A Worthwhile Fuss. CashBack for Communities Grants Programme 2008/09. Summary Evaluation By Reid Howie Associates

Transcription

1 A Worthwhile Fuss Arts CashBack for Communities Grants Programme 2008/09 Summary Evaluation By Reid Howie Associates

2 M O RAY art C E NTRE Evaluation undertaken by Reid Howie Associates, 156 High Street, Burntisland, Fife, KY3 9AP on behalf of Arts & Business Scotland and the Scottish Government.

3 Welcome The CashBack for Communities scheme that we introduced in 2007 has been a tremendous success, and one of which I am extremely proud. Since it began, hundreds of community projects and thousands of youngsters have benefitted directly from 20 million in cash stripped from gangsters and drug dealers under proceeds of crime legislation. Using this money, CashBack has helped provide a wealth of diversionary activities for Scotland s young people, offering them opportunities that simply would not have existed without its support. It is a programme that seeks to change the culture that sees cheap drink as a right, but access to sports, arts or leisure as a luxury. That is why the programme has supported a host of sports such as football, rugby and basketball as well as investing in activities such as drama and music. In 2008, we launched a matching grants scheme through Arts & Business Scotland with almost 87,000 of CashBack funds. Arts & Business ensured that this grant money was doubled by business sponsors to allow almost 180,000 worth of arts activities to take place around Scotland, helping more than 6,200 young people. The results, shown in this summary and the full Arts & Business report, illustrate how the arts can expand horizons, change behaviour and have an impact on the lives of individuals and communities. These projects would not have happened without sponsorship from the businesses involved and the Scottish Government acknowledges the significant ongoing support that Scottish companies make every year to the cultural life of the country. We also endorse the contribution they have made to the community projects funded through this CashBack scheme, and I thank them for their efforts. Kenny MacAskill, Cabinet Secretary for Justice

4 These are young people nobody generally makes a fuss of. This programme made a fuss. The Scottish Government s CashBack for Communities programme was designed to return money seized from people convicted of serious criminal offences to local communities in the form of grants to support activities for young people aged The programme was intended to make a visible difference at a local level, by ensuring that young people have positive, imaginative projects that engage them. To date, CashBack for Communities has supported both sport and arts activities. This report focuses on arts activities. Arts & Business Scotland ran the Arts CashBack for Communities Grants Programme. It was a highly successful and stimulating programme that reached over 6,000 excluded young people, not only making the arts accessible to them but also making an impact on each participant along with the arts organisations, businesses and funders involved. This is a summary of the full evaluation that outlines the objectives, achievements and lessons learned. Fresh Start, Re:Gain, Growing Teachers, and Sharing Stories are the titles of the four projects reviewed here that start to tell the story. The full report, that assesses the overall impact of the programme and showcases all ten projects, is available from Arts & Business Scotland.

5

6 Programme objectives The Arts CashBack for Communities Grants Programme started in mid-2007, and accepted applications for two years. The final projects were completed in September These were its aims, to: Get more businesses to sponsor arts activities that promote inclusion through the arts for young people aged between 10 and 19. Harness the inspirational power of the arts to expand the horizons of young people thus helping to divert them from becoming involved in crime and anti-social behaviour. Involve young people who may not otherwise have arts opportunities, especially looked after children and young carers.

7 Top line figures 10 projects were funded by 176,000 88,000 came from the Scottish Government (the cash back) 88,000 came from business sponsors In some cases, sponsoring businesses also provided assistance in kind, including volunteers, technical support and access to corporate purchasing contracts. Most projects received between 10,000 and 16,000. The largest package was 50,000, the smallest 8,000. The young people who took part More than 6,200 young people took part in the programme. The gender divide was about 50:50. The projects also successfully reached specific groups, such as disabled young people, young people from ethnic minority communities, young carers, young parents, looked after or accommodated young people, young people experiencing mental health problems and young people being bullied in school or in their communities.

