Arts Funding: Statistics

Total Page:16

File Type:pdf, Size:1020Kb

Arts Funding: Statistics BRIEFING PAPER Number CBP 7655, 27 April 2016 By Noel Dempsey Arts Funding: Statistics Inside: 1. Arts Council of England 2. Scottish Arts Council (Creative Scotland) 3. Arts Council of Wales 4. DCMS National Museum and Gallery Funding 5. Appendix I: Arts Council of Great Britain, 1955-1994 6. Appendix II: Reference tables www.parliament.uk/commons-library | intranet.parliament.uk/commons-library | [email protected] | @commonslibrary Number CBP 7655, 27 April 2016 2 Contents Summary 3 1. Arts Council of England 4 1.1 ACE Grant-in-Aid income and arts expenditure 4 1.2 National Portfolio Organisations 5 1.3 ACE Lottery income and grant commitments 7 2. Scottish Arts Council (Creative Scotland) 8 2.1 Creative Scotland Grant-in-Aid income and arts expenditure 8 2.2 Creative Scotland Lottery income and grant commitments 9 3. Arts Council of Wales 10 3.1 ACW Grant-in-Aid income and arts expenditure 10 3.2 Revenue Funded Organisations 11 3.3 ACW Lottery income and grant commitments 11 4. DCMS National Museum and Gallery Funding 13 5. Appendix I: Arts Council of Great Britain, 1955-1994 16 5.1 ACGB Grant-in-Aid income 16 5.2 ACGB Grant-in-Aid income: England, Scotland and Wales 17 5.3 ACGB Total Arts Expenditure 19 5.4 ACGB Total Arts Expenditure: England, Scotland and Wales 20 6. Appendix II: Reference tables 22 Cover page image copyright: Photo 29/365: Back to work by James Robinson. Licensed under CC BY 2.0 / image cropped. 3 Arts Funding: Statistics Summary Since 1994 responsibility for arts funding and promotion across Great Britain has been primarily split between the UK, Scottish and Welsh governments. Each relevant government department generally operates on an “arm’s length basis” for arts funding. Separate non-departmental public bodies receive funding (called Grant-in-Aid) from their respective government, as well as a share of proceeds from the National Lottery Distribution Fund, and are responsible for the arts within their nation. The exception to this system is the direct funding the UK government provides to national museums and galleries. Prior to 1994 there was one funding body, the Arts Council of Great Britain (ACGB), with responsibility for distributing funding for the arts along a similar basis as today’s bodies. This note will examine the funding and expenditure of arts councils within Great Britain from 1994 to the present. Additional analysis of direct UK government funding to national museums and galleries will also be presented. Analysis of ACGB arts funding and expenditure from 1955 to 1994 is included as an appendix. There may be other funding streams for the arts from government sources, although in each nation the non-departmental public body responsible for arts funding is the primary organisation through which the arts are funded. The primary sources for this paper are the annual reports and accounts for each arts council. Detailed tables, along with clear footnotes, are supplied in Appendix II. All graphs presented in the body of this paper have been created from data in Appendix II. Key Statistics: Arts Council England: • Real terms Grant-in-Aid funding in 2015/16 decreased by -1.5% (£7.2m) compared with 2010/11 • Real terms arts expenditure in 2015/16 fell by -3.6% (£16.8m) compared with 2010/11 • 36% of National Portfolio Organisations are based in London and receive 24% of all NPO funding Creative Scotland: • Real terms Grant-in-Aid funding in 2014/15 decreased by -7.4% (£4.1m) compared with 2010/11 • Real terms arts expenditure in 2014/15 fell by -11% (£5.5m) compared with 2010/11 Arts Council of Wales: • Real terms Grant-in-Aid funding in 2014/15 decreased -12% (£4.5m) compared with 2010/11 • Real terms arts expenditure in 2014/15 fell by -12% (£4.7m) compared with 2010/11 Number CBP 7655, 27 April 2016 4 1. Arts Council of England The Arts Council of England (ACE) was created in 1994 from the division of the ACGB. The new organisation had much the same remit as the old, but rather promoting art across the whole of Great Britain the focus would be solely on England. At the same time ACE was selected to become one of the distributary bodies for the new National Lottery Distribution Fund to help further finance and promote the arts in England.1 ACE still received Grant-in-Aid financing from the UK government. 