Musician

Handbook
2022/23
Contents
Introduction to Nevis 3
Nevis Ensemble Fellows 2022/23 4
Musician Documents 4
Agreement 5
Bursary 5
N/As 5
Induction 5
Disclosure Scotland 5
Living in Glasgow 6
Tours 7
Touring schedule 8
Repertoire 8
Touring Tips 9
Projects 10
Audiences and Participants 10
Training 11
Chamber Music 12
Platform at the Bridge 12
Fees and Expenses 13
Invoicing 13
Monitoring and Evaluation 14
Player Committee 14
Noise 15
Player Committee Constitution 16
Policy for the Promotion of Equality and Diversity 17
Health and Safety 19
Contacts 21
Nevis wellbeing, social cohesion, and the simple but
powerful feeling of joy.

Ensemble Removing barriers to accessing orchestral

music means bringing it to where people
are, and when they are there. Just think:
40 energetic musicians run out of a bus,
“Redefining what it means to instruments in hand, and less than five minutes
engage audiences.” later the intrigued crowd hears something
incredible and unexpected. Everyone leaves
Classical Music magazine feeling uplifted and inspired, proud of the place
to which they belong. Full-scale, orchestral
performances with music of all genres; popping
up and surprising commuters first thing in the
morning; entertaining residents in oft-forgotten
parts of the city; guerrilla-style appearances in
Nevis Ensemble is different, and there’s nothing swimming pools; generating large audiences
else quite like us in Scotland. Our vision is in public spaces. Our approach to performing
simply that of ‘music for everyone, everywhere’. has seen us win at the Scottish Awards for New
Music in 2019, 2020 and 2021, and shortlisted
Artistically-led by Holly Mathieson and Jonathan for the Classical:NEXT Innovation Award in
Hargreaves, in only three years, Nevis has 2020 and 2022.
given hundreds of orchestral performances
to people across Scotland, from the schools,
supermarkets and museums of Glasgow,
Edinburgh and Aberdeen, to farms in the
Scottish Borders, the summit of Ben Nevis
in the Highlands and all the way out to the
remote archipelago of St Kilda. Concerts take
place in venues as diverse as swimming pools
and children’s parks, to homeless centres,
museums and train stations.

Running in parallel to a fast-and-furious

performance schedule, are community-based
projects focusing on creative participation.
“Nevis is a sensory explosion of
Partnerships with third-sector organisations
are nurtured to ensure the most vulnerable fantastic music and boundless
and marginalised in our society have equitable passion – orchestral music like
access to the arts to share their stories and you’ve never heard it before. For
experiences.
two years now this has been an
Our musicians can take advantage of a training absolute highlight of our programme
programme to hone their specialist skills in and an event that ensures the most
working with the very young, the very old, and
inclusive audience age-range of any
those who face challenges in their lives, knowing
that access to great live music provides a huge shows we do.”
wealth of benefits, particularly to health and Craignish Village Hall, Ardfern

3
Nevis Ensemble Fellows 2022/23
Violin Flute
Brianna Berman Sarah Canzonetta
Sze Man Joyce Lee
Laetitia Pannetier Oboe
Charlotte Perkins Emily Crichton
Hannah Renton
Lisa Robertson Clarinet
Verena Koay Zhi Tong Jennifer Moss

Viola Bassoon
Sagnick Mukherjee Juan Antonio Rodriguez
Yvette Rosie
Daniel Safford French horn
Lynn Henderson
Cello Carly McCready
Juliette Lemoine
Peter Phelan Trumpet
David Cumming
Double bass Emily Stokes
Evangelos Saklaras
Trombone
tbc

Nevis Ensemble is usually made up of 40 musicians.

Whilst we continue to recover from the effects of Musician Documents
Covid, and as our venues (many of which are small),
tentatively invite performances again, we are a This pack, alongside the full Musician Pack, which
cohort of 23 for 2022/23). In Nevis we encourage we will go thorugh during induction, all Nevis policies,
an equitable approach to orchestral positions. String invoice templates, and Player Committee meeting
players are encouraged to rotate their desks (even minutes, as well as the Tour Packs and schedules
with our smaller line-up for 2022/23), and brass for each tour will be added to the Musicians page on
should alternate between 1st and 2nd, unless the website.
specially asked by the Artistic Directors to play
particular parts in certain repertoire. This is a password protected page, and can be found
at: nevisensemble.org/musiciandocuments
We will have a fixed leader, and other string principals
may be selected in the first couple of weeks during The password will be reset in August allowing you
rehearsals once we get to know each other as a access from then.
group and work out the balance as a whole.

4
Fellowship agreement per day) will be deducted from the following month’s
bursary payment.

Prior to starting in September, musicians will be

issued with a short Agreement that covers both Nevis
Ensemble’s obligations to individual musicians, but
INDUCTIOn
also outlines the expectations the organisation has The first week of the Fellowship (20, 21, 22
for each Fellow in terms of committment, as well as September) will comprise of introductory sessions as
adherenance to Codes of Conduct and policies. Any part of your induction, and will take place at our base
questions regarding the Agreement, when issued, at Platform in Easterhouse.
should be directed to the Chief Executive - Jamie
Munn These sessions will cover a range of important
topics we need to explore before getting on with the

Bursary Fellowship proper, such as Safeguarding, Equalities,

and processes for raising concerns and complaints,
and thoughts on maintaining good levels of musican
Fellows will receive a bursary of £11,000 for the wellbeing etc., as well as working out final groupings
period between September 2022 – August 2023. for chamber music, introducing the Nevis ways of
The bursary will be paid in monthly instalments. working in terms of performance, and practicalities
Bank details should be supplied in September 2022 such as booking practice rooms at Platform, filling
in advance of the first payment. Should any individual out Disclosure forms, and electing members to the
change their banking details, due notice should be Player Committee.
given to the Artistic Programme Manager, Jessica
Massey. You will be issued with your full Fellowship Handbook
during the induction, which will include all of the
Musicians may be offered additional engagements policies you would be expected to adhere to (such
on an ad hoc basis (detailed on page 12). Such as the above mentioned Safeguarding, Equalities
engagements would be considered outside of the etc.)
core Fellowship programme and fees would be
paid seperately accordingly. This additional income We realise it will be a lot of information over a few days,
would be invoiced, and individual musicians would and we don’t expect everything to be completely
be responsible for their own tax affairs. It would be memorised! It’s more a chance for us to talk through
expected that those undertaking these additional everything and provide all of the resources you may
opportunities would be registered as self-employed need through the year. And don’t worry - there will be
with HMRC. some playing as well!

N/As Disclosure scotland

We would expect that musicians consider the Nevis For those undertaking on-going project engagements
Fellowship as their primary commitment. While with Nevis Ensemble, it is mandatory that a PVG
occasional N/As are anticipated, we ask that these check is done before any work commences, for both
are by exception only. N/As must be discussed with Children and Young People, AND Protected Adults.
management before they are confirmed. We would Many of you may already be part of the Discloure
always try and facilitate external opportunies that Scotland PVG (Protection of Vulnerable Groups)
would be seen as a positive professional or personal scheme as part of your other/previous work.
development opportunity. There may be cases,
however, where we cannot grant an N/A, particulalry However, even if you have an existing PVG certificate,
at short notice, or if the absence of a musician would we require an ‘Update’ application. Those who are
have a large impact on overall projects or tours. not currently part of the scheme (which includes
those who have previously had DBS checks in
When an N/A is granted, for each day missed, an England and Wales or AccessNI in Northern Ireland),
indicative fee of £80 (the average amount of bursary

5
will do a new application. A UNESCO World City of Music, Glasgow is home
to great music venues from the 13,000 seater SSE
Nevis Ensemble will counter-sign all applications, Hydro to the iconic and intimate King Tut’s Wah Wah
and cover the costs. As a counter signatory, this Hut, and is home to the RSNO, BBC SSO, Scottish
means that Nevis Ensemble is alerted should your Opera, Scottish Ballet and Scottish Ensemble among
status change. We will only keep your information, others. The Scottish Chamber Orchestra gives
including copies of PVG certificates for the time you weekly performances at The City Halls. Every year
are on the Fellowship programme ‘+ two years’ (to the city is home to festivals including the Glasgow
allow for times when you may continue to work on International Comedy Festival, Celtic Connections,
projects or dep in workshop sessions for instance). Bard in the Botanics, Tectonics Music Festival, Piping
Live! and the Glasgow International Jazz Festival.
We will ask you to complete the required forms
during the Induction Days Glasgow city centre is compact and easy to navigate
– whether you decide to walk, cycle or catch the
The things you will need to know beforehand are: bus, train or subway.