8 Aberdeen Arts Development s Fresh Start sponsored by McGrigors LLP Funded 13,500 (CashBack 5,000; McGrigors LLP 5,000; Aberdeen City Council 3,500) and Aberdeen City Council s Integrated Children s Services team (which manages children s homes). This project was targeted at looked after and accommodated young people aged resident in children s homes in Aberdeen. It ran from August 2009 to May It started with a video documenting the experiences and aspirations of young people resident in children s homes. Through discussion, it came out that they were not provided with enough opportunities for creative outlets. The project set out to address this with a number of aims: to improve access to the arts for these young people; to help build their confidence by bringing about changes in their lives and improving their experiences. None of the young people involved had had previous experience of arts projects, although some had taken art as a school subject. As a first step, they participated in taster sessions, with a range of hands-on activities. These were very successful, and helped them to identify the activities they wanted to take part in over the 6 weeks of the programme. Each home had a different programme, focusing on their stated interests. Each session was planned in detail and led by an experienced tutor, supported by a member of staff from the children s home. Among the works created were graffiti art, CD wallets, castings, mouldings, etchings, The project was delivered in partnership between Aberdeen Arts Development

9 jewellery, collages and frames. A total of 60 sessions and events were run, involving 17 boys and 8 girls. The artwork was exhibited at the Lemon Tree Gallery in Aberdeen at the end of the project. This was designed not only as a showcase for the young people but also to help change negative public perceptions of children s homes and looked after and accommodated young people. All of those involved felt that the project had been a great success. There was a consensus that the activities had been fun, and virtually all of the young people felt they had gained new skills. Some of these skills were specific to the art activities while others were more general (for example, skills relating to planning and sequencing). The most common themes identified by the young people as outcomes of the programme were that they had more confidence and that they felt better about themselves. Staff also identified that the project had had a positive impact on young people by encouraging them to take part in group activities. There was strong view that the project should be repeated, although this seems unlikely to be in the same form as before due to a lack of funding.

10 Clydebank Housing Association s Re:Gain sponsored by Elphinstone Properties Funded 15,000 (CashBack 7,500; Elphinstone Properties 7,500) The Re:Gain project was based in the Whitecrook area of Clydebank. The area has the highest levels of recorded violence, drug taking, street drinking and curfews within West Dunbartonshire, and is in the worst 5% of areas in Scotland as measured on the Scottish Index of Multiple Deprivation (SIMD). The project, which ran from June to August 2009, was designed to introduce disenfranchised and disengaged young people to the potential of art to transform their lives and build understanding and appreciation within their communities. It was developed following a consultation with young people in Whitecrook, who had been very positive about an arts theme, but keen that it should be contemporary and cover a range of activities. A series of taster sessions was offered through other programmes running at Centre 81. These tasters were successful in raising awareness of the project in the area. Four activities were offered as part of Re:Gain: theatre; street dance; digital music and graffiti art. Although the latter two activities were very successful, both the theatre and street dance activities had to be curtailed due to poor attendance. Some of the young people also took part in a bicycle recycling project using skills they had learned during Re:Gain. The digital music workshops were led by experienced tutors, and introduced young Re:Gain was delivered by SPARC Community Arts under contract to Clydebank Housing Association. All of the activities were based in Centre 81, a multi-purpose community and social centre. A total of 92 young people took part in the project (60 boys and 32 girls). Virtually all were aged 14 years and under.

11 people both to production techniques and musical forms. Participants were encouraged to create their own songs (with or without lyrics). Songs created by the young people were used to create the soundtrack for a video documentary made about the project. Young people taking part in Re:Gain were introduced to graffiti art through studying illustrations of high quality graffiti in UK and US books and magazines. They were also provided with clear advice about the law in relation to graffiti, and encouraged to act responsibly at all times. The first group of 5 sessions focused on the development of skills, with the remaining sessions being devoted to painting the local five-a-side football field. Graffiti art created by young people was also displayed as part of a community event. Participants were very positive about the project. Most believed that they had benefited from taking part, gaining both technical and planning skills. Most also suggested that Re:Gain had helped their confidence or their self-esteem. The project also helped to encourage many people to use Centre 81 who had not previously done so. At a wider level, Re:Gain also contributed to a programme of activities promoted by West Dunbartonshire Council s Anti-Social Behaviour Action Team. The model used in Whitecrook (including a range of arts activities) was subsequently replicated in another town within the local authority area.