1.1 ACE Grant-in-Aid income and arts expenditure During 1994/95 ACE was in receipt of over £296m GIA from the UK government. By 2015/16 ACE received over £462m – an increase of around 56% and an average annual increase of 2.5%. Expenditure towards the arts amounted to over £286m in 1994/95. In 2015/16 ACE spent over £449m. This represents a rate of increase on par with increases in GIA income from the government.2 ACE Grant-in-Aid income and arts expenditure (2014/15 prices) £600 £500 Millions £400 £300 £200 £100 £0 1994/95 1998/99 2002/03 2006/07 2010/11 2015/16 ACE GIA Income ACE Arts Expenditure Total GIA and arts expenditure increased since 1994, although in its most recent history ACE’s GIA has decreased in real terms as has its expenditure on the arts. Between 2009/10 and 2011/12 the annual GIA government funding that ACE received decreased by over £84m (17%). Funding did increase the following year, although since then it has decreased every year to 1 When reporting their financial position the arts councils are required to keep Grant- in-Aid accounts separate from Lottery funding accounts due to differing accounting practices. As such this paper will not combine figures from the Grant-in-Aid and Lottery accounts for totals of income or arts expenditure. 2 Because only Grant-in-Aid money received direct from government is considered here and not the total income that ACE received during a financial year, it is not possible to calculate total arts expenditure as a proportion of total income. 5 Arts Funding: Statistics the present. Compared to 2009/10 ACEs 2015/16 annual GIA was around £37m (7%) lower and art expenditure £25m (5%) lower. Per capita GIA income for ACE has increased from around £6.15 per person in 1994/95 to around £8.45 in 2015/16. Per capita arts expenditure increased from £5.93 in 1994/95 to around £8.20 by 2015/16. In 2006/07 GIA income and arts expenditure for ACE reached its peak and was equivalent to £9.98 and £9.38 respectively. ACEs annual reports included details on the value of grant funding3 by regional office (see Table A6 appended). In 2001/02 the regional offices were subsumed into ACE and grant information provided by region. From 2003/04 to 2012/134 the London area repeatedly received the greatest amount in grants per capita. In 2003/04 residents in the London area received around £23.58 per capita in grants awarded. By 2012/13 this had reduced to £20.32 per capita. The graph below shows grant funding by region per capita for 2003/04 and 2012/13.5 Per capita grant funding by region (2014/15 prices) Yorkshire West Midlands South West South East North West North East London East Midland East England £0 £5 £10 £15 £20 £25 2003/04 2012/13 1.2 National Portfolio Organisations ACE offers organisations an opportunity to apply to be a National Portfolio Organisation (NPO)6 – that is an organisation that will receive regular annual funding from ACE. Organisations which become an NPO are invited to complete a survey assessing their organisational profile, 3 All grants and funding offered to all organisations. 4 It is not possible to generate per capita estimates for 2013/14 (the latest year which regional breakdowns were shown in the reports) because of changes in how ACE reported regions. It is not known how what areas were combined and how and so it would not be possible to generate accurate mid-year population estimates for these regions. 5 Does not include grant funding awarded nationally. In 2013/14 geographic regions presented by ACE were altered. It was not clear as to how the regions were re- assigned and so grant funding by region per capita in 2013/14 could not be presented. The 2014/15 ACE annual report did not include a regional breakdown of grant funding. 6 Major Partner Museums (NPOs focused on museums) are not considered in this section. Number CBP 7655, 27 April 2016 6 financial statements, number of performances and exhibitions etc. This data is collected to help ACE asses its NPO funding decisions. In 2014/157 683 NPOs answered the annual survey supplied by ACE. The graphs below show the distribution of NPOs and funding by region and art form in England. The London region has the greatest number of NPOs (36%) and received the second largest proportion of ACE NPO funding. The region with the lowest number of NPOs was East England (4%) and it received the second lowest level of funding (4%). Only 1% of NPOs were deemed to have a national importance but these received by far the greatest amount of funding (38%). Distribution of NPOs by region, 2014/15 National Yorkshire West Midlands South West South East North West North East London East Midland East England 0% 10% 20% 30% 40% Percentage of NPOs Percentage of total NPO ACE funding Distribution of NPOs by art form, 2014/15 Visual arts Theatre Not artform specific Music Literature Dance Combined arts 0% 10% 20% 30% 40% Percentange of NPOs Percentage of total NPO ACE funding 7 Because the amount of NPOs responding to the annual ACE surveys changes each year it is not possible to directly compare years.
