fast forward to 2025, and she’s stepping into a major leadership role as Vice Chair of the organisation.

We caught up with Jodie to talk about what this appointment means to her, what she’s most excited about, and how she hopes to shape the future of The Stove with collaboration, care, and creativity at its heart.

Congratulations on your new role! It’s really exciting to see you step into this position, especially as a Creative Spaces Alumni. What inspired you to take on the role of Vice Chair at The Stove?

Thank you! I’ve had the pleasure of sitting on The Stove board since May 2022 and before then was a Creative Spaces associate between 2021-22. The Stove has been such a constant in my career in community arts practice – it really has seen me through a journey of skill, experience and confidence building! As well as being on a journey myself, I feel I have been privy to the growth of The Stove as an organisation. It has been wonderful engaging with and supporting the team over the last 3 years as a board member. I enjoy all things governance and the considerations that go into overseeing strategy, structure, vision and values and it has always been a joy to navigate these topics collectively. 

Through my roles in arts organisations in the Central Belt I’ve become used to working closely with other boards as a team member. This role reversal gives me an insight into how Trustees can most effectively support the team and the wider organisation. I’m now in a position with my own career where I feel I have the insight, expertise and capacity to commit even further through my new role as Vice Chair. Playing my small part at The Stove has always been such an honour that I knew I couldn’t turn down the opportunity to contribute even further.

It’s truly inspiring to see a board led by two optimistic and encouraging women. How do you see yourself and Lynsey working together as Chair and Vice Chair in the months ahead?

Lynsey and I started on The Stove board at around similar times, so I’ve had the privilege of getting to know her personally and working alongside her for a few years. Lynsey’s approach as Chair over the last year has really inspired and encouraged me to step out and put myself forward as Vice Chair. She leads by listening, encouraging others, is always willing to reflect and adapt and has an epic amount of experience under her belt (so she gives great advice).  Not only do I feel we have a shared vision for The Stove, I believe, more importantly, we have shared ideas surrounding process and principles. We both strongly believe in the importance of putting people first.

Undoubtedly, we will work closely together, sharing and supporting each other to fulfil our potential in these roles. While we have many similarities, I’m excited by how our different approaches, experiences and perspectives will be of use to The Stove!

Jodie Barnacle-Best at Caerlaverock Castle

You’re just beginning this journey, but do you have any key aims or priorities you’d like to focus on as Vice Chair in the coming months and years?

It is an incredible time to become Vice Chair as we look to a change in leadership in the next few months. Alongside the rest of the board and the Stove team, I’ll be focused on ensuring this transition is as smooth as possible. While change can be daunting, it brings with it immense opportunities which I am excited to help The Stove make the most of. 

Adding to this immediate focus, I am interested in exploring ways to make being a board member more accessible to a variety of people. I am particularly keen to further develop relationships in the region and find exciting and meaningful ways to bring greater local resident and youth representation into Stove governance and decision making. 

As the youngest member of the board in its current iteration, are there any particular messages, objectives, or initiatives you’re passionate about championing—especially for young people in the region?

I am really proud of being a young board member, having joined the board at 24 years old and now being 27. It is unusual to see youth representation on boards and I am passionate about considering how more youth voices can be heard at a strategic level. Boards aren’t often appealing to young people and there are often considerable barriers to entry. I’ve always enjoyed my time on the board and felt welcome and empowered within my role. I am keen to develop pathways and support mechanisms within governance structures within The Stove to increase youth engagement at this decision-making level.

I am in awe of the incredible creative work undertaken by young people in the region – it truly is a fantastic community of exciting, innovative and driven creative talent covering visual arts, theatre, music, creative facilitation and production and more! Creative Spaces Producer Mia Osborne continues to create enormous impact through her roles across the region and I look forward to amplifying and championing all the work of the Creative Spaces team.

I am always open to talking further about any Stove related topics, but am particularly always open to chatting about opportunities and thoughts regarding creative practice when it comes to young people in the region – please do reach out!

For those who may not be familiar with The Stove, how do you describe its impact and importance to Dumfries?