• If you already a member of the PVG scheme (and You’re never far from the countryside, you can reach
if so, have you been checked for Children and Loch Lomond in less than an hour by train, and
Young People, Protected Adults, or both?) islands such as Arran and Bute are easily reachable
• Your PVG scheme record number, if you have for day trips.
one
• Five full years of address history (including Nevis Ensemble is based at Platform in the
months and years in which you moved house) Easterhouse area of the city’s east end.
• Two forms of ID, one of which must be
photographic, to confirm name, address and There are a number of buses that go directly to
date of birth (e.g. birth certificate, passport, Platform from the city centre, and there is a train
driving license, bank statement, or utility bill). station at Easterhouse about a 15-20 minute walk
If you cannot provide photographic ID you away from our base. It is also possible to cycle and
should bring at least three other identification the route is along long straight roads.
documents.
You may want to consider finding a flat in an area
that makes travel to Platform easy. The train line goes
from the city’s west end, through the city centre and
Living in glasgow to the east, so areas such as Partick, Charing Cross,
the Merchant City and Dennistoun are popular areas.
We realise that some of you will be moving to
Glasgow specially for the Fellowship, and we want Dennistoun offers large traditional Glasgow tenement
you to have a good time whilst living in the city. flats at good value, and sits about half way between
There is some helpful advice below, but it won’t be the city centre and the east end, so may be a good
exhaustive by any means, so do get in touch if you choice for those moving specially.
have any questions.
The area is quite mixed and has a good range of bars
Glasgow is a cultural power-house of music, creative and cafes, whilst remaining affordable.
arts and theatre. It’s a city that blends the traditional
with the cutting-edge, Scottish heritage with multi- Whilst the Southside offers a huge range of
cultural influences, and the grit with the glamour, accommodation and lots of green space, travel
Glasgow is a place like nowhere else. would require changing bus/train/Subway in the city
centre, which may not be so convenient.
In 2019, Glasgow was ranked world’s friendliest city
and 8th best city in the world by Time Out.There are
more than 130,000 students living in Glasgow, giving
the city a vibrant and lively energy.

6
Tours a mix of the familiar and unfamiliar. The training will
include a session on programming.

As well as performing, players are requested to help As detailed later on, venues vary from public spaces
set-up and unpack and pack the coach, and people such as shopping centres, high streets, museums
have their own ‘roles’. For such a high volume of and parks, to more closed spaces such as schools,
performances, a real team effort is required. homeless centres, prisons and hospitals.

There are 11 tours with the full orchestra planned Our musicians present all performances. Some
between September 2022 and August 2023. Out of training on this will be offered beforehand, and whilst
these, five are longer tours (five days or more), with we know that some people feel more comfortable
some overnight stays outside of Glasgow required. speaking in public than others, we would hope
Full schedules are distributed in advance of each everyone presents at some point. Presenters will be
tour. All expenses, including travel, accommodation chosen pre-tour so that individuals have some time
and meals on tour are organised and paid for by to prepare what they might say, and think of some
Nevis. fun, engaging ways to connect with audiences in
that very immediate context.
Each day is different and comprises between 4-8
performances in a variety of locations and contexts. When on-the-road, beyond performing, everyone
Each performance lasts between 20-60 minutes, mucks in. Day-to-day, musicians volunteer for
and is programmed by musicians according to different roles, including for instance, breakfast duty,
the context. We ask for volunteers each day to bus-packing, setting up the microphone, collecting
programme according to each setting and what the donations. As well as helping to maintain the high
considerations might be for that audience. volume of performances, we feel this helps to create
a sense of collective teamwork.
As such, it is rare that any two performances are the
same. Each tour has a ‘bank’ of around 20-25 pieces
with pieces demonstrating a mix of styles and genres
included in each performance. Programmers also
have to consider the day as a whole and the stamina
of their fellow musicians, as well as perhaps ensuring

7
Touring Schedule
Dates No of days Location Forces
13/10/2022 1 Easterhouse/Glasgow City Tutti
26/10/2022 - 27/10/2022 2 Easterhouse/Glasgow City Chamber groups (all)
24/11/2022 - 01/12/2022 8 Glasgow, W. Dunbartonshire, Tutti
N. Lanarkshire, Falkirk,
Clackmannanshire & Stirling
16/12/2022 1 Glasgow City Tutti
26/01/2023 - 27/01/2023 2 Glasgow City, Stirling,
Perth & Kinross Tutti
17/02/2023 - 19/02/2023 3 Aberdeen and Aberdeenshire Chamber Group 1
Angus and Dundee City Chamber Group 2
Moray and Highland Chamber Group 3
Clackmannanshire and Fife Chamber Group 4
W. Lothian and Edinburgh Chamber Group 5
25/02/2023 - 26/02/2023 2 E. Dunbartonshire Tutti
16/03/2023 1 East Renfrewshire Tutti
13/04/2023 - 20/04/2023 8 Argyll & Bute and Western Isles Tutti
18/05/2023 1 Renfrewshire Tutti
16/06/2023 - 20/06/2023 5 Highland Tutti
07/07/2023 - 09/08/2023 3 Perth & Kinross and Fife Chamber Group 1
E. Lothian and Midlothian Chamber Group 2
Inverclyde and N. Ayrshire Chamber Group 3
Orkney Chamber Group 4
Shetland Chamber Group 5
13/07/2023 - 19/07/2023 7 E. Ayrshire, S. Ayrshire,
Dumfries & Galloway,
Scottish Borders, Midlothian,
S. Lanarkshire & W. Lothian Tutti
01/08/2023 - 10/08/2023 10 W.Dunbartonshire, Edinburgh, Tutti

Fuller details on each tour are given around one month beforehand, including a full schedule of perfor-
mances. All touring days should be considered ‘full’, i.e., it is rare that a touring day will be a morning or
evening only day.

Tours that take in areas such as the Highlands, Scottish Borders, Orkney, Shetland, Western Isles, Aber-
deen, Aberdeenshire etc., will likely require overnight accommodation. You will be told of this in advance
and Nevis arranges all accommodation on your behalf.

REpertoire
Repetoire is selected by the co-Artistic Directors, with input from musicians. We will always perform a variety of
genres and each performance is mixed to allow each audience to hear a range of music.

We will have three ‘tranches’ of repertoire through the year where everything changes, with around 25-28 pieces of
music in each tranche comprising of some ‘core’ classical, music by lesser-known or less-performed composers,
arrangements of pop and jazz songs, Scottish traditional music - both newly written for Nevis and arrangements
of existing tunes, as well as new commissions, including a new piece thorugh our partnership with the Royal
Conservatoire of Scotland.

Some tours may also include music written with/by participants from projects Fellows are working on. Musicians
will be issued music around three weeks in advance of any rehearsal of the ‘new tranche’ via Dropbox, with paper
copies issued into desk folders prior to the first rehearsal.