Recommended publications
  • A Culture Strategy for Scotland: Analysis of Responses to the Public
    A Culture Strategy for Scotland Analysis of responses to the public consultation: Full Analysis Report January 2019 Contents Introduction .............................................................................................................. 1 Background to the consultation ................................................................................. 1 Profile of respondents ................................................................................................ 1 Analysis and reporting ............................................................................................... 2 A vision for culture in Scotland ............................................................................. 4 Views of those who supported the vision .................................................................. 5 Views of those who did not support the vision .......................................................... 9 Ambition 1: Transforming through culture ......................................................... 10 Views of those who supported the ambition ............................................................ 11 Views of those who did not support the ambition .................................................... 17 Ambition 2: Empowering through culture ........................................................... 25 Views of those who supported the ambition ............................................................ 26 Views of those who did not support the ambition .................................................... 29
    [Show full text]
  • Thundering Hooves Report [2006]
    THUNDERING HOOVES MAINTAINING THE GLOBAL COMPETITIVE EDGE OF EDINBURGH’S FESTIVALS 4 MAY 2006 11-29 Fashion Street 285 West Broadway London E1 6PX New York, NY 10013 T 0 20 7377 6559 T 1 212 226 5820 F 0 20 7377 5992 F 1 212 226 5821 TABLE OF CONTENTS 1 Background, Methodology and Recommendations...........................................................................3 2 Why festivals matter.............................................................................................................................. 16 3 Global Trends ......................................................................................................................................... 22 4 Edinburgh in Context: The Experience of Benchmark Cities...................................................... 27 5 The Festivals and the City.................................................................................................................... 39 6 Recommendations.................................................................................................................................. 44 7 Appendix 1: List of Interviewees........................................................................................................ 51 8 Appendix 2: Scenario Planning Participants ..................................................................................... 52 9 Appendix 3: City Case Studies............................................................................................................ 53 10 Appendix 4: Scenarios..........................................................................................................................
    [Show full text]
  • Review 05 Opening up Our Collections 02 National Museums of Scotland
    REVIEW 05 OPENING UP OUR COLLECTIONS 02 NATIONAL MUSEUMS OF SCOTLAND NMS is Scotland’s national NMS holds a wealth of treasures museum service. We care collected over more than two for museum collections of centuries. Our collections national and international encompass Scottish and importance, and present international archaeology, these to the public at our decorative and applied arts, six museums: world cultures, social history, science, technology and the ● Royal Museum and Museum natural world. We also provide of Scotland, Edinburgh advice, expertise and support ● National War Museum of to the museums community Scotland, Edinburgh Castle across Scotland and undertake ● Museum of Flight, East Lothian fieldwork, research and ● Museum of Scottish Country partnerships at local, national Life, near East Kilbride and international levels. ● Shambellie House Museum of Costume, near Dumfries NMS preserves, interprets, and makes accessible for all, the We also have a major Collections past and present of Scotland, Centre at Granton, Edinburgh, of other nations and cultures, which is a focal point for and of the natural world. collections storage and conservation. 1. 2. 3. Scenes from our six museums: 1. Royal Museum 2. Museum of Scotland 3. National War Museum of Scotland 4. Museum of Flight 5. Shambellie House Museum of Costume 6. Museum of Scottish Country Life 4. 5. 6. NMS A world class museums service that informs, educates and inspires. A SUPERSONIC YEAR Over the past few years we have Museum of Flight. Securing one made significant progress in of the seven decommissioned changing our focus to place Concorde aircraft, against visitors and other users at the international competition, was heart of everything we do.
    [Show full text]
  • Funding Creativity
    Culture Radar Funding Creativity An Internal Research and Discussion Paper to Inform Creative Scotland’s Funding Review Options Appraisal (Abbreviated) March 2019 1 Funding Creativity: An Internal Research and Discussion Paper to Inform Creative Scotland’s Funding Review Options Appraisal (Abbreviated) Prepared for Creative Scotland by Jeanie Scott, Culture Radar, March 2019 2 Contents Introduction & Background ....................................................................................................... 4 How to read this report ............................................................................................................. 6 Executive Summary .................................................................................................................... 7 Methodology ............................................................................................................................ 11 Section 1: Context for the Funding Review ............................................................................. 14 Section 1 Summary .............................................................................................................. 21 Section 2: Grant funding .......................................................................................................... 23 1. Arts council and creative agency funding ..................................................................... 25 2. Lottery grant funding ...................................................................................................