In my conversations across Scotland, it is not often that I am asked to describe the impact and importance of The Stove as the work by the incredible team is already widely well recognised and respected. However, I am always delighted to amplify this when I have the chance! I am very proud of the national and international impact of The Stove leading the way as a model of good practice in creative placemaking and cultural community strategy amongst many other things. 

On a local level, The Stove’s venue programme is extensive, varied and inspiring. It brings life and light to Dumfries High St and provides an incredible opportunity for people in the region to get creative and to get together. On a personal level, The Stove has had an immense influence on my creative journey as a part of the team and now a part of the board. It is a great nurturing environment and has set a high bar in how I expect to feel as part of an organisation! 


Jodie’s appointment comes at a pivotal moment for The Stove, with a major leadership transition just around the corner. We’re delighted to work alongside her as we continue to shape a vibrant, collaborative future for The Stove and the wider region.

Categories
Musings News

GO SEE in Dundee!


Dundee – A City of Creativity & Connection

An early start had us arriving in Dundee bright-eyed and ready for a day of exploration. We kicked things off with a visit to Creative Dundee, meeting their team at Dundee Contemporary Arts (DCA). Over coffee and conversation, we swapped stories—sharing what’s been happening in Dumfries and soaking up insights on Creative Dundee’s work. From their Hapworks initiative to the Amps network, it was clear we were kindred spirits, connected by a passion for creative community-building. We also got the lowdown on Pass the Mic and their legendary PechaKucha nights.

Feeling warmly welcomed, we set off on a guided tour of Dundee’s buzzing creative scene. First stop: Generator Projects, Dundee’s longest-running artist-led space. It was alive with energy, a constant hum of artistic activity, and the very definition of community-driven creativity.

Next up was Double Door Studios, where we were greeted by the brilliant Islay Spalding, jeweller and founder of the space. Our chat with Islay delved into the balancing act of being a creative—where passion meets practicality, and how to carve out sustainable careers in the arts.

Lunch at The Bach

Refuelled and ready, we made our way to The Keiller Centre, a fascinating shopping centre with certain community-led units in the heart of the city. We got a glimpse into its future plans and were delighted by Volk Gallery, an independent arts venue housed in a repurposed nappy vending machine.

Then, it was over to Hapworks_00, a pilot creative co-working and event space led by Eilish at creative Dundee. Hearing about the successes of the project was inspiring, but it also opened up conversations around the challenges of securing and sustaining creative spaces—something we all felt deeply connected to. Our day wrapped up with a breezy walk to the waterfront to check out the ‘Sharing Not Hoarding’ riso print exhibition, a fitting end to a day filled with ideas, inspiration, and the joy of shared creative energy.

We left Dundee feeling invigorated, having seen a whole new side to the city—one pulsing with collaboration, innovation, and a real sense of community.

Day 2: Glasgow – A Quick Stop with Big Impact

Before heading home, we made a detour to Glasgow, kicking things off with a visit to the Kelvingrove Gallery to explore their Empire Exhibition. This powerful exhibition critically examined the legacy of empire and colonialism—a moment for us to pause, reflect, and consider the impact of history on the institutions that surround us today. As an unexpected bonus, we caught the Kelvingrove organ recital, a mesmerising performance that had us all slowing down to take it in.

Lunch

Post-lunch, we made our way to Glasgow Women’s Library, a truly special space dedicated to celebrating and preserving women’s histories. As the only Accredited Museum of its kind in the UK, it offers a rich archive, a lending library, and a packed programme of events. The calm, welcoming atmosphere left a lasting impression, and we all departed feeling a deep sense of belonging and gratitude for spaces like this.

Wrapping Up: A GO SEE to Remember

Dundee GO SEE was an absolute cracker. Not only did we expand our knowledge of the creative sector, but we also grew closer as a team—something we reflected on (enthusiastically) during the car ride home.

A massive shoutout to Mia, our creative producer, for pulling together such a brilliant trip. This journey left us feeling inspired, connected, and fuelled by a renewed love for the creative community. Until the next GO SEE!