8
Touring tips previous performance and prep ahead of the next
one: perhaps that means thinking about how to
reduce the amount of set-up/tidy-up time during
We asked some of our current and past musicians the next performance (like keeping clothes pegs
for some tips they might pass on to new Nevis on you all the time when setting up outdoors), or
musicians on how to best approach Nevis’ intensive chatting with a colleague about their experience.
touring schedules. Here’s what they had to say: • Let someone know if you’re heading away from
the venue for any eason- yes, we’re all adults but
• Self care is important. Nevis tours can be we need to keep a lookout for each other
tiring, and you’re always surrounded by people • Let someone know if you’re not feeling well;
constantly so finding your own way to relax is don’t force yourself to play if you think it will make
important. the overall performance suffer and of course your
• Always have snacks! own wellbeing.
• Remember why Nevis does what it does and • Take some time to thank the event organisers
keep a postive outlook for the benefit of the and/or talk to members of your audience when
group. If there are any issues that need dealing there is time before/after a performance. As well
with, there’s always a channel to help. as helping break down the barriers so often
• For some people the high-energy, singing and associated with classical performance, it’s a
dancing performances can be super intimidating rare opportunity to learn how others experience
initially, but it’s the most fun you’ll ever have if you music and to let them share their enthusiasm
just get stuck into it and go along with the energy with you. This is often the most rewarding part of
of the ensemble. the performance.
• Get stuck in with all the aspects of Nevis. • Do offer to help wherever you can, whether that’s
Everything is more enjoyable when everyone carrying some extra gear off/to the bus or turning
pitches in on programming, bus packing/other someone’s pages when they’re presenting the
duties, presenting, improvising, chatting to programme - a little help goes a long way!
audience members before/after gigs etc! • Take extra snacks with you. You might also wish
• Stay hydrated! Tours are demanding on your to make/bake your own snacks to share with
energy and the best way to keep the energy others - a sure way to get on with your colleagues!
levels afloat is with that precious H2O. • Bring reusable tupperware: as part of Green
• Always take a toilet break when offered one as Arts Initiative Nevis is committed to reducing its
tours typically run on a tight schedule. plastic usage/consumption so it’s great to have
• If you think you need it, take some nap time on a fork/cup to hand instead of bringing more litter
the bus. With that in mind, remember to bring onto the bus. It also keeps food sealed better
ear plugs and sleeping mask/sleeping aids both and prevents spills occurring
for napping and for overnights so you can drift • Be kind to your conductors and musicians and
off smoothly. support each other. We rely on each other to give
• Be mindful of those who need to rest/want an our audiences the best performances possible.
early bedtime
• Bus time is also an opportunity to reflect on the

9
projects Audiences & participants
As part of the Fellowship, each musician will work Nevis’ mission to make music for everyone,
on two projects; one in which they develop and everywhere means we focus on visiting groups
lead a project in conjuction with one of our partner who may not ordinarily experience live orchestral
organisations, and one in which they support another music – because of disability, illness, social isolation,
musician in the delivery of their own project. geographical location or economic circumstances.

We will work with each individual in the development To redress some of these imbalances we make sure
of their project, giving advice and feedback both that we perform for people where they are and when
in the design and delivery. Each project must have they are there, helping to normalise access culture
participation as the focus, and we will work with and make it a part of everyone’s daily lives. Some of
individual musicians to identify partner organisations the places we might visit include:
that work to the strengths of each person. For
instance, for those who might have a particular • Schools
interest in early years, we would partner with a • Homeless shelters
relevant group and ensure that training has a focus • Prisons
on that particular context. • Village halls in rural areas
• Day Centres
Whilst we want each musician to develop their own • Refugee groups
ideas and artistic practice, it should be remembered • Hospitals/psychiatric wards
that the participants are key, so projects should be • Nursing homes
thought of as perhaps simultaneously musician-led • Public/outdoor areas
and participant-led. You may want to start thinking of
ideas now, and we will spend significant time during Below is a (non-exhaustive!) list of organisations
training sessions working on project development. we’ve worked with previously, or that we’d like to
work with over the next year. We hope this gives
Each musician will keep in mind the Nevis ethos you a flavour of what to expect, but we would also
throughout planning: that music and music-making encourage you to bring ideas of places or groups
goes everywhere, and is for everyone. Projects we may not have come across before, who might
we’ve run previously have included work with women welcome a Nevis visit!
seeking refuge from domestic violence, those
experiencing homelessness, Looked After Children, Bellsdyke Hospital (Falkirk)
refugees and older people living with dementia. In-patient rehabilitation and mental health facilities.

Between September and December, we will focus Craignish Village Hall (Argyll & Bute)
on training, project design and development. Ideas Lively, arts-focused community hall.
will also be refined in consultation with the Artistic
Directors and Artistic Programme Manager through Fife Carers Centre: (Fife)
one on one sessions in late October and early Peer support service for carers throughout Fife.
November.
First for Fife (Fife)
Project delivery will begin in January and finish by Rehabilitation support for people recovering from
June. Musicians may want to include performance addiction.
as part of their project’s culmination, and there are
opportunities for orchestral or chamber music visits Forth Valley Recovery Community (Falkirk)
as part of that as well. Peer support group focusing on wellbeing and
addiction recovery.

Generation Group (Argyll & Bute)

Intergenerational befriending group based in Arrochar
Primary School.

10
The Gate (Clackmannanshire) of the more challenging contexts, or where you may
Community-led larder, soup-kitchen and befriending be working with vulnerable groups. Those delivering
project. projects in such settings will also receive a session
from staff at that organisation before any sessions/
North Glasgow Community Food Initiative (Glasgow) work take place.
Community-led project providing reduced-cost
groceries and meals throughout North Glasgow.
Training
Safe in Scotland (Glasgow)
Emergency accommodation service running 365 There will be a focus on training and development in
nights a year for asylum seekers in Glasgow. the first half of the Fellowship between September
and December 2022.
Glasgow Lodging House Mission (Glasgow)
Service providing daily free meals for those A full timetable of training sessions will be issued
experiencing homelessness and food insecurity. at induction, but Fellows can expect a programme
including:
St Margaret of Scotland Hospice (W. Dunbartonshire)
End of life care for adults with terminal prognoses. • Building Creative Music Workshops
• Life as a Freelance Musician
Rachel House (CHAS) (Perth & Kinross) • Improvisation
Hospice for children with life-shortening illnesses and • Funding I – Basics of Fundraising
their families. • Being a Sustainable Musician
• Working in Additional Support Needs (ASN)
Newton Dee (Aberdeen) Environments
Camphill community supporting adults with learning • Diversity in Programming
disabilities to live independently. • PR and the Arts
• Marketing for Musicians
Waverley Care (Scotland) • Traditional Scottish playing for Classical
Support and information service for HIV, Hepatitis C Musicians
and sexual health.
The training should be seen as preparing musicians
The ways in which we present music, communicate in the design and delivery of their projects taking
with audiences and involve them interactively in place in the second half of the Fellowship, as well
performances are crucial factors for success in what as helping wider performance work. As part of our
we do. evaluation processes each musician will also receive
one-on-one sessions both to discuss personal
Your ability as individuals to adapt to each different progress but to offer help and advice in the delivery
group is key to ensuring each event has maximum of projects.
impact. We ask that, where practical, you take the time
after performances to chat with audience members. Training will also cover chamber group performance,
These personal connections with people we may not and we will work with groups to help develop
meet day-to-day are what audience members and performances that engage and involve audiences
musicians alike have found a particularly special part and participants. During the first chamber music tour
of the Nevis experience. in October 2022, musicians will be shadowed and
given some feedback for future performances.
In some contexts, making these connections may
seem intimidating, and in certain settings (e.g. a day- Tutti rehearsals will largely be led by the co-Artistic
centre for adults with advanced dementia) it may Directors, but we will also schedule sectional
be difficult to make conversation, but please try – rehearsals led by external musicians.
sometimes it’s enough just to sit and enjoy a cup of
tea and a biscuit together. We will also provide some coaching opportunities
for each chamber group, both from our co-Artistic
Your training will include sessions on working in some Directors as well as external musicians.

