Elete N-F responds to How I Learned to Swim by Somebody Jones, embracing the darkness of water and its properties of healing and communality.

Memuna Konteh responds to Fringe comedy split-bill Ayo Adenekan and Alvin Bang: Abandon God, putting expectations aside to enjoy stand-up that adapts to important societal moments.

Rho Chung interviews theatremakers Diana Feng from Don’t Call Me China Doll and Sierra Sevilla from For the Love of Spam about their Edinburgh Fringe shows, unpacking racial stereotypes, tropes, and the histories that have maintained them.

In this Response to Sleeper by Korean dance group Jajack Movement, Alycia Pirmohamed interrogates the architectures of the dancers bodies amidst the climate crisis, and of her own body in an Edinburgh studio.

Anthony V. Capildeo responds to Precious Cargo, a story about the children affected by Operation Babylift during the Vietnam war, by Australian writer-performer Barton Williams (Huynh van Cuong) and Hebridean composer Andy Yearley (Nguyen Tang).

In this Response to Rat Tails (WIP) by Jeremy McClain, Eilidh Akilade details the journey of art criticism, from the inception of an idea in June, to the witnessing of an Edinburgh Fringe show, before the long bus ride home in August.

Katie Goh responds to A History of Fortune Cookies by Sean Wai Keung, looking back on previous iterations of the performer’s work and of her own writing to find value in repetition.

Xandra Sunglim Burns responds to Charlene Kaye’s show ‘Tiger Daughter or: How I Brought My Immigrant Mother Ultimate Shame’, on music, mothers, and breaking the generational curse of assimilation and propriety.

Anahit Behrooz responds to Cosmos, a solo performance by Palestinian contortionist and aerial acrobat dancer, Ashtar Muallem. “My body is my country,” she explains, minutes into her Edinburgh Fringe show. “After all, the first place we live is our bodies.”

Arusa Qureshi talks to comedian and ex-Vine creator Demi Adejuyigbe about developing his first Fringe show and chasing the process over perfection.

Founder Jess Brough reflects on the value of the Edinburgh Fringe Festival for Artists of Colour and announces a new focus for the Responses project.

Thomas Reid discusses taking an intentional approach to audio description, advocating for greater diversity in the voices chosen to convey meaning to disabled audiences.

Theophina Gabriel responds to Alexandrina Hemsley’s Fountain, where a trio of dancers explore tidal cycles of repair, loss, joy and intimacy, expressed through movement and digital imagery.

Xandra Sunglim Burns responds to The Perfect Knight, a film by Stephané Alexandre that shows romance may come when you are least expecting it.

Shivanee Ramlochan discusses Michelle Mohabeer’s Coconut/Cane & Cutlass, a mythic/poetic rumination on exile, displacement, and nationhood from the perspective of an Indo-Caribbean lesbian who migrated to Canada twenty years ago.

Shirine Shah responds to Flesh and Paper (1990), a lyrical exploration of the sense and sensibilities of Indian lesbian poet and writer, Suniti Namjoshi, directed by Pratibha Parmar.

Asyia Iftikhar responds to (Tending) (to) (Ta), a dream-like journey across parallel dimensions that imagines a world without capitalism, by interdisciplinary artist April Lin 林森.

Deborah Chu responds to Mourad Kourbaj’s striking tale of a family escaping the horrors of the Argentine dictatorship and 'La Junta Militar' in Una Muerte y Un Nacimiento//A Death and A Birth.

Nasim Rebecca Asl responds to Violeta & Sofia, a film by Noah Berhitu and Alejandra Rogghé Pérez on the power of food to maintain generational links to culture and place after migration.

Eilidh Akilade

Her hands bloom outwards again and again. Another’s hands clasp mid-air before sinking to the right, sweetly. One hand – of another, still – holds their fingers tightly and then suddenly detaches, spinning out in circles. And the left hand of another comes under the right and it is held, supported, by that which is its sistren, its brethren. It relaxes before springing upwards, fingertips splaying, signally a new thought for Maud Sulter and for us all.