    [Show full text]
  • Arts and Cultural Learning
    Arts and Cultural Learning Learning from the Cultural Co-ordinators in Scottish Schools programme Key findings from the Cultural Co-ordinators in Scottish Schools programme monitoring report 10 local authorities have already made a commitment to support the continuation of the work of the Cultural Co-ordinator programme beyond the end of central government funding in 2010 16 Cultural Co-ordinator manager posts were mainstreamed into local authorities by 2008/09. On average there are 2.3 full time equivalent (FTE) Cultural Co-ordinator posts per local authority throughout Scotland © 2009 Scottish Arts Council No part of this publication may be reproduced in any format without prior written permission of the Scottish Arts Council. Equal opportunities The Scottish Arts Council operates an equal opportunities policy. Our offices have disabled access. Certain publications can be made available in Gaelic, in large print, Braille or audio format. Typetalk please prefix number with 18001 Introduction As the Cultural Co-ordinators in Scottish Schools programme reaches its final year of central funding, there is much to be learnt from the experiences to date. Since 2002 the Cultural Co-ordinators in Scottish Schools programme (CCiSS) has provided a mechanism for all local authorities in Scotland to deliver rich cultural experiences to children and young people. The CCiSS programme has been funded by the Scottish Government in partnership with local authorities and is managed by the Scottish Arts Council. There are now Cultural Co-ordinators in all 32 local authorities and over 100 postholders throughout the country working to ensure that the young people in their areas have access to high quality, engaging arts and cultural experiences that will enrich their lives and learning.
    [Show full text]
  • CNPA.Paper.1643.Cair
    Cairngorms National Park Business Support Audit 2010 User Guide This document, available from the Cairngorms National Park Authority (CNPA) in hard copy or on its website (www.cairngorms.co.uk), updates an audit produced in April 2009. The new Audit documents the business support services and environmental planning support that are available to businesses and third sector organisations within the Park. The information is presented by Local Authority area except where support services are available across the Park as a whole. Most of the support services are also available outwith the Park, and this Guide should also be more widely useful to business advisers (e.g. the new Business Gateways), businesses and groups. The Audit is structured as follows: Section 1 : The Cairngorms National Park Area as a whole Section 2 : Highland Section 3 : Moray Section 4 : Aberdeenshire Section 5 : Angus Section 7 : Principal Web Links Web links are also provided throughout the Audit for more detail or up-to-date information on the different sources of business support that are summarised. The information in this Audit has been checked for accuracy as at June 2010, but schemes of assistance evolve or expire, and new programmes are introduced regularly by the main support agencies, while new initiatives from a range of sources will also be introduced as the year progresses, e.g. as a result of successful applications to EU Programmes. The programmes that are covered in this Audit are: Section 1 : The Park as a Whole Business Gateway – advice and information for new and existing businesses, often a business’s first point of contact (2.1-2.10).
    [Show full text]
  • CNPA.Paper.966.Board
    CAIRNGORMS NATIONAL PARK AUTHORITY Paper 2 12/08/05 CAIRNGORMS NATIONAL PARK AUTHORITY FOR DISCUSSION Title: Highland 2007 and The Cairngorms Festival Prepared by: John Thorne, Economic Development Officer Andrew Harper, Head of Economic and Social Development Purpose To consider options for the CNPA to support Highland’s Year of Culture 2007, including the potential to establish a Cairngorms festival. Recommendations • That the Board discuss the principle of CNPA involvement in Highland 2007 and provide a steer on the option (or options) that should be pursued. Executive Summary To help celebrate the Highland Year of Culture 2007 new funding is being made available by the Scottish Executive for a range of cultural events. With a focus on heritage, the environment, Gaelic, youth, access and inclusiveness, Highland 2007 has many aims in common with the Park. Options for CNPA involvement range from simply supporting appropriate community events via the new Integrated Grant Programme to taking a more pro- active role in facilitating regional or ‘core’ events. There is potential to work with Highland 2007, EventScotland, and private and public sector partners, to organise events across the Park under the banner of a Cairngorms Festival. More pro-active options may have additional resource implications, particularly taking into account the fact that the Highland 2007 monies would only be available within the Highland part of the Park. MAINPC C:\Documents and Settings\Mark\My Documents\Sabato\CNPA\PAPERS TO PUBLISH\Board Paper 2 Highland 2007 and The Cairngorms Festival.doc 09/08/05 1 CAIRNGORMS NATIONAL PARK AUTHORITY Paper 2 12/08/05 Highland 2007 and The Cairngorms Festival - For Discussion Background 1.
