Appendix 1: Station Ethos & Programming Policy;
Appendix 2: Defamation and Use of Language, Code of Practice;
Appendix 3: Health and Safety Policy Statement;
Appendix 4: Policy for the Protection of Children and Vulnerable People;
Appendix 5: Sexual and Racial Harassment, Code of Practice;
Appendix 6: Disability Equality and Awareness Policy;
Appendix 7: Equal opportunities Policy Statement;
Appendix 8: Policy on Working with Volunteers;
Appendix 9: Environmental Policy;
Appendix 10: Equipment Policy.
Appendix 11: Promoting Alternative Lifestyles
Appendix 12: Code Of Practice For Community Arts Workers
Appendix: 13: Policy
for the Protection of Children and Vulnerable People
Appendix 1
Station
Ethos and Programming Policy
Northern
Visions believes that all persons are equal irrespective of age, disability,
employment status, ethnic origin, gender, linguistic preference, marital status,
nationality, political affiliation, race, religious conviction, sexual identity
or socio-economic group.
This equality
resides in our humanity and cannot be altered or taken away by the laws of man.
But in our less than perfect society it does not exist in actuality. In
recognising this to be the case, Northern Visions, in its desire to open the
airwaves to the proletariat, will discriminate positively in favour of all
those communities, whether defined by interest or geographic boundaries, which have
been ignored, suppressed and marginalised by the exclusive and manipulative
broadcasting structures established and maintained by sinister capitalist
concerns for the promotion of their own self-interest and ideology.
To this end,
we fully subscribe to the Bellagio Principles, as agreed at the Bellagio 899
Conference, and contained hereunder in this statement of the Station Ethos and
Programming Policy of Northern Visions Radio, aka NVR, aka N-V Radio,
broadcasting to the greater Belfast area on 100.6FM:
Vision of
Communications for Social Change
We recognise
that the practice and systems of communications has the power to transform
lives, and to influence the behaviour of organisations, institutions,
communities and nations. We also believe that for too long the processes and
systems of communications have been concentrated within the power of too few in
industrialised countries who use such power to homogenise cultures and
ideologies. Recognising this, and that communication systems and processes are
not easily accessible to all the world's people, we joined together to propose
a vision of communications for the 21st century that animates our
collective commitment to positive social change.
This vision is shaped by the following principles:
I. Every voice has the right to be heard and should have
the means to be heard.
II. Communications systems and technology must therefore
be affordable and accessible to all.
III. To work best the process of communication must allow
a free flow from many to many rather than from one to many.
IV. Communities must play an essential role in finding
their own communications solutions and developing their own communications
strategies.
We believe that unmediated communication processes, in which all
of us may communicate freely, directly and horizontally with one another, will
endow each of us with a greater sense of our own possibilities, enrich our
cultures through direct contact with other cultures, create a conversation
without limits in which each voice may be heard equally and from which may
evolve enlightened societies that value tolerance, self-determination and
active participation.
We believe in the power of strong, vivid and personal images to transform
consciousness, and we believe that the images and stories that define and shape
a group, a community or a people are primarily theirs alone to make. For we
believe that the cultures of the world need not be subsumed by those cultures
of industrialised nations which dominate control of channels of communications.
We believe that ideas with the power to enhance our lives are
arising from voices too long excluded from the larger human discourse. These
are too often the voices of people from the edges of the world, from the
margins of society. They may own neither presses nor broadcasting towers, but
they do have the capability of taking responsibility for their futures. We've
seen how many previously marginalised people, given the opportunity, can create
solutions for complex world problems, and may in fact well possess the energy
and vision that will help ensure the future for all of us.
We believe that communication is essential for strengthening
cultural identity and human values, encouraging further world development,
allowing people in communities throughout the world to participate in their own
governance, to organise and to shape our future world.
Moved to action by these principles, we have agreed to work
together toward free and open access of all people to the methods, means and
tools of communication, to reach out to communities around the world for their
ideas and their strength, and to embrace and promote new understanding and new
knowledge from wherever it might arise.
Northern
Visions Radio is wholly committed to the above declaration and is dedicated to
the concept of true community radio – that is, volunteer-led radio, devoid of
commercial influence, which provides a service for the whole community, using
the voices and skills of the members of the community throughout the total
spectrum of diversity, culture and ethnicity represented within the boundaries
of greater Belfast. A voice is guaranteed to any truly representative group,
provided its activities are legal, decent and neither political nor religious.