11
Chamber music Platform at the Bridge
A formalised chamber music programme will be a Much of our rehearsal and training activity will take
key feature of the Fellowship. Musicians will be in place at Nevis Ensemble’s base in Easterhouse:
two chamber groups over the course of the year (one Platform at the Bridge, 1000 Westerhouse Road,
from September to February and the second from Glasgow, G34 9JW. The building is also open at
March to July), and we will work with groups to curate other times for musicians to have access.
programme, provide coaching and put together a
tour around community venues and public spaces Platform has a range of facilities that we’re able to
in different areas of Scotland. Each chamber group take advantage of, including private practice rooms,
will be resident (including having some rehearsals) a recording studio, larger rehearsal spaces and
in a primary school in the area around our base at study/work desks.
Platform in Easterhouse.
A sign-up sheet will be shared for access to practice
We will work with musicians before the start of the rooms at the beginning of each week, as other
Fellowship and during the induction week to fix in organisations have access to them too.
groups and each musician’s own goals will be taken
into account. We would encourage musicians who All musicians must use the front desk register to
may, for example, want to play in a string quartet sign-in and out each time they visit to comply with
in one grouping to then do something a bit more the building fire safety policy.
unconventional for their second group in terms of
instrumentation. To get to Platform from Glasgow Queen Street
station, take the Scotrail service to Airdrie or
Chamber music rehearsal and coaching is built into Edinburgh Waverley. To get back into Glasgow city
the timetable but musicians can also arrange extra centre from Easterhouse Station, take the Scotrail
rehearsal if they wish. service to Balloch or Helensburgh Central. You can
find the latest timetable for this route (Glasgow –
Edinburgh via Airdrie & Bathgate) online. You can
also take the 41 or X19 buses between Glasgow and
Easterhouse.

12
fees and expenses There is a cycling rate of 13p per mile.

Where events require a late finish or overnights, we

will provide accommodation, and this will be booked
Musicians engaged for additional events or projects in advance by Nevis or the hosts.
outside of the Fellowship programme are paid at
standard Musician Union Rates, and travel costs and For trips involving an overnight stay, and if food is
other expenses are reimbursed. not being provided by the host, musicians can claim
up to £7 for lunch and £12 for dinner. Receipts must
These rates will vary from project to project depending be provided. Musicians cannot claim this allowance if
on the length of sessions and the role the musician they have not eaten or bought food, and if musicians
will play, but as a guide: spend more than the allowance, only the £7/£12 is
refundable. Alcohol is not claimable on expenses.
• Teaching sessions (such as one-on-one
workshop, up to five people): £36 per hour Travel expenses are only applicable for events taking
• 1-hour group (5+ participants) session: £75 place outside of Nevis Ensemble’s base; we will not
• Up to 3-hour group (5+ participants) session: cover travel from the musician’s home to Platform.
£95
• Half-day (could be in two locations): £130
• Full-day (could be in multiple locations): £210
• Chamber music performance fees would depend
Invoicing
on context (e.g., a community event would Payment for extra engagements will be paid upon
generally command a lower fee than a corporate receipt on an invoice, and - where appropriate -
gig, and we will always aim to get the highest copies of receipts/tickets. You can use your own
fees suitable for the context). For a performance invoice template or the Nevis one if you prefer, but in
up to one hour: no lower than £90 in community either case, the information provided must include:
settings, and more corporate or private settings
are usually around £150 upwards. • Name
• Larger ensemble/orchestral (such as corporate • Address
gigs) performance up to one hour: £110 per • Email
musician, though we would aim to get the highest • Date of Invoice
fee for musicians. • Details of what is being claimed and cost
breakdown
For those in additional engagements as well as project • Total amount
work or chamber music where Nevis not organising
transport, travel expenses will be reimbursed so long Musicians are responsible for their own tax affairs for
as receipts are provided with invoices. this freelance work, and will be offered to those with
confirmation of self-employed status
We will cover Standard Class public transport costs
and where possible, travel should be done at Off- Photos/scans of original receipts are a requirement
Peak times. for best practice.

Use of taxis/Uber is discouraged and should only We make payments once a week, and invoices will
be used when public transport is not an option. If be settled within 30 days at most.
musicians claim expenses for taxis and it is deemed
to have been an unnecessary trip, we reserve the
right to decline reimbursment.

In locations where driving is necessary, we would ask

that musicians travel together, and a mileage rate of
40p per mile will be reimbursed. Car sharing should
be standard, and if musicians travel seperately
we would need good reasoning when it comes to
payment of mileage.

13
Monitoring and player committee
evaluation Nevis Ensemble has a Player Committee that meets
regularly to discuss the activity of the orchestra,
It is important that, as an organisation, we are
as well as any ideas or concerns from the wider
continually reflecting on what we do in order to
orchestral team.
develop and improve - both for musicians and
audiences. At least once a year, we will undertake a
Membership is open once each year, and interested
formal evaluation with all Nevis Ensemble musicians.
musicians are elected via anonymous polling from
the orchestra body. As some of the current members
As the fellowship programme is a new model this
are moving on from Nevis Ensemble, spaces will
year we’re keen to touch in at regular intervals with
open up on the Committee for this year. We will hold
everyone in the orchestra. Throughout the year, each
elections for this in the induction week. If you think
of you will have a one-on-one with staff across the
it’s something you’d like to be a part of, please let
below dates:
Jessica (Artistic Programme Manager) know, who
can give more information in advance.
26 and 27 October 2022
19 and 25 January 2023
Concerns relating to any issues over Nevis Ensemble
8 February 2023
activity can be relayed to the Player Committee at
29 and 30 March 2023
any time. You can be in touch via the Players’
25 and 26 May 2023
Facebook group linked here. An online form also
5 and 6 July 2023
collects feedback anonymously, accessible only to
committee members.
While these one-on-ones form a schedule of regular
check-ins, please don’t hesitate to raise issues
Members of the Player Committee are invited to
outside of them with Kerry (Artist Development
join Nevis Ensemble Board of Trustee meetings and
Manager): [email protected]
submit a report to Trustees on developments from
the perspective of our musicians.
For on-going projects, we will require deeper
evaluation, and for particular groups (such as
Minutes are kept at each meeting and are open
Looked After Children), this will need to be done on
for members to read upon request. Minutes are
a formal, regular basis. Musicians shall be consulted
published on the Musicians Documents page on the
and briefed for this at the beginning of each project.
website.

14
 A few things about ear protection:
NOISE • Use just enough protection (don’t reduce your
IS THERE A RISK DUE TO NOISE? exposure more than you need to).
Yes. The link between prolonged noise exposure • Find something that suits you (your ears, your
and hearing problems is long established. Musicians instrument).
are exposed to high sound levels and there is some • Always carry your earplugs around with you.
evidence of noise-induced hearing loss among certain • See it as a long-term project. Don’t expect to get
groups of musicians. However, our understanding of used to them immediately; your brain needs time
musicians’ hearing is incomplete. to adjust.
• Don’t expect to cope if you stick them in just
“Hearing problems may or may not affect your before you go on stage.
career as a musician; there are many skills and tricks • Use them for private practice and rehearsals.
that you develop: muscle memory, habit, breathing • Use them to protect your ears in other situations
together, responding to visual cues and to vibrations (plane, tube, amplified concerts).
rather than sounds, and so on. On the other hand,
hearing problems will affect your social life and This information has been taken from the BBC’s
general wellbeing if, for example, you start to avoid MUSIC, NOISE AND HEARING:
social situations because you can’t hear your friends. HOW TO PLAY YOUR PART: A GUIDE FOR
MUSICIANS. You can see the full document here.
Individual differences play a huge part in the story of
our hearing and hearing health. Two musicians who We require musicians to have ear plugs with them at
sit side by side will not have the same hearing history, all times during tours. We visit many different venues
and there is no infallible way of predicting what will each with their own acoustic, and this unpredictability
happen to our hearing. Hearing problems can have means you must be ready in the event of excess
many causes besides noise: genetics, head injury, noise.
childhood illnesses, certain drugs and other ototoxic
(poisonous to the ear) substances – or simply bad Members of the Musicians’ Union also have the
luck (the literature talks about ‘tough’ and ‘tender’ option of obtaining heavily discounted specially
ears). It’s important not to leave it to chance.” moulded ear plugs.