Written by Sonah Chaudhry

Categories
News

Nature, Creativity, and Community: Wild Goose Festival 2024

In 2024, the Wild Goose Festival (WGF) returned for its fifth year of activity celebrating nature, creativity and place across Dumfries & Galloway. Running from the 18th – 27th of October, our feathery festival had a programme of over 70 events from Stranraer across to Annan.

The Stove Network produces WGF, uniting key partners from across Dumfries & Galloway. WGF formed part of the Scottish International Storytelling Festival 2024 and was supported by TRACS – Traditional Arts and Culture Scotland, Dumfries & Galloway Council, Annandale & Nithsdale Community Benefit Company, administered by Foundation Scotland and Dumfries & Galloway Museums & Heritage Network.

As we celebrate the geese ahead of their departure in April, let’s have a gander at what was occurring at our 2024 festival.

Our Biggest Festival Yet

Our Wild Goose programme arrived early autumn, packed full of events for all ages to enjoy. Building on the success of our previous four festivals, we were able to host our biggest selection of events so far across Dumfries & Galloway.

This year wasn’t just bigger; thanks to the support and involvement of our partner organisations, our 2024 festival featured a diverse array of events, from immersive workshops to captivating performances, all with the celebration of D&G’s unique ecology at their core. WGF continues to champion our region’s cultural and natural heritage.

A New and Improved Wild Goose Festival Hub

The Wild Goose Festival Hub has become an essential element of our festival, and in 2024 we were back in the Loreburne Centre in Dumfries for more fun, educational workshops for all ages.

This year, 902 people visited the Hub in our new, larger space filled with interactive exhibitions, fascinating goose facts, and hands-on creative workshops. The Hub programme of events included workshops with local artists, environmental educators, storytellers and musicians. Our hub space welcomed Clydebuilt Theatre Company for puppet shows, Allison Galbraith for storytelling sessions, Paragon for movement and music workshops and local artists Korey Patterson and Emily Tough. Our Hub was a place where stories came to life, where art bloomed, and where the natural world was explored with wonder.

Launching Hear | Here – Amplifying Voices Unheard

On the 18th of October at the Stove Cafe, The Stove launched our new project ‘Hear | Here’. This three-year initiative aims to combine public art, print media, and immersive experiences to celebrate the heritage, identity, and culture of underrepresented communities in Dumfries. In its first year, Hear | Here is focusing on the Travelling Showpeople, and we were fortunate to be joined by Co-Chairs of Fair Scotland Dr. Mitch Miller and Dr. t s Beall.

Hear | Here is delivered in collaboration with Fair Scotland, a charity founded by Scottish Showpeople, artists, and researchers. To learn more about the project click here.

Celebrating our Unique Environment

The 2024 WGF became a vibrant celebration of South-West Scotland’s natural environment by weaving together art, culture, and nature. The programme of events drew attention to the region’s unique connection with migratory geese and the broader ecosystem. It fostered a deeper appreciation for the area’s landscapes and wildlife, encouraging both locals and visitors to reconnect with and cherish the natural beauty of their surroundings.

A Brand New Visual Identity for 2024

You may have noticed that WFG underwent a makeover ahead of our fifth festival. As the festival grows and evolves, so does our visual identity with an updated logo and brand colours.

Our Wild Goose Festival brand identity has been created by Dumfries & Galloway based graphic designer Jamie Stryker.

Looking Forward to 2025

The sixth annual Wild Goose Festival will return in October 2025. In the meantime, we will celebrate the geese returning to their other faraway climates this spring alongside our partner organisations. Check out our ‘Goodbye to the Geese’ events now on the Wild Goose Festival website here.

We hope to see you there!

Categories
News

Opportunity: Artist/Maker in Residence

Location The Stove, Dumfries
Position Freelance, Part Time
Application Deadline Wednesday 26th March 2025, 9am

The Role

This five month residency offers a creative freelancer the opportunity to develop and deliver visual and public art in and around The Stove buildings. As the Artist/Maker in Residence, you will lead the Conversing Building programme by designing engaging displays that activate public spaces. You will also play a key role in our soon-to-be-launched Print House/Workshop, supporting its creative operations, and providing hands-on artistic and practical support for The Stove team and café. This flexible, part time role is ideal for a working artist who thrives in collaboration, enjoys experimenting with different media, and is passionate about community-driven art.