We commit to proactive support of groups and individuals representative of the
following marginalised groups, and any that may later be identified:
o
Community Arts;
o
Cultural minorities;
o
Disabled, elderly, children and young people;
o
Ethnic minorities;
o
Ex-prisoners, including political ex-prisoners;
o
Gay, lesbian, bisexual and transgender;
o
Irish language and culture;
o
Long-term unemployed and people on low incomes;
o
Ulster Scots heritage and culture;
o
Women.
Northern
Visions Radio will provide communication, information, education, informed
debate, good conversation, topical discussion and eclectic entertainment to the
highest professional standards through a mutually supportive community of
experienced and novice broadcasters, with full training and ongoing support
being provided where necessary. We are not employers, but are nonetheless
committed to the principles of gender equality, equal opportunity and the
provision of a safe and conducive environment for the vulnerable, viz. disabled,
elderly and young people.
To this end
our Programming Policy will reflect as near as possible the needs, aspirations
and diversity of the community it seeks to serve and will endeavour to produce
high quality responsive programming that fills a gaping void in current radio
provision.
A
representative panel of listeners will be established across Belfast to monitor
our output. Their reports will be considered at a monthly meeting of the
Programming Consultancy Panel, made up of the management team and one
representative of each production team. Programmes which prove unpopular will
be restructured, rescheduled or axed. Suggestions for new programming will
receive serious consideration. We will endeavour to offer programming which,
while incisive, pertinent and contemporary, are tasteful and appropriate to the
time of day during which they are broadcast. Adult content will be restricted
to after 21:00. Religious and political discussion will be encouraged and
spiritual issues included in appropriate slots, but absolutely no religious or
political indoctrination, or opinions of a racist, extremist, fundamentalist,
fascistic or obscene nature, will be permitted.
The station
will be speech orientated with a minimum 60% speech content with a bias towards
locally produced music. Mindless disk jockeying will not be allowed, the speech
content being topic, rather than "personality", led, and the music
providing a break from the speech, rather the reverse. Phone-ins, panel
discussions, live guests – including live musicians – will be integral to our
programming, with live and recorded forum debates being included on a weekly
basis. Drama, programmes with an educational content, comedy, local news and
sports will all play a part in our programming, with commissions for new plays,
involvement of educational establishments and coverage of the events that don’t
make it into the current formats available. We will support and encourage local
music – that is to say, music that originates in, or is performed by musicians
resident in, the north of Ireland.
We will
promote everything that is good and positive within our community, condemn that
which is destructive and negative, give a voice to the weak and
disenfranchised, expose the corrupt influences seeking to enslave our society,
bring communities together through education and informed debate, entertain
with comedy, drama, good music and conversation, and provide a new and unique
experience in local radio.
This document
should be read in association with our Constitution.
Appendix 2
Defamation and Use of Language
Code of
Practice
Many people
make the mistake of treating opinion, however well-founded they may believe
it to be, as fact. In terms of the reputations of individuals and organisations
this can be a dangerous practice with devastating consequences, both for the
defamed party and the instigator of the defamation. Acts of defamation
committed during a broadcast are deemed to be published and therefore
constitute libel. If the defamatory allegations are of such a nature that, were
they in fact true, the subject of the defamation would be liable to criminal
prosecution, then an act of criminal libel is deemed to have been committed.
Whereas the subject of an alleged libel must raise an action in the civil
court, acts of alleged criminal libel, though they may be raised in court by
the subject, are liable to attract police investigation and resulting
prosecution through the criminal courts, possibly leading to a criminal conviction
and custodial sentence.