15
Sustainability encourage the use of ferry travel. For more
details on expenses and sustainable travel
please see the ‘Fees and Expenses’ section.
Nevis Ensemble is committed to encouraging
and promoting environmentally sustainable
Nevis Ensemble is committed to being more
practice in all of its activities. As the world
sustainable on tour, but also helping our
faces the very real and serious threat of climate
musicians to live more sustainably in their
breakdown, we believe we have a responsibility
own lives, and as often as possible will offer
to contribute to and work towards a more
resources, guidance and training to do so.
sustainable future in Scotland and the cultural
sector as a whole. Our musicians are integral to
Nevis Ensemble is a founding member of the
our sustainable commitments and endeavours.
Scottish Classical Sustainability Group, and
For more detailed information, our Policy on
led in the production of the Scottish Classical
Sustainability can be found at the end of this
Music Green Guide, which contains information
handbook.
on many aspects of being a sustainable
musician.
Our Sustainability Manager is responsible for all
aspects of environmental sustainability relating
Getting to Platform
to Nevis Ensemble. Our Sustainability Manager
In line with our sustainable commitments, we
does not tend to tour with the orchestra,
encourage our musicians to use sustainable
therefore a designated musician will be
methods of transport as much as possible. You
assigned the role of ‘Green Officer’ on tour to
will find ample bike lock space at Platform. If
ensure green practices are well followed. This
travelling by bike regularly, you are welcome to
person will change for each tour.
leave your instrument in the Nevis Ensemble,
office which will be locked every night. If you
We encourage all of our musicians to carry
have any questions about cycling or advice on
reusable water bottles on tour and will not
acquiring a bike please do reach out. We’re
purchase plastic bottled water en masse.
always keen to help with more sustainable
Opportunities to refill water bottles will be built
travel.
into the tour and musicians will be reminded
to do so. On our tour bus, we do not allow
Maps and Route Planners
disposable coffee cups and instruct all our
Kamoot – app and online route planner
musicians to carry a reusable flask or ‘Keep
Aye Cycle Glasgow – selection of links to
Cup’.
routes and advice on cycling
In the office and on the tour bus, all waste is
Getting a bike
sorted and separated accordingly, to include
Aye Cycle Glasgow – resources and advice on
general waste, recycling and food waste. There
buying and loaning bikes
will be designated bags for each category on
the bus.

When meals are provided, Nevis Ensemble

operates on the assumption of vegetarianism
so as to encourage less meat consumption.

When musicians are travelling from outside of

Scotland, we encourage use of land-based
travel wherever possible. Nevis Ensemble will
only cover the travel expenses of UK-based
musicians coming to Scotland if they use public
buses or trains, unless absolutely necessary.
For musicians based in Northern Ireland we

16
Player committee constitution
The Players’ Committee of Nevis Ensemble is an unregistered committee within Nevis Ensemble (SCIO:
SC047960) to act as a conduit between the permanent, guest and deputy players of the Ensemble and the
Artistic Directors/Management.

1. Number of Members
There should be no less than four and no more than seven members of the committee at any one time.
Committee members should be drawn from the different sections of the orchestra to create a balanced
viewpoint, and to reflect the different musical and professional backgrounds of the musicians of the Nevis
Ensemble.

2. Eligibility
Any member of the Nevis Ensemble is eligible to be considered as a member of the Players’ Committee.
They should be recognised as committed to the aims and mission of the organisation and have an interest in the
development of the ensemble and the wellbeing of its musicians.

3. Nomination, election and re-election

Membership of the Players’ Committee shall be considered each year at the closest meeting to December.
Members have guaranteed membership for one year and can then submit themselves for re-election or to stand
down from the committee.

Nominations will be opened to allow other musicians from the ensemble to join the committee. If more persons
than required submit interest in joining the committee, an anonymous ballot shall be put to the musicians to
nominate their preferred representative.

4. Meetings
Meetings shall be held quarterly and no fewer than four meetings should be held each year. If committee
members think further meetings would be of benefit, they can be arranged at the convenience of the committee.

5. Board Meetings
Players’ Committee members are invited to attend Nevis Ensemble Board of Trustee meetings as observers and
to contribute their thoughts and ideas within the meeting.
Attendance at these meetings is on an advisory and not decision-making basis.

6. Role of the committee

The role of the Nevis Ensemble Players’ Committee is to ensure positive and effective communication between
the players of the orchestra and the management team, both during and between touring activity.

The committee can relay concerns, ideas, suggestions of the ensemble’s musicians and ensure that musicians
enter into a positive and proactive discussion regarding player concerns.

Any aspect of Nevis’ performing activity can undergo the scrutiny of the committee, although the final decision
on any aspect of the organisation’s work lies with the management and ultimately the Board of Trustees.

The committee can help ensure that Nevis Ensemble stays within its charitable remit – from the perspective of
the musicians – as detailed in Appendix 1.

7. Powers
The Players’ Committee will act on an advisory basis. Recommendations will be relayed to Management and
Artistic Directors as appropriate, where final decisions will be made.

8. General structure
The committee shall have an informal structure, though may nominate a Chair and a Secretary if seen as
beneficial.

9. Remuneration
Players’ Committee members may not receive any remuneration for the role on the committee, however
travel and other expenses, as agreed, may be reimbursed following submission of receipts and invoice to the
management.

17
Policy for the promotion of equality and diversity
Nevis Ensemble was established in 2017 with the aim of bringing music to everyone, everywhere. We exist
primarily to take full-scale orchestral music to public spaces and communities around Scotland and further
afield through tours and projects that develop true engagement with the public and reach new audiences,
and develop our musicians’ skills.

The objective of each Nevis Ensemble performance or project is to engage, entertain and stimulate the
audience and participants, and enable them to benefit from the tangible benefits of access to the arts, as
well as the simple feeling of joy.

Policy Statement
Nevis Ensemble is committed to encouraging and promoting equality and diversity as a fundamental
underpinning of all its activities, its governance and to the way in which it treats audiences, staff and
musicians.

Nevis aims to be truly representative of all sections of society and for each musician and staff member to
feel respected and able to give their best to the organisation.

Nevis believes that diversity enriches its artistic portfolio, enhances the skills base of its staff and
musicians, and contributes fresh ideas and perceptions to its development. The ever-changing diversity of
Nevis Ensemble’s beneficiaries within the wider social context in Scotland, brings its own excitement and
inspiration and Nevis Ensemble is therefore committed against unlawful discrimination in delivering on our
charitable objectives and project work.

The policy’s purpose is to:

• provide equality, fairness and respect for all who work or provide services for the organisation.
• not unlawfully discriminate because of the Equality Act 2010 protected characteristics of age, disability,
gender reassignment, marriage and civil partnership, pregnancy and maternity, race (including colour,
nationality, and ethnic or national origin), religion or belief, sex (gender) and sexual orientation.
• oppose and avoid all forms of unlawful discrimination. This includes in pay and benefits, terms and
conditions of employment, dealing with grievances and discipline, dismissal, redundancy, leave for
parents, requests for flexible working, and selection for employment, promotion, training or other
developmental opportunities.

Nevis Ensemble commits to:

1. Encourage equality and diversity in the workplace and for our musicians as a best practice benchmark
.
2. Create a working environment free of bullying, harassment, victimisation and unlawful discrimination,
promoting dignity and respect for all, and where individual differences and the contributions of all staff
and musicians are recognised and valued.

3. Take seriously complaints of bullying, harassment, victimisation and unlawful discrimination by fellow
employees, musicians, beneficiaries, volunteers, suppliers, visitors, the public and any others in the
course of the organisation’s work activities.

This commitment includes training Nevis staff about their rights and responsibilities under the equality
policy by dissemination of this policy. Responsibilities include staff conducting themselves to help the
organisation provide equal opportunities for musicians and staff, and prevent bullying, harassment,
victimisation and unlawful discrimination.

All staff should understand they, as well as their employer, can be held liable for acts of bullying,
harassment, victimisation and unlawful discrimination, in the course of their employment, against fellow
employees, musicians, or beneficiaries.

18
 Such acts will be dealt with as misconduct and any appropriate action will be taken. Particularly serious
complaints could amount to gross misconduct and lead to dismissal without notice

Further, sexual harassment may amount to both an employment rights matter and a criminal
matter, such as in sexual assault allegations. In addition, harassment under the Protection from
Harassment Act 1997 – which is not limited to circumstances where harassment relates to a protected
characteristic – is a criminal offence.

4. Decisions concerning staff musicians being based on merit (apart from in any necessary and limited
exemptions and exceptions allowed under the Equality Act).