The Artist/Maker in Residence will have three key roles: 

Leading the Conversing Building Programme
Designing and installing creative displays that activate The Stove’s public spaces and spark dialogue around key themes such as regeneration, nature, and underrepresented voices.

Residency in the Print House/Workshop
Engaging with the community print space, supporting its operation, and collaborating with other creatives using the facility.

Maker in Residence at The Stove
Providing hands-on creative support for The Stove’s team, café, and wider projects, contributing to both practical and artistic outputs.

Rate of Pay and Hours

This role pays £150 per day for an average of 7 days per month for a period of 5 months from 5th May to 3rd October. The Artist/Maker in Residence will be expected to attend a full team meeting on Monday mornings at 9.30 for one hour (blended meeting) all other hours will be by negotiation according to project needs and availabilities. 

How to Apply

To apply for this role, please submit a CV and cover letter, detailing your interest in this role and working with The Stove, as well as your relevant skills, experience, and knowledge. In addition, three examples of your work as an Artist/Maker.

Please email your application to [email protected]

Deadline Wednesday 26th March 2025 at 9AM
Interviews Thursday 10th April 2025

Applying in a Way That Works for You

We want our application process to be as inclusive and accessible as possible. We welcome you to communicate with us in whatever way feels most comfortable and natural to you. If you have any questions—about the application, the role, or anything else—please don’t hesitate to get in touch at [email protected]

Categories
News

A Fair Future

Written by Martin O’Neill

Since its launch in October last year, Hear|Here—a project in partnership with Fair Scotland that collaborates with Scotland’s travelling Showpeople—has been steadily gaining momentum. This initiative, alongside collaborations with Fair Scotland and Dr. Mitch Miller’s Atchin Tans & Tobers project, forms part of a broader artistic exploration of Scotland’s Showpeople culture, including Miller’s deep-mapping practice known as dialectograms.

We have ambitious plans for 2025, a dynamic programme of installations, performances, and newsprint, and an upcoming series of events coinciding with the March Spring Fair, the project continues to grow in scope and impact. 

Left to right: Dr Mitch Miller (Fair Scotland), Dr t.s Beall (Fair Scotland), Alex James Colquhoun (Chairman of the Scottish section of the Showmen's Guild of Great Britain and Vice President of the European Showmen's Union, Albert Reid (Reid's Amusements, Local Showman)
Left to right: Dr Mitch Miller (Fair Scotland), Dr t.s. Beall (Fair Scotland), Alex James Colquhoun (Chairman of the Scottish section of the Showmen’s Guild of Great Britain and Vice President of the European Showmen’s Union), Martin Joseph O’Neill (Artistic Director, The Stove) Albert Reid (Reid’s Amusements, Local Showman) at the launch of the Hear | Here project. 

I’m always eager – perhaps to the point of annoying (!) – to remind Doonhamers just how deeply embedded and longstanding the travelling fairs are in Dumfries. From medieval feasts in the 1300s to the Rood and Spring Fairs of today, this rich tradition remains a defining part of the town’s cultural landscape. Showpeople played a pioneering role in early cinema, contributed significantly to the town’s development—including the construction of the suspension bridge—and supported local efforts during the Second World War. Their history is not just alive but constantly evolving—adapting to the present while remaining fiercely proud of its unique identity.

There is a growing recognition of Showpeople’s cultural significance, the recent BBC Scotland docu-series Licensed to Thrill has brought their stories to a wider audience, while the European Showmen’s Union Conference in Edinburgh earlier this year—an event I was fortunate to attend—highlighted the continued importance of this community across Europe. This renewed interest signals a much-needed revival and acknowledgment of their contributions, woven intricately into Scotland’s industrial, cultural, and civic fabric. 

This cultural resurgence comes with challenges. Inconsistencies in local policies and licensing rules continue to create uncertainty. In Dumfries, the debate around the flood defence scheme highlights these tensions. On the positive side, there’s growing support from local leadership, with calls to ensure that fairs remain on their current site by the Whitesands. But sustaining these historic fairs remains an uphill struggle, with rising costs and bureaucratic hurdles. 