12 Moray Art Centre s Growing Teachers sponsored by LifeScan plc Funded 50,000 (CashBack 25,000; LifeScan plc 25,000) Growing Teachers was based in Moray Art Centre in Findhorn near Forres. The project ran from August 2008 to August 2009 and was the largest supported by the programme. It was aimed at young people living in a rural area who were facing a range of issues including isolation, poverty or bullying. The project was also targeted at young carers; young people experiencing mental health issues; young people with additional support needs, and those involved in antisocial behaviour or who had committed offences. In many cases, these issues were exacerbated by living in a rural area, with access generally being restricted to a limited range of services. The activities were designed to inspire and motivate children and young people experiencing hardships, difficulties and disadvantages, equipping them with the skills and resources to navigate their own route on a professional path. The programme involved nearly 3,000 young people.

13 The programme evolved over the year, with a mix of one-off events, classes and courses, group work, one-to-one work and outreach. Many of the activities took place in Moray Art Centre, but staff also supported work undertaken by partner agencies throughout Moray. The project involved joint working between Moray Art Centre and more than 20 voluntary organisations and services within both Moray Council and the NHS. Many of the one-off events were designed to enhance the experiences of school pupils seeing exhibitions at the Art Centre. Other events were linked in with wider activities such as the Big Draw. Over the year, classes were provided for young people on Saturday mornings to help stimulate interest in a range of art forms. The programme also supported a series of life drawing classes to assist young people seeking entry to art college who had no access to specialist tuition. Partly as a result of these sessions, a number of young people were accepted into art schools and colleges. Two main group activities were offered. A group of up to 12 young people with an interest in Manga met at the Centre, with support being provided through the programme. A six-week programme entitled Picture This was also developed jointly with staff from other services working with young people experiencing mental health issues. A series of 6 sessions was offered, each led by an art tutor, and focusing on different media. A small number of young people were provided with in-depth one to one support, two of these over most of the period of the programme. The support was provided by trained artist therapists. Growing Teachers was widely seen as very successful. A large number of sessions were offered and levels of participation were very high. The programme was successful in engaging with a wide range of young people facing challenges in their lives. The level of engagement with the programme varied, from a few hours to many weeks, but many young people reported benefits in terms of their confidence and the development of new skills. For many, it was the first time they had been exposed to the arts. For most, it was the first time any of their work had been displayed in public. In some cases, there was clear evidence of therapeutic benefits. The programme offered placements to many young artists and tutors. At a wider level, the programme was also helpful in increasing the public profile not only of Moray Art Centre, but of art more generally, and its role in helping young people to address issues in their lives. The project is continuing, albeit in a more limited form, and LifeScan plc has made a financial contribution to the new programme.

14 Village Storytelling Centre s Sharing Stories: Giving Young Carers a Voice sponsored by Standard Life plc Funded 10,000 (CashBack 5,000; Standard Life 5,000) The Sharing Stories project was based in the Pollok area of Glasgow and was aimed at young people with caring responsibilities. It ran from August 2009 to July The project had two purposes. The first was to help young carers to explore and better understand aspects of their lives. The second was to try to raise awareness among young people and professionals of the issues facing young carers. All of the work was directed towards the production of a book of stories and a set of informational postcards. extended, with an extra group being run. A total of 38 young people (27 girls and 9 boys) contributed stories, poems or artwork to the project. The basic approach was developed by professional storytellers, but they worked The project was delivered in partnership between the Village Storytelling Centre and Pollok Carers Centre. Staff from both organisations attended every session, and all of the young people who took part had worked with staff from the Young Carers Project run by Greater Pollok Carers Centre. Sessions were delivered over 6 weeks with groups of 6 8 young people. There was a considerable level of enthusiasm for the project among young carers in Pollok. As a result, the project had to be

15 closely with two young people who had a key role in identifying what they thought would, and would not work with young carers. The content of the sessions was devised by the storytellers working within this framework. There was considered to be a risk that some young carers might not feel able to talk about their experiences in front of others, but the concept of a safe space was very successful in encouraging young people to speak openly. A book called What I Do was created, together with a set of four themed postcards. Thanks to assistance from Standard Life, this was produced in full colour, and benefited from significant input from a graphic designer. A total of 3,000 copies were produced, and it is intended that these will be distributed through schools, partly as a way of supporting in-classroom awarenessraising about issues facing young carers. A video was also prepared, featuring many of the young carers, and this was made available through YouTube. As a direct result of the project, a group of young carers was invited to develop a play which was performed at the Tramway Theatre in Glasgow in June The project had a significant impact on a lot of the young people. Every participant had at least one story, as well as poems and artwork, in the book. For many this was the first time they had ever had their work featured in this way. Many reported significant increases in their levels of confidence and self-esteem and felt encouraged to talk about their caring roles, and the issues facing their families, for the first time. As part of the project, staff from Pollok Carers Centre visited all of the families featured in the book, and as a direct result of their child s participation in the project, many were encouraged to seek support. Participation in the project also helped a number of parents and children to talk openly about caring issues for the first time. There is a strong wish from both partners that the work should continue in Pollok and that the lessons learned should be made available to other projects working with young carers.