An act of
defamation committed on air may lead to legal action being taken against the
individual making the allegation, the presenter of the programme, the duty producer,
senior producer, station manager and the station itself. Such action, if a
court were to find in favour of the appellant, could result in the station
losing its licence and being forced into liquidation. In order to avoid the
possibility of prosecution for what is in fact a particularly nasty and
cowardly crime, Northern Visions Radio has drawn up the following Code of
Practice:
1. Presenters must never
use profane language on air: if you are uncertain as to whether a specific word
or phrase is deemed to be profane, either check with the duty producer, whose
decision will be final, or omit it;
2. Presenters must never
commit any act of defamation: if you are uncertain as to whether a particular
statement may constitute defamation, either check with the duty producer, whose
decision will be final, or omit it;
3. Duty producers and
presenters have a duty to warn guests that they must not use profane language
on air, and inform them of the consequences of doing so, viz –
(i) Studio Guests – their mic will be deactivated immediately, the
station will go to music and they will be reprimanded; if they choose to ignore
the reprimand or reoffend, they will be removed from the studio and not
permitted to return;
(ii) Phone Guests – their connection will be deactivated
immediately; they will not be permitted to participate in future phone-ins;
4. Duty producers and
presenters have a duty to warn guests that they must not commit any act of
defamation on air, and inform them of the consequences of doing so, viz –
(i) Studio Guests – their mic will be deactivated immediately, the
station will go to music, they will be reprimanded and required to apologise on
air; if they choose to ignore the reprimand, refuse to apologise, or reoffend,
they will be removed from the studio, not permitted to return and the station
will apologise;
(ii) Phone Guests – their connection will be deactivated
immediately; they will not be permitted to participate in future phone-ins and
the station will apologise;
5. To further minimise the
risk of violation of the Code of Practice during phone-ins, phone guests will
be required to give a name and number when they call: if the operator feels
they have a valid point to make, a note will be passed to the duty producer who
will return the call and assess the suitability of the caller, taking account
of relevance, coherence and stability, before deciding whether to put the call
through to the desk;
6. Between 22:00 and
04:00, minor profane words like damn, damned, bloody, crap, shit, shite,
tosser, wanker, perv, & co., are generally acceptable in small doses, but
should still ideally be avoided, especially by presenters.
Appendix 3
HEALTH AND
SAFETY POLICY STATEMENT
Northern
Visions, as an employer, is committed to providing and maintaining a healthy
and safe working environment for all its employees, freelance staff, course and
workshop participants, user groups and any other people who may be affected by
its activities. The ultimate responsibility for health and safety at Northern
Visions rests with the Northern Visions’ Board of Directors.
This statement
applies to all premises and activities within the control of Northern Visions.
Whilst
Northern Visions accepts responsibility for the implementation of this policy,
it believes that individuals have an important role to play in ensuring a
healthy and safe working environment. Individuals are therefore required to
abide by rules and requirements made by Northern Visions’ Board of Directors in
relation to this policy and to inform Northern Visions of any medical condition
that the person may have. Any accidents must be reported to Northern Visions
and entered in the accident report book.
Northern
Visions will ensure, so far as is reasonably practicable:
Appendix 4
Policy for
the Protection of Children and Vulnerable People
Northern
Visions recognises that everyone has a right to be protected from all forms of
abuse and discrimination, and to be treated equally, irrespective of age,
culture, disability, employment status, ethnic origin, gender, linguistic
preference, marital status, nationality, political affiliation, race, religious
conviction, sexual identity or socio-economic group.
Everyone
involved with Northern Visions, in whatever capacity, has a role to play in
safeguarding the welfare of children and preventing abuse.
Northern
Visions role is not to investigate but to report suspected
cases of abuse.
Definitions
Northern Visions’
Responsibilities
These
responsibilities rest with Northern Visions’ Board of Directors, who will act
at all times fully in accordance with the Children’s (NI) Order 1995, and Our
Duty to Care, Child Care NI 1995, and put in place the following directives:
Expectation
of Partners
We recognise
that any procedure is only as effective as the ability and skill of those who
operate it. Northern Visions will liase with partners prior to a project, which
involves children and young people taking place. Partners should recognise that
our staff, tutors, freelancers and volunteers are not experts in the field of
child abuse and that it is Northern Visions duty is to report suspected cases
of abuse, NOT to investigate cases.
Allegations
of Abuse Against Members of Staff, Tutors, Freelancers and Volunteers
Recruitment
and Selecting Staff and Volunteers
Data
Protection
Northern
Visions will hold all records deemed appropriate strictly in accordance with
the Data Protection Act.
Appendix 5
Sexual and
Racial Harassment
Code of
Practice
Northern
Visions Radio will not tolerate any incidences of sexual or racial harassment from
whatsoever source and will not condone any breaches of this Code of Practice:
Sexual and
racial harassment may emanate from any source and anyone can be its victim. It
is therefore not acceptable to:
1.
Make lewd or obscene gestures;
2.
Stare at someone in a leering, provocative or suggestive manner;
3.
Make comments about someone’s body parts;
4.
Make comments about the colour of someone’s skin or facial
characteristics;
5.
Invade someone’s personal space by approaching him or her in an
intimate, hostile or suggestive manner;
6.
Initiate unsolicited and unnecessary body contact, especially of
intimate areas;
7.
Associate someone’s ability to perform their duties with their
gender or gender characteristics;
8.
Associate someone’s ability to perform their duties with their
racial or ethnic identity, or racial or ethnic characteristics;
9.
Refer to someone’s gender using pejorative terminology’;
10.
Refer to someone’s racial or ethnic identity using pejorative
terminology;
11.