    [Show full text]
  • National Fund for Acquisitions Grants Paid 2009–2010 National Fund for Acquisitions Grants Paid 2009–2010
    National Fund for Acquisitions Grants Paid 2009–2010 National Fund for Acquisitions Grants Paid 2009–2010 Hazel Williamson National Fund for Acquisitions Manager National Museums Scotland Chambers Street Edinburgh EH1 1JF Tel 0131 247 4106 Fax 0131 247 4312 email [email protected] Cover: Mixed media sculpture, Seven and Seven Is or Sunshine Bathed the Golden Glow, 2008, by Jim Lambie, acquired by Culture and Sport Glasgow with a grant from the National Fund for Acquisitions. Photo © Keith Hunter Photography. National Fund for Acquisitions The National Fund for Acquisitions (NFA), provided by Scottish Government to the Trustees of National Museums Scotland, contributes towards the acquisition of objects for the collections of Scottish museums, galleries, libraries, archives and other similar institutions open to the public. The Fund can help with acquisitions in most collecting areas including objects relating to the arts, literature, history, natural sciences, technology, industry and medicine. Decisions on grant applications are made in consultation with NMS staff and with the Directors and staff of the National Galleries of Scotland and the National Library of Scotland. The allocation for 2009/10 was £200,000. During the year the Fund received 82 applications. NMS aims to give a substantive response to applications within fifteen working days. During the period of this report this was achieved for 74% of applications received. Ten of the applications received were unsuccessful; six were turned down, in one case the applicant was outbid at auction and three further applications arrived too late to be considered prior to auction. During 2009/10, 83 payments totalling £230,783 were made to 32 organisations or collections.
    [Show full text]
  • Download Publication
    CONTENTS ARTS COU NCIL LIBRARY 14 G REAT PETER STREET LONDON SW I P 3NQ TEL 651 0171-973 7 As Lord P,141111110 atmplelCS his tics--ca r tenure as Chairman of the Arts COL11161 , he argues that it is more nccessan- tha n ever that the "arm's length" principIc h e prCSCr\ r cd . 46 The Secretary-Cwncral rcilects on a yea r of change and calls for a I-C instawnwill o f the Government ' s planned nvo per cen t cut in arts ffinding . c 'HE YEA R ,Major achievements in the arts ove r the Ycar . '.".19 Wr f= inancial findings in the year. AUdience figures have held up during th e recession . Arts Council dcpartnicnts and unit s highlight the 1c .ir's achieNclilents. I . : 30/31 THE A(,Z7 ; ~ : : . ; FVNMMG 5YWY 0 The Arts Council's role in the arts Ming "vmn, A list of the ten Regional Arts Board s in England . 35 scumsm aNn wvm A&Ts mm m REPORT S `7 CASE STUDIF S Three arts organisations discuss ho% y Gwernmum gmminvid in the Arts Council has enabled them to develop . : A O L -lo - ;~'.RSHIP OF COUNCIL ANO 5FA F 42/43 STRUCTUR E 424 SP0NS(jR 1,'Vt P 41 ANNUAL ACCOUNTS CHAIRMAN'S INTRODUCTION nlakc~ my circle just, And they define +yh„ie ar:as Csf Ax :r nationa l arts io11111t1.tI11t1 - tike artist abo%e all, T',,iakcs me end when: I bcganne" - the life ; the\- give pride of place and mak e with the adminis nr a[or,.