16 The achievements of the Arts CashBack for Communities Grants Programme Each project was successful in achieving its own objective, and in contributing to the overall aim of the programme. Here are some of the main ways in which the projects were successful. The contribution made by business sponsors The involvement of sponsors went further than simply providing funds. Additional in-kind contributions included: advice on project development; making links to other potential funders; preparing and circulating press releases; providing volunteers to help support project activities; supporting publicity; providing technical support or staff with specific expertise; giving access to corporate purchasing contracts; and attendance at high profile public events. Projects were uniformly positive about the role played by the business sponsors.

17 Reaching excluded young people A key aim of the programme was to reach young people who were excluded or at risk of exclusion. Each project targeted groups of young people in these categories, including looked after and accommodated children, young carers, young people experiencing mental health problems, young women struggling with their body image and young people who were being bullied at school or in the community. Some projects also targeted young people responsible for anti-social behaviour, or who were bullies. One project helped to provide a safe space within which parents could be confident that young people could take part in community activities away from gang influences. Another provided opportunities to young people with aspirations to follow a career in art, but who, as a result of where they lived, could not access the sorts of specialist tutoring routinely available in urban areas. At a basic level, most of the projects supported by the programme worked with young people lacking in confidence, and with low self-esteem. Making the arts accessible These projects provide good examples of ways in which the arts can be made accessible both generally and to groups of young people who are unlikely to be exposed to the arts in other ways. There was a focus on activities relevant to young people s own interests, such as graffiti art and digital music. There was also success in identifying ways to make traditional art forms more accessible by providing activities to contextualise the experience for the young people. There was also a focus on ensuring that young people s work was displayed in public. This helped to break down barriers by challenging the view that art for display or performance is a professional activity. It is important to recognise that, for a large majority of the young people who participated in these projects, this was their first exposure to the arts, and, in virtually all cases, their experiences were positive. Feedback from project staff suggests that many of the young people were enthusiastic about what they could do next and some have undertaken further art-related activity, or pursued arts awards.

18 Individual impacts on young people Many of the young people reported that they had both enjoyed and benefited from participating in projects supported by the programme. These benefits came in two main areas. Many reported increased levels of confidence, improvements in self-esteem, changes to their self-image or increases in their social skills. Many also showed a much-increased willingness to engage in social activities and there was evidence of decreasing social isolation. In a small number of cases there were examples of specific therapeutic benefits in relation to their mental health. Some young people have gone on to volunteer, or to take part in, other activities with the organisations involved. Many also learned new skills. Some of these were specific to arts activities, such as: digital music; graffiti art / spray painting; drawing; painting; print making; jewellery making and sculpture. Some of the skills were more generic and transferrable, such as: planning; sequencing and logic skills; team working and communication.

19 Capacity building for tutors and organisations All of the projects helped to develop the capacity both of individual tutors and of the organisations involved. For tutors, the programme supported activities with many groups of young people who typically would not engage with the arts, and this helped them to develop their skills in working with these groups and broaden their range of experience. This was particularly evident in work with both looked after and accommodated young people and young carers, as well as in the work with young people experiencing mental health issues in Moray. The capacity of the partner organisations was also significantly enhanced by their participation in projects supported by the programme. A number suggested that being provided with Arts CashBack for Communities funding helped to establish credibility with other funders. The Art of the Pitch process (through which organisations made a public pitch for funding to potential funders) was viewed as valuable in helping organisations develop better, more focussed applications, as well as public presentation skills. For some organisations, the programme had been their first experience in working within a structured programme environment, or in developing evaluation tools. Most of the projects were delivered in partnership between arts organisations and organisations specialising in work with various groups of young people. It was clear that this approach was successful, and in Pollok, Aberdeen and Moray, these partnerships are being replicated in new work, building on projects supported by the programme. In two cases (Moray and Whitecrook), the projects were instrumental in raising the profile of particular community venues, and in encouraging many young people (as well as adults) to use these facilities for the first time. The capacity of the partner organisations was also significantly enhanced by their participation in projects supported by the programme.