5. Review employment practices and procedures when necessary to ensure fairness, and also update
them and the policy to take account of changes in the law.

6. Monitor the make-up of staff and musicians regarding information such as age, gender, ethnic
background, sexual orientation, religion or belief, and disability in encouraging equality and diversity,
and in meeting the aims and commitments set out in the equality policy.

Monitoring will also include assessing how the equality policy, and any supporting action plan, are working
in practice, reviewing them annually, and considering and taking action to address any issues.

Review 

This policy, the accompanying procedures and code of conduct will be reviewed by Nevis Ensemble’s staff
and Board of Trustees, in consultation with partner organisations and statutory guidance on an annual
basis.

19
Health and safety
The following guidelines are intended to be considered for all Nevis activity.

Risk Assessments for tours and projects are undertaken by Nevis Ensemble staff. However, individuals are
responsible for their own wellbeing and should use all reasonable actions to prevent accident or injury to
themselves or others.

General
All Nevis musicians, under The Health and Safety at Work Act 1974, they are required to:

• Use all instruments/equipment safely in accordance with training given;

• Cooperate with the Nevis staff/host organisations in matters of heath and safety;
• Notify their Nevis staff of any shortcomings.

To help you comply with this:

• All electrical equipment should be PAT tested
• A general visual risk assessment should be carried out for each performance or workshop.

Risk Assessment
Before each performance or workshop, musicians should consider the risks of the setting and each particular
audience: this is undertaken beforehand by Nevis staff, but musicians should be give their own visual risk
assessments for anything that may have changed a staff member’s assessment.

• Familiarise yourselves with the fire evacuation procedure and make sure that you are aware of any
unusual procedures (e.g. locked fire exits to prevent dementia sufferers from leaving the building).
• When you set up, ensure that you have allowed clear access to the Fire Exits (a corridor of at least 1.2m
width should remain clear). You should particularly bear this in mind if you are re-arranging the room to
allow for closer contact with the audience.
• If using electrical equipment, are the cables taped down and out of the way of the audience?
• Is the lighting suitable and if not, can the venue help, e.g. provide extra lighting, close curtains to block
sunlight etc?
• Consider the nature of the audience and your presentation: are there elements which present a risk and
are there steps which you or the venue can take to reduce the risk?
• Are your instruments and associated equipment kept out of harm’s way when you are not using them?
• Is there at least one member of staff present before the performance begins?
• Are there any other potential hazards which you can identify, bearing in mind the particular nature of the
audience and their special needs?

Those undertaking on-going projects should complete their own Risk Assessment. To complete the Risk
Assessment, follow these steps:

• Look for hazards that may result in harm.

• Consider who might be harmed – audience, musicians, instruments? Consult with setting staff if you
are in doubt as to the reaction or unpredictability of your audience/participants (e.g. if you plan to walk
amongst them, allow them to touch instruments etc): they will have first hand experience.
• Evaluate the risk and decide if existing precautions are adequate. You need to consider how likely it is
that each hazard will cause harm. This will determine whether or not you need to do more to reduce the
risk. It is likely that some risks will remain even after all precautions are taken. What you have to decide
for each significant hazard is whether the remaining risk is acceptable.
• Take steps to address the risk if existing precautions are not adequate.

If you unhappy with a setting or the set up you should contact Nevis Ensemble staff.

20
Accident Reporting
In all cases, first aid etc., for audience or workshop participants should be dealt with by the venue. This is
not the musicians’ responsibility. In the unlikely event that an accident occurs during a Nevis Ensemble event
and is NOT dealt with by the venue, please contact the Nevis staff.

Driver’s Policy/ Personal safety

• Drivers must be in possession of a driving license valid within the UK
• If musicians are using their own cars your insurance MUST cover business use. You should also keep
MOT, Road Tax and servicing up to date and have good records for these
• Fatigue is a major risk factor when driving long distances or late at night. Plan your route to give plenty
of time for unexpected delays and scheduled breaks. If you are not able to share the driving, you should
take a 15 min break every two hours.
• Drivers should not feel pressured to complete journeys where weather conditions are exceptionally
difficult.

Instrument insurance
All musicians should have their own insurance for their instrument. If any damage is caused to an individual’s
instrument during any Nevis Ensemble activity, the charity will not be responsible for any costs that ensue.

It is up to the individual’s own discretion if they wish to undertake activity, and assess the risk to their
instrument.

If you require advice on obtaining insurance, please do ask Nevis staff.

21
Policy for the Safeguarding of Children and Young People 2021
(including Appendix on Online Safeguarding)
Nevis Ensemble
Nevis Ensemble was established in 2017 with the aim of bringing music to everyone, everywhere. We exist primarily to
take full-scale orchestral music to public spaces and communities around Scotland and further afield through tours and
projects that develop true engagement with the public and reach new audiences, and develop our musicians’ skills.

The objective of each Nevis Ensemble performance or project is to engage, entertain and stimulate the audience and
participants, and enable them to benefit from the tangible benefits of access to the arts, as well as the simple feeling
of joy.

Policy Statement
Nevis Ensemble believes that it is always unacceptable for a child or young person to experience abuse of any kind
and as an organisation we recognise our responsibility to safeguard the welfare of all children and young people, by a
commitment to a practice which protects them.

This policy applies to all Nevis Ensemble musicians, freelancers, staff and Trustees of the charity.

Nevis Ensemble manages a number of projects involving young people, where musicians contracted on a freelance
basis will come into contact with children and young people from a range of backgrounds, and with a variety of needs.
The policy lays out expectations, codes of behavior and procedures that those acting on behalf of Nevis Ensemble are
expected to follow. 


The Purpose of the Policy 


• To provide protection for the children and young people who receive Nevis Ensemble’s services, including the
children of adult members or users;
• To provide musicians, Nevis Ensemble staff, project management team members, Trustees and volunteers with the
overarching principles that guide our approach to safeguarding.

Designated Officer
As of April 2021, Nevis Ensemble’s designated Safeguarding officer is Jamie Munn,
Chief Executive, [email protected]

Principles
The content of this policy underpins the principles laid out in the United Nation’s Convention on the Rights of Child
(1991) that:

• The best interests of the child must always be a primary consideration;

• All children and young people should be treated fairly and with dignity and respect;
• All children and young people have the right to protection from all forms of harm, abuse, neglect and exploitation;
• All children and young people have the right to express their views on matters that affect them.

We recognise that:
• the welfare of the child/young person is paramount, as enshrined in the Scottish Government’s (2014) National
Guidance for Child Protection in Scotland;
• all children regardless of age, disability, gender, racial heritage, religious belief, sexual orientation or identity have the
right to equal protection from all types of harm or abuse;
• some children are additionally vulnerable because of the impact of previous experiences, their level of dependency,
communication needs or other issues; 

• working in partnership with children, young people, their parents, carers and other agencies is essential in promoting
young people’s welfare.

The policy lays out expectations, codes of behavior and procedures that those acting on behalf of Nevis Ensemble are
expected to follow.

Projects will always be designed with the best interests of participants in mind. From the planning stage, we consult
with partner organisations to ensure that the wishes and needs of children and young people are enshrined from
the start. This includes any considerations we may have to make in terms of complying with legislation on Protected
Characteristics. Where possible, this includes input from children and young people. This done for all contexts, but
particularly in settings where, for example, children have additional support needs or come from difficult backgrounds,
with a careful balance towards the needs of the group and of individuals.

22
Code of Behaviour
Members of Nevis Ensemble should:

• remember they are a role model and provide an example for those they work with to follow;
• bear in mind that some actions, no matter how well-intentioned, may be easily misinterpreted and so leave all
parties vulnerable;
• be alert to any potential harm to children;
• respect all children’s right to privacy;
• provide opportunities for children to discuss any concerns they may have;
• speak to the designated person if concerned about the safety or welfare of a child or if they suspect a child is
developing or has developed an infatuation with them or has inappropriate feelings towards any member of the
orchestra.