Address someone in a patronising manner based upon their gender,
or racial or ethnic identity;
12.
Expect someone to perform menial tasks based upon their gender, or
racial or ethnic identity.
Any breaches
of this Code of Practice will be dealt with in accordance with current
legislation.
Appendix 6
Disability
Equality and Awareness Policy
Northern
Visions believes that all persons are equal irrespective of age, disability,
employment status, ethnic origin, gender, linguistic preference, marital status,
nationality, political affiliation, race, religious conviction, sexual identity
or socio-economic group.
This policy
statement relates solely to physically disabled persons, those with learning,
mental health or severe physical, disability, being covered by Appendix 4,
Protection of Children and Vulnerable People Policy.
Conscious of
the fact that people are disabled by society rather than by their diverse and
individual disabilities, or impairments, Northern Visions seeks to remove or
minimise those barriers insofar as it is able to do so having account of its
financial and practical limitations. In all matters relating to disability
Northern Visions’ Board of Directors will ensure compliance, as a minimum
standard, with the terms of the Disability Discrimination Act.
Whereas
personal care and support is the responsibility of the individual, tailored
training, and support for volunteers and staff will be provided, where this is
reasonable, necessary and possible. We shall ensure that our premises are safe
and accessible, but cannot guarantee that we will be able to provide equipment
specific to the needs of a particular individual. We do, however, have a wide
range of equipment which is suited to many needs, e.g. lightweight camera and
sound units, large monitors, CCTV, equipment with chunky controls, etc.
All Northern
Visions’ staff, freelances and volunteers receive Disability Equality and
Awareness Training prior to commencing duties and are kept aware of changes to
legislation affecting disability. Annual refresher courses are also provided.
Disabled
people are extremely welcome at Northern Visions, which has an excellent record
in providing for their needs; supporting, showcasing and facilitating projects
by and for disabled people; and producing programming, video and film
highlighting important disability issues.
Appendix 7
Equal
Opportunities Policy Statement
Northern
Visions is committed to developing and implementing a Policy of Equal
Opportunities.
We recognise
that many groups and individuals have been, and continue to be, disadvantaged
by society and its institutions, with a key feature of this disadvantage being
discrimination. Northern Visions is opposed to discrimination on any grounds,
including age, disability, employment status, ethnic origin, gender, linguistic
preference, marital status, nationality, political affiliation, race, religious
conviction, sexual identity or socio-economic group.
We will act
positively with the intention of contributing to the eradication of
discrimination whether it be direct or indirect, individual or group, cultural
or institutional, and will comply with any relevant requirements of the Good
Friday Agreement and other relevant legislation. In all its work Northern
Visions will actively promote and strive to establish a safe and supportive
working environment, affording equal respect to all.
Northern
Visions will adopt a positive action strategy in contributing to the
elimination of discrimination and creating additional opportunities for
disadvantaged groups. This strategy will include, where necessary and
appropriate:
In
determining policies and priorities, Northern Visions will:
Northern
Visions will:
In its work
with partners, Northern Visions will:
As an
employer, Northern Visions will:
In all areas
of its work, Northern Visions will:
Appendix 8
Policy on
Working with Volunteers
Northern
Visions recognises that volunteering makes a contribution to society. On a
societal level it can enhance active citizenship and social cohesion, as by its
very nature volunteering is about bringing people together. On an individual
level people see volunteering as a way of developing social contacts and
putting something back.
Furthermore,
we recognise that volunteering can address social exclusion by improving
employability; have a beneficial effect on people’s health and psychological well-being;
further education through mentoring and peer education; and, overcome feelings
of social isolation by connecting people to their local communities.
Northern
Visions recognises that volunteering:
Appendix 1: Station Ethos & Programming Policy;
Appendix 2: Defamation and Use of Language, Code of Practice;
Appendix 3: Health and Safety Policy Statement;
Appendix 4: Policy for the Protection of Children and Vulnerable
People;
Appendix 5:
Sexual and Racial Harassment, Code of Practice;
Appendix 6: Disability Equality and Awareness Policy;
Appendix 7: Equal opportunities Policy Statement;
Appendix 8: Policy on Working with Volunteers (this document);
Appendix 9: Environmental Policy;
Appendix 10 Equipment Policy.
Environmental Policy
Northern
Visions Board of Directors has the primary responsibility for ensuring that
Northern Visions operates in a manner consistent with ISO 14001 and in the
spirit of this policy
General
Policy Statement on the Environment
Northern
Visions recognises and accepts its responsibility to minimise, wherever possible,
its impact on the environment and to comply with all statutory environrnental
requirements.