20 Key lessons for arts organisations The projects which were funded through the programme identified a number of valuable lessons for other arts organisations hoping to do work of this kind. Defining the project and budgeting The importance of developing a project clearly with careful thought to budgeting was highlighted. Most arts organisations are well-versed in applying for money to develop projects. However, as a response to the harsh economic climate Arts & Business Scotland developed an innovative approach to applying for funds: Art of the Pitch, based on the BBC TV programme Dragon s Den. The Art of the Pitch process was competitive only a small proportion of the original applicants were invited to pitch on the night, and, of these, only half received funding. While this may have been a slightly unusual process, it is likely that the level of competition for funding will increase and that project applications will have to be outstanding to stand out from the crowd. Although all projects concluded successfully, the experience of the programme points to the need for careful thought to be given to affordability when submitting bids to competitive funding sources. Each of the projects that received funding through the Art of the Pitch was outstanding, promising (and delivering) significant benefits to the young people, as well as a good return for the programme. However, most of the projects arguably promised too much. In some cases, the projects required a level either of in-kind contribution from others, or a level of cross-subsidisation to cover costs.

21 Partnership working and the importance of specialist knowledge All of the projects were partnerships, not only between the arts and business organisations, but also between voluntary organisations or public bodies. The most critical aspect of such partnership was in contributing specialist knowledge of the issues facing the client group in general, and personal knowledge of the circumstances of individual participants. All viewed this as a key success factor and there was a general acknowledgement that, had projects not had the advantage of specialist knowledge, they would have been less successful. The importance of support Another key lesson was the need for and the benefits of support being provided to participants. Many of the young people who took part in these projects were, in some way, vulnerable. Many of them were socially isolated; some were receiving long-term support from a social care, health care or education service and did not trust outsiders, including service providers and project delivery staff. A number of the projects ensured that such support was built into the project design. At the Village Storytelling Centre staff from the Pollok Carers Centre were on hand at every session. At the Moray Art Centre, workers from Moray Council or NHS Grampian attended every session of the Picture This programme. In these and other examples, the workers knew the young people, had worked with them, and most importantly had gained their trust. This had three main benefits. Firstly, it meant that when the young people faced difficult issues, they had someone to talk to at the time. Secondly, in all cases, the young person was able to return to and complete the session. Without support, it is likely that, in many cases, the young person may have been unable to return and may have dropped out altogether. Thirdly, the artists and storytellers were able to carry on working with the other young people without interruption.

22 Empowerment and control A thread running through all the projects was that young people had a significant role in the planning and design. One project carried out a community consultation with young people to help identify the activities it would provide. Another effectively provided a menu of activities (safe and practical) from which participants could choose. A third involved young people in all aspects of the planning and design. In this case, not only did this help the success of the project greatly, it also had a significant impact on the life circumstances of the young people. Fun Although each project had a serious underlying purpose (for example, to help young people articulate the issues they faced in their lives, perhaps for the first time), the projects never lost sight of the fact that art should be fun. In some cases, fun activities were used explicitly as a way of helping young people to identify and address complex psychological issues. Many of the arts activities were purposely tactile (and generally messy). Celebration Closely linked to fun, all of the projects had elements of celebration. This took a number of forms, including public performances, art exhibitions, the presentation of certificates and photo sessions. As one worker noted these are young people nobody generally makes a fuss of. A 16 year old who took part in one of the projects said that this was the first time they d ever been on a stage, and the first time they had ever received a certificate.

23 Preparation for the future It is almost inevitable that, in the current climate, many good projects will fail to get continuation funding. Some of the projects supported by the programme have been able to carry on, and it is worthwhile to reflect on some of the funding lessons organisations have learned from their involvement in the programme. Projects need to be designed with sustainability in mind. In part, this means thinking ahead to what a future funder might need. Projects should establish a set of objectives for their activities so that they can demonstrate their success. They need to gather the views of participants about what the project meant to them, so that they can show what the impact has been. Projects need to keep good records, work to budgets and complete reports clearly and on time, so that they can show that they are efficient, and, from a funder s perspective, a low risk. Ideally, projects should either retain the work which was created, or where that is not possible (for example, where it is has been given to participants), keep detailed photographic and video records. This can show future funders the quality of the work produced. Projects also need to start the process of looking for future funding at a very early stage. Funding processes take time, and while it can be a distraction from current activities to identify funding sources, meet with potential funders or complete applications, it makes it less likely that the project will face a period with no funding.