Members of Nevis Ensemble should not:

• arrange to see or communicate with children in circumstances unconnected with their work, including the use of
texting and personal social media accounts such as Facebook and Twitter;
• be left alone for substantial periods of time with any child, except where one-to-one work is necessary;
• permit abusive behaviour towards children by others or engage in it themselves;
• show favouritism to, or become too closely associated with, an individual, nor should they get drawn into
inappropriate, attention-seeking behaviour (e.g. crushes);
• allow or engage in suggestive remarks, gestures or touching of a kind which could be misunderstood;
• do anything which might undermine a good reputation for providing a safe environment.

If a child shares worrying or sensitive information with orchestral members, they should not promise to keep secrets
or hesitate to share concerns on any of these matters with appropriate persons, as detailed on the following pages.

Physical contact with a child or young person should be avoided but it is appropriate in some cases: context is key. If
working with children who have additional support needs who require assistance, or in an activity involving movement,
where a child has become injured, then it may be necessary. Generally, physical contact will be appropriate if the child
or young person has initiated it. Be guided by how they react – if they resist or appear uncomfortable, then respect that
and do not force unnecessary contact.

Although in certain circumstances it is unavoidable, Nevis Ensemble musicians should aim to refrain from being in an
enclosed space alone with a child or young person. If this is unavoidable, ensure that the room door has a window and
that there is nothing covering the glass. If doors do not have a window, they should be left open.

In some circumstances, a child or young person may not have an understanding of social or physical boundaries due
to their own experiences. Nevis Ensemble will work with partner organisations to ensure that musicians are fully briefed
in these cases.

Responding to concerns if a child has disclosed something

Nevis Ensemble will endeavor to safeguard children and young people by valuing them, listening to and respecting them
using the following guidance should a child or young person disclose something:

• be accessible and receptive, listen carefully and ask open questions to clarify issues, e.g. who, what, when, where,
how;
• take it seriously;
• stay calm and neutral;
• reassure the child they are right to talk about it;
• reassure the child it was not their fault;
• negotiate getting help, e.g. prepare them for the fact that you must involve others;
• explain that you cannot personally protect them – but will support them in telling the right people to make sure it
doesn’t happen again. Never promise to keep a secret;
• explain who you will inform and prepare them what might happen next;
• report all suspicions or disclosures immediately;
• make precise records of what was said – immediately, using the child’s own words and including the questions you
asked – keep your hand-written notes.

Refrain from:
• jumping to conclusions or making promises you cannot keep;

23
• trying to get the child to disclose – let the child talk and ask only the questions you need to know to ensure
immediate safety;
• speculating or accusing anybody;
• asking any leading questions, e.g. was it Dad/Mum? etc, or any questions requiring a yes/no answer.

Responding to concerns about a child when they have not disclosed anything

Nevis Ensemble musicians working on projects may become concerned about a child because of something noticed,
even though they have not disclosed anything. This could be physical signs of what could be abuse or changes in
behaviour or attitude.

The following is a non-exclusive list of things to look for in children that may indicate something is wrong:

• Sudden and significant change in a child’s personality and/or behaviour;

• Sudden withdrawal from others;
• Suspicious bruises with unsatisfactory explanations (for example: hand or fingerprints, bruising on the face or neck,
lower back);
• Extreme anger or sadness;
• Fear of strangers;
• Aggressive behaviour;
• Attention seeking behaviours;
• Lack of self-esteem;
• Inappropriate sexual behaviour for their age;
• Self-injury;
• Depression;
• Signs that a child is not being cared for properly, such as consistently being inappropriately dressed for the weather,
hunger, or poor personal hygiene.

It is very important to remember that these indicators do not conclusively mean that a child is being abused or neglected,
though they are reasons for some concern. Concern should be raised if there does not appear to be a satisfactory
explanation. There may, for example, be a reasonable explanation for changes in behaviour, a child may be sad due to
a family bereavement, or angry because they have had an argument with a friend.

In these circumstances, Nevis Ensemble musicians should trust their intuition and refrain from keeping things to
themselves. Observations should be discussed in the first instance with staff at the partner organisation. If these
conversations prove unsatisfactory, the Designated Safeguarding Officer at Nevis Ensemble should be informed.

All such concerns should be logged in workshop reports, which will be kept by Nevis Ensemble in an incident book.

It is not Nevis Ensemble musicians’ role to determine whether or not any abuse or neglect has taken place, but it is
nevertheless important to report any concerns.

Recording incidents

Any concerns should be recorded, regardless of whether it will be ultimately passed on to the statutory authorities. If
a Nevis Ensemble musician has concerns about a child or an incident has been disclosed by a child or young person,
the following information should be written down as soon as possible after the concern has been noted and certainly
within 24 hours, by the adult concerned (with input from the Designated Safeguarding Officer for details if necessary) .

• Date and time

• Name of person making the report
• Name and date of birth of the child
• As much family information as possible (names, addresses, phone numbers)
• Nature of the concern
• What the child actually said (if the child disclosed anything)
• Any observations made that would support the concern
• Name of the alleged abuser (if disclosed).

This should be passed onto the Designated Safeguarding Officer at Nevis Ensemble and staff at partner organisations,
and signed by all parties.

If the matter is then passed on to a statutory agency, this written information will be forwarded.

24
The details will be kept by Nevis Ensemble in line with its Policy on Data Protection under GDPR, and in line with the
National Guidance for Child Protection in Scotland (2014).

If an incident has been reported and it is felt that the Nevis Ensemble Safeguarding Officer has not taken it seriously or
carried out due process, complaint can be made the Secretary of the Board of Trustees (contact details at the end of
this document), or contact can be made to the NSPCC (contact details at the end of this document).

Disclosure Scotland | PVG Scheme

When Nevis projects require repeated visits to a venue, when musicians are interacting with children or young people
on a regular or irregular basis, those musicians shall be required to join Disclosure Scotland’s PVG Scheme. Only on
receipt of the certificate will a musician be permitted to partake in such a project.

If a musician is already a member of the PVG Scheme, they will be required to undertake an update (currently costing
£18). Musicians should undertake this check themselves, but Nevis Ensemble will reimburse the individual.

If the musician is not currently a member of the PVG Scheme, they will be required to undertake a full check (currently
costing £59). Musicians should undertake this check themselves, but Nevis Ensemble will reimburse the individual.

Nevis Ensemble will retain a copy of musicians’ PVG certificate for the duration of their time with the organisation in line
with our Policy on Data Protection under GDPR.

Legal framework 


This policy and the accompanying procedures have been written using guidelines issued by the NSPCC and are
underpinned by the following legislation
• Children (Scotland) Act 1995
• United Nations Convention of the Rights of the Child 1991
• Data Protection Act 1998

• General Data Protection Regulation (GDPR) 2018
• Sexual Offences Act 2003

• Protection of Freedoms Act 2012
• Relevant government guidance on safeguarding children 



Resources used to inform this policy include:

• National Guidelines for Child Protection in Scotland 2014
• OSCR Safeguarding Guidance 2018
• Creating Safety (Creative Scotland)
• Getting it Right for Every Child (The Scottish Government)
• Time for Inclusive Education (TIE)
• LGBT Youth Scotland

Contact

Jamie Munn, Chief Executive (designated Safeguarding Officer): [email protected]

Local authority contacts will depend on each project’s location. Please ensure you have the correct
contact details before projects commence.

Police 999

Child Exploitation and Online Protection Centre (CEOP) www.ceop.police.uk

NSPCC www.nspcc.org.uk
Adults concerned about a child: 0808 800 5000
Children and young people: 0800 1111

Review 

This policy, the accompanying procedures and code of conduct will be reviewed by Nevis Ensemble’s staff and Board
of Trustees, in consultation with partner organisations and statutory guidance on an annual basis.
 

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Appendix 1
Online Safeguarding

Covid-19 has brought about a surge of interest in delivering activities online that would normally take place in physical
proximity. These activities might include work meetings with colleagues, training, live streaming, or facilitated activities.
Those of us running these sessions have varying degrees of experience and confidence in relation to online work.

We recognise that while online is an important space during a time of social isolation, 7% of households have no
internet access, and many people – often those with existing vulnerabilities – are unable to access or are unfamiliar with
digital technologies.