The recent European Showmen’s Union Conference brought these issues to the forefront in a parliamentary debate addressing key concerns for Scotland’s Showpeople:

Furthermore, efforts to safeguard Showpeople’s heritage are gaining traction. The UK signing up to UNESCO’s Convention for the Safeguarding of Intangible Cultural Heritage is an encouraging step, as are initiatives led by Fair Scotland, which has recently launched a survey documenting fairs under threat and those lost over the past century. You can read more about this in a recent BBC article.

And members of the public are encouraged to take 5 minutes to fill in the short survey here: https://bit.ly/LostFairs

How can we support the future of the fair? 

At the recent European Showmen’s Union conference, presentations from various international organisations shed light on successful models of support. The German Showmen’s Association (Deutscher Schaustellerbund), for instance, highlighted the scale and resilience of fairs in Germany—where, in 2024 alone, 7,500 fairs attracted 200 million visitors, generating a turnover of €4 billion. Despite rising operational costs, these fairs continue to flourish due to their deep integration within cultural and historic celebrations. Events such as Oktoberfest, Stuttgart’s Cannstatter Volksfest, and traditional Christmas markets demonstrate how fairs can be framed as essential cultural fixtures rather than standalone attractions.

Stuttgart’s Cannstatter Volksfest
Stuttgart’s Cannstatter Volksfest

Closer to home, Kirkcaldy’s Links Market—Scotland’s largest street fair—offers an inspiring example of longevity and adaptation. Running for over 700 years, it remains deeply embedded in the town’s identity. Unlike fairs relegated to isolated spaces, Kirkcaldy’s fair, as with Dumfries, runs along the waterfront. Its success, thanks to longstanding advocacy from leaders in the local council, underscores how traditional fairs can be seamlessly woven into the cultural life of a place, contributing to the long-term economy of a town. 

Kirkcaldy’s Links Market in Fife is Europe’s longest street fair, thought to be the longest in Scotland. 
Proposals for the Future

It wouldn’t feel very Stove-like if I didn’t use this blog as a space to throw some ideas into the mix—so here are a few to get us started! If we want Dumfries’ fairs to thrive, we need to think about how they fit into the town’s future and make sure they remain at its heart. Some ways to do this could include:

  • Cultural integration: Weaving the fairs into wider community events, arts festivals, and seasonal celebrations to make them a more visible and celebrated part of town life.
  • Heritage interpretation: Bringing the fairs’ history to life through walking tours, museum exhibits, and talks that deepen people’s understanding of their significance.
  • Urban design integration: Making sure fairs aren’t just accommodated but actively designed into the town’s spaces—imagine seating areas shaped for fairground rides or performance zones that transform throughout the year.
  • Sustainability initiatives: Looking at greener energy solutions, like hydroelectric power from the River Nith, to make fairs more environmentally sustainable and cost-effective.
  • Diversity and inclusion: Ensuring fairs are welcoming spaces for everyone, where diverse voices—including travelling communities, LGBTQ+ groups, and multicultural communities—are celebrated and included.
  • UNESCO Intangible Cultural Heritage Recognition: Pushing for Dumfries’ fairs to be recognised as part of Scotland’s protected cultural heritage, similar to how the Tilburg Fair (The Netherlands) has been designated.
Show woman Lucille Pullar speaks to ‘Fairground Walkabout’ attendees in March 2023. Lucille shared her experiences working as an Education Liaison Officer for the Showmen’s Guild, and her grandson’s ‘mini Lorry’ – painted with the family colours! Image t s Beall

Looking ahead
The Show Must Go On postcards (The Stove)

The work of Hear|Here is taking shape not just as an advocacy project but as a catalyst for deeper integration and innovation – by embedding the voices and ideas of Showpeople into urban planning and cultural strategy. Through collective action, we have the opportunity to secure a future where Scotland’s travelling fairs not only endure in Dumfries but flourish as living, dynamic elements of our town and community.

Learn more about Here|Hear.

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