24 Key lessons for businesses The experience of the programme suggests that there are two main lessons for businesses. Managing relationships with small community-based projects The first key lesson for businesses is the need for effective management of the relationship with small community-based projects. All of the businesses involved in the programme had had previous experience of funding arts projects, but in most cases these had been long-established regional or national arts organisations. Few had had prior experience of working with very small community-based projects. Inevitably, the nature of the relationship is different. Regional or national arts organisations generally have specialist staff who liaise with sponsors, and who are well aware of sponsors needs. With limited exceptions, most of the organisations supported by this programme had never worked with a sponsor before. Being imaginative A further key lesson arising from the programme is that where businesses (and arts organisations) are imaginative, considerable value can be added both for the project and for the young people. A number of examples of this were identified, including a decision by Lifescan to host a permanent exhibition of artwork prepared by participants in the Growing Teachers programme in its corporate headquarters, and Standard Life providing access to its corporate print buying contracts, allowing the What We Do book to be produced in full colour.

25 Key lessons for funders There were also two lessons identified for funders. Capturing the imagination of funders and arts organisations The importance of government funding Most of the arts organisations stressed the importance to them of having received support from a Scottish Government funding stream. A number identified that this, coupled with completing their project (with its reporting and monitoring requirements) had helped them to establish credibility with other funders. Many of those involved in work supported by the programme were highly positive about the fact of Scottish Government funding (and particularly CashBack for Communities funding) being made available for arts projects for young people, and expressed a clear view that this should continue, particularly given the difficulties faced in securing funding from other sources. The second lesson for funders relates to the value of taking an imaginative approach. The recession had a significant impact on the programme as arts organisations found it very difficult to attract sponsorship, and the flow of applications effectively dried up. The response of Arts & Business Scotland was Art of the Pitch. This was highly successful, attracting 5 business sponsors and more than 50 project applications, most of which were of a high quality. A total of 5 projects were funded directly through these events, with a further 3 subsequently receiving funding as a direct result of contacts made. The success of Arts & Business Scotland s Art of the Pitch (echoed by all of those who took part) illustrated that, even in a deep recession, it is possible to engage business sponsors where the product is imaginative and well constructed.

26 Partnerships receiving CashBack for Communities funding through Arts & Business Scotland No Arts Business Bus Spon Cash Grant Location SCB001 Borderline Theatre Company Strathclyde Police - Ayrshire Division 11,604 11,604 North Ayrshire SCB003 Moray Art Centre LifeScan Scotland Ltd 25,000 25,000 Moray SCB008 SCB009 SCB011 National Theatre of Scotland Village Storytelling Centre Clydebank Housing Association The essentiagroup 8,000 8,000 Glasgow, Edinburgh, Aberdeen, Inverness, Dundee Standard Life 7,500 7,500 Glasgow Elphinstone Group 7,500 7,500 Glasgow SCB012 Tramway ScottishPower 7,500 7,500 Glasgow SCB013 YDance Talisman Energy 5,000 5,000 Aberdeen SCB014 SCB015 SCB016 Aberdeen Arts Development Team Aberdeen International Youth Festival Muirhouse Youth Development Group McGrigors LLP 5,000 5,000 Aberdeen Shell 4,000 4,000 Aberdeen State Street Bank 7,500 7,500 Edinburgh 88,604 88,604 Total Investment 177,208 The full report is available from Arts & Business Scotland. September 2010

27 All images have been supplied by the four arts organisations featured in this brochure, and show participants and work from their CashBack funded projects. Many thanks to Aberdeen City Council s Arts Development, Clydebank Housing Association, Moray Art Centre and the Village Storytelling Centre for permission to reproduce these images here.

28 Reid Howie Associates Ltd 156 High Street Burntisland Fife, KY3 9AP Arts & Business Scotland 11 Abercromby Place Edinburgh, EH3 6LB Summary edited by Henzteeth Designed by Freight Design Printed by William Anderson & Son