We also recognise that social media in particular has positive and negative effects on mental health. The 2017 report
#StatusofMind (RSPH and Young Health Movement), for example, identified increased rates of anxiety, depression and
poor sleep, cyber bullying, but also improved access to information and emotional support.
We would encourage you to consider whether you need to meet online, how and how often you want to do this, and
how online work might connect with ‘real world’ activity and relationships. Please read the guidance below before
moving your normal working practices online and remember to consider other options.

A note on vulnerability
The section is devoted to working with vulnerable groups, but bear in mind that all of us have been rendered more
vulnerable by the sudden change of circumstance we are experiencing. Even peer group meetings may be more
emotionally charged and exposing than usual. Set out to treat everyone you meet online at this time – and treat yourself
– as more sensitive than usual. Bear in mind, too, that our concentration can drift during online meetings, and we may
need to make more of an effort to remain engaged to support other participants. Working online has been found to
make us less inhibited with personal information.

We may find ourselves in each other’s homes, perhaps able to see details of people’s personal lives that might not
normally be available to us. Bear in mind that all of the information we gather (both consciously and unconsciously) from
someone’s environment informs our view of that person: their identity, social economic status, values and relationships.
If someone discloses information that makes you concerned for their or another person’s safety, however, this becomes
a safeguarding issue
 
Online meetings: hosting and participating

Hosting online meetings

Before the meeting:
• Nevis Ensemble generally uses Zoom for all online meetings and workshop sessions.
• Unique links are set up for each meeting/session along with a password for security
• The tone of sessions is established beforehand (formal or an informal meeting) which has a bearing on whether
ground rules are set at the beginning.
• People are asked to mute their microphones when they’re not speaking – this avoids interference and background
noise, which can be distracting.
• The Host is available to answer any tech queries or issues.
• Sessions can be recorded as appropriate. They are kept for sharing later on or to allow notes/minutes to be taken
after the event.
• Participants have the right to request that the session not be recorded.
• If the host needs to Share Screen don’t forget to check that you aren’t sharing emails or personal information by
accident.

During the meeting:

• Explain how you are going to chair or host the meeting, explain the role of anyone else you are working with to
manage the meeting, and share your agenda or plan.
• Make it clear whether you are recording or saving any chat pages, or keeping a record of personal data (e.g., email
addresses); why you are recording or saving these things; what you will do with these recordings after the meeting.
• If participants prefer not to be recorded, be prepared to take notes instead; if you really have to record, offer
participants the option to leave if they prefer.
• Consider explaining to participants what you will do if the technology fails; for example, that you will try to reconnect,
but that if this fails repeatedly, you will contact participants to rearrange. WiFi and broadband can fail at the best of
times, and are more likely to do so during high-traffic periods.
• Some people may prefer not being visible, or may not want to share images of their homes. Offer everyone the
option to use audio only.
• Make sure you allow people to introduce themselves in an ordered way so that everyone in the space is

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 acknowledged.
• It’s a tricky time to be working at home for many people, especially those with caring responsibilities. Remain
focused during the meeting as much as you can, but if you need to leave temporarily for any reason, explain what
you are doing; absence of attention can be magnified in online spaces and can hamper open discussion.
• Make sure you finish the meeting properly so that everyone has a sense of closure.
 
Safeguarding and Disclosure
Processes to tackle safeguarding and disclosure (i.e. what happens if someone reveals information about themselves
that indicates they may need further support) will be covered by you’re the rest of the content in Nevis Ensemnble’s
Policy for the Safeguarding of Children and Young People 2020.

• Research suggests that some people self-disclose or act out more frequently or intensely online than they would in
person due to distancing factors. Younger people or psychologically vulnerable people may be particularly prone to
what’s known as online “disinhibition”. In addition to this if you are working with children or vulnerable adults, you
might want consider the following:
• A Nevis Ensemble member staff can be available to sit in on sessions or meetings as a non-participating third party
if desired by the facilitator.
• Sessions may be more tiring online than in person. You are likely to be able to do less than you might expect to
face-to-face (this is not a failure of facilitation!)
• Remember that many platforms are designed with data (rather than human beings) in mind and have all sorts of
functionality which is superfluous or might exclude people. Ask yourself whether you really need to use functions
such as chat, slide-sharing, or voting just because they’re there.
• Spend a period at the start of the session (as you would offline) establishing an agreement for how you will work
together. By having a loose contract with participants that everyone can add to, you will be establishing a culture
of trust and safety. Consider whether it is appropriate for confidentiality to be agreed between participants, for
example. Inviting people to share only what they feel comfortable with, for example, signals that it is not expected
that participants share personal or emotionally sensitive information about themselves.
• It is especially important that you fully understand the software you are using
1. to choose software that meets your participants needs and does not create additional anxiety about learning
new skills or expending unnecessary data
2. to protect the privacy of your group’s members.
3. to support your ability to facilitate with confidence
• Zoom allows participants to ‘direct message’ each other without the host being able to see the messages; you may
want to consider disabling this option, which could limit your ability to safeguard participants.
• During challenging or stressful times, it may be more appropriate to build in check-in time for participants to report
on how they’re feeling. This is supportive at both the beginning and end of sessions. Try not to squeeze out this
reflective space due to other activities running on. Reflective time at the end of a session in particular helps ground
us and give a sense that we have engaged, been recognised and listened to.
• Consider too how you might or might not follow-up after the session with the participants.
• Think about what reflective practice you can build in for yourself; can you write notes after the session? Is there
someone you can debrief with? Facilitators have a duty of care to look after the needs of the whole group. We need
to think what our response will be if a participant joins an online group in a state of undress, eating and drinking, on
their bed, playing with pets and children, or behaving antisocially, for example. People suddenly leaving a group,
or getting up and leaving the room might be irritating or even quite triggering for some participants. Likewise with
distracting notifications or sounds in the environment. We may need to establish and uphold boundaries more
robustly than we would in person – something that might be quite challenging for some of us. The rule of thumb is
to apply the norms and principles you would in person and to use common sense. It is also important to be clear
what support you can and cannot offer to participants online. Do not promise something that you aren’t qualified
to deliver. If you are a practitioner rather than an arts therapist, for example, be clear to manage participants’
expectations about the depth of support you can offer. Clarity is key.

Advice for specific groups

There are many specialist resources available online. Some are listed below:
• Children and young people: Thinkuknow | NSPCC | SWGFL | saferinternet.org.uk | internetmatters.org | The 5
rights framework | Safe CIC
• Young people and vulnerable adults: Safe CIC
• Creative facilitation for children and young people: Noise Solution
• Older people: Age UK
• People with learning difficulties: Foundation for learning difficulties
• Do-it-yourself online safety guide, written with victims of domestic abuse and stalking in mind, but relevant and
applicable for anyone.

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contacts
Jon Hargreaves (he/his) Ambassadors
Co-Artistic Director Andrea Baker
[email protected] John Wallace CBE

Holly Mathieson (she/her) Board of Trustees

Co-Artistic Director Ankna Arockiam
[email protected] Dr Rachel Drury
Carol Fleming
Jamie Munn (he/his) Fraser Gordon
Chief Executive Su-a Lee
[email protected] Karen MacIver
+44 7957 417267 Ewan McGill
Laetitia Pannetier
Jessica Massey (she/her) Thomas Plater
Artistic Programme Manager Dr Gameli Kodzo Tordzro
[email protected] Nicolas Žekulin
+44 75134 69381

Kerry Lane (she/her)

Artist Development Manager
[email protected]

Georgina MacDonell Finlayson (she/her)

Sustainability Manager
[email protected]

Julia Fisher (she/her)

Marketing & Communications Officer
[email protected]

Marie Driver (she/her)

Projects & Tours Assistant
[email protected]
+44 7548 993554

Jennifer Moss (she/her)
Orchestra Librarian
[email protected]

Players’ Committee (2021/22)

tbc

Registered Office:
Platform at the Bridge
1000 Westerhouse Road
Glasgow G34 9JW

Nevis Ensemble is registered in Scotland No. SC047960

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