    [Show full text]
  • A Review of Touring Theatre and Dance in Scotland: Final Report, April 2017 Contents
    A Review of Touring Theatre and Dance in Scotland: Final Report, April 2017 Contents Introduction 3 Executive Summary 5 Integrated Findings 9 3:1 Strategic Overview 9 3:2 Funding for Touring in Scotland 10 3:3 Product 18 3:4 The Touring Environment 21 3:5 Key Relationships 26 3:6 Audiences 27 Conclusions and Recommendations 30 Key Findings from each Research Strand 37 5:1 Data Analysis of Creative Scotland Funded Touring 2012 – 2016 37 5:2 Industry Survey of Producers and Promoters 39 5:3 Qualitative Research into Touring Theatre and Dance in Scotland 40 5:4 Literature and Practice Review 45 Appendix 1 Focus Group Participants 49 Appendix 2 Survey Participants 50 This review was commissioned by Creative Scotland and delivered by Claire Dow in partnership with Lisa Baxter from The Experience Business. Claire Dow: Lisa Baxter: T: 07808579780 T: 07941 053322 E: [email protected] E: [email protected] W: clairedow.org W: theexperiencebusiness.co.uk A REVIEW OF TOURING THEATRE AND DANCE IN SCOTLAND APRIL 2017 03 Introduction 1:1 Background Creative Scotland is the public body that supports the arts, screen and creative industries across all parts of Scotland on behalf of everyone who lives, works or visits here. A core ambition for Creative Scotland is that everyone can access and enjoy artistic and creative experiences. This is reflected in the key priority ‘to strengthen presentation, touring and distribution of work, including through digital platforms and encouraging collaboration.’ (Creative Scotland 10 year plan, 2014). Creative Scotland funds touring theatre and dance through both Open Project Funds and Regularly Funded Organisations (RFOs).
    [Show full text]
  • Selection Policy for the National Records of Scotland Web Continuity Service
    Selection Policy for the National Records of Scotland Web Continuity Service Purpose 1. This policy has been approved by the Keeper of the Records of Scotland. It supports that part of the National Records of Scotland’s mission statement which says that, “We collect, preserve and produce information about Scotland’s people and history and make it available to inform present and future generations.” The policy also contributes to the vision outlined in our corporate strategy, “We will be a trusted and innovative organisation, with a focus on continuously improving our customer services, and especially our digital services.” 2. This policy provides background to the NRS Web Continuity Service (the Service); what it is and does; how websites are selected for archiving; and the wider professional environment in which this Service resides. The policy is primarily intended as an articulation of the Service’s collecting scope. Context 3. NRS receives and accessions archival records from stakeholder bodies under the provisions of the Public Records (Scotland) Act 1937 (PRSA 1937); the Public Records (Scotland) Act 2011 (PRSA 2011); the Inquiries (Scotland) Rules 2007; by administrative application of the Public Records Act, 1958 s.3(8) (PRA 1958); and, in the case of private records, under the National Heritage (Scotland) Act 1985 (s.18 (2)). Bodies that transfer records to NRS under these provisions include the Scottish Government, the Scottish Parliament, the Scottish Courts, Public Inquiries, a selection of private owners, and public authorities who are named under the Schedule of the PRSA 2011 and whose main archive is NRS. In this context, ‘record’ means anything in which information is recorded in any form (Public Records (Scotland) Act 2011, s.13(1)), including websites.
    [Show full text]
  • 41 Section Four
    SeCtIoN fouR Contacts & information 41 tHe NAtIoNAL PARKS video For a video of the cairngorms national Park the link is www.cairngorms.co.uk/ IN SCotLANd thepark/video Cairngorms National Park Authority map For a map of the area the link is alan Smith, outdoor learning officer www.cairngorms.co.uk/thepark/maps cairngorms national Park authority /map_medium.php 14, the Square, grantown on Spey Moray PH26 3Hg Loch Lomond and Phone: 01479-870518 The Trossachs National Park e-mail: [email protected] alison wilkie, learning development adviser loch lomond & the trossachs national Contacting inclusive Cairngorms Park authority elspeth grant, Social inclusion officer carrochan, carrochan rd cairngorms national Park authority Balloch g83 8eg 14, the Square, grantown on Spey Phone: 01389 722 125 Moray PH26 3Hg e-mail: [email protected] Phone: 01479-870506 e-mail: [email protected] Contacting Rangers Services the ranger Service can be contacted at any Contacting Rangers Services of the following addresses: contact details for ranger Services on ‘enjoying’ page of the cnPa website at argyll area office www.cairngorms.co.uk/thepark/enjoying or Ballochyle, Sandbank dunoon Pa28 8rd Pete crane, Senior visitor Services officer tel 01369 705300 cairngorms national Park authority 14, the Square, grantown on Spey national Park centre luss Moray PH26 3Hg luss car Park Phone: 01479-870532 luss g83 8Pa e-mail: [email protected] tel 01389 722120 online links callander area office main website www.cairngorms.co.uk
    [Show full text]