Northern
Visions wishes to promote, amongst its staff and freelances, an understanding
of environmental issues.
Northern
Visions seeks to sustain and improve its own environment and contribute to the
protection of the local, national and global environments.
Northern
Visions aims to enhance environmental awareness among its staff and freelances;
• in the procurement of resources;
• in the maintenance and use of its building;
• by provision of information and instruction.
And to
minimise
• the consumption of resources;
• the production of waste; and
• harmful emissions to air, land and water
To achieve
these objectives the following policies will be adopted to cover areas of key
environmental importance.
(In all
cases due regard will be taken of the appropriateness and cost effectiveness of
the measures proposed).
Legislation
Comply with and
where possible exceed relevant environmental legislation in all aspects of
Northern Visions activities.
Procedures
Develop
programmes, which will enable Northern Visions to continually improve its
environmental performance through using the best practical environmental
options for established annual priorities.
Energy
Northern
Visions wishes to conserve energy. It will endeavour to use the minimum
quantities of energy possible in accordance with the safe and efficient
operation of its heating, lighting and equipment. It will keep under review its
energy sources, energy forms, and energy efficiency with a view to causing
least environmental impact. It will communicate to staff and freelances the
means by which energy may be conserved.
Water
Northern Visions
will endeavour to use the minimum quantities of water possible in accordance
with its activities. It will keep under review a programme of water
conservation by monitoring consumption, reducing leakage and eliminating
excessive or unnecessary use. It will communicate, to staff and freelances, the
means by which water may be conserved,
Purchasing
Northern
Visions wishes to conserve resources. Through its purchasing policies it will
seek goods and services, which do least harm to the environment in their production,
delivery and packaging use, re-use, recycling and disposal. It will seek to
purchase from local or regional suppliers, which will maximise Northern
Vision's input to the local community and minimise transport. It will
communicate to staff and freelances the means by which goods and services may
be purchased, with due regard to the environment.
Waste
Management
Northern
Visions wishes to conserve resources by minimising its generation of wastes. It
will do this by, in order of priority, reducing the acquisition of new
materials, re-using materials, recycling existing materials and, if the former
are impractical, disposal by a means which will have least impact on the
environment and conforms to statutory requirements. It will communicate, to
staff and freelances, means by which waste may be minimised.
Equipment Policy
One day's
booking is from 5.00 PM on the day of commencement of hire to 4.00 PM the
following day. For editing equipment a day runs from 10.30 AM to 9.30 AM the
following day.
Upon the end
of any hire period, members should return the equipment in a good condition,
fair wear and tear accepted, to Northern Visions premises.
Members will
be charged at Rate 1 for the whole of the period that the equipment is overdue.
Members will be given two chances to reform: a third late return will result in
a ban from Northern Visions.
A member of
staff only may take bookings. Bookings may be either provisional or confirmed.
If a provisional booking is not confirmed within 48 hours of its commencement
it is at the discretion of the staff of Northern Visions to cancel it and take
alternative bookings for that period. We require at least 24 hours notice for
the cancellation of a confirmed booking, otherwise a cancellation fee will be
charged which may be equal to the full hire fee for the period booked. In the
event of a late cancellation due to illness, that fee may be waived at the
discretion of the staff and Board of Directors, but exemption is not automatic.
Prices quoted are exclusive of VAT.
Rate 1.
Applies to commercially funded members and organisations and large
institutions.
Rate 2.
Applies to grant-aided projects.
Rate 3.
Applies to low/self funded projects.
A concessionary
hire rate is available on some items of equipment to members who are working on
a project without a budget.
The applicable
hire rate must be determined in consultation with the staff. (Please ask for
application form). If their assessment of the hire rate is regarded as unfair
or incorrect by the hirer, application should be made to the management
committee within 14 days from the date of the issue being raised for a review
of the hire charge. The Board of Directors’ decisions after review shall be
final.
In the event
of a member’s film, video or audio product later being sold or commercially
exploited after having been made on subsidised hire rates, the member shall
reimburse Northern Visions a sum representing the difference between the previously
applied subsidised rate and the commercial Rate 1 as it is applied at the time
of hiring.
All hirers
must be able to demonstrate ability to use equipment competently. Inexperienced
members may hire equipment, but a member of proven competence, or a technician,
must accompany them. We will endeavour to make this possible but it cannot be a
guaranteed service. Northern Visions shall not be liable for any damage, loss
or defect caused to equipment by negligence or mishandling while out on hire.
The cost of replacement or repair will be charged to the hirer.
During the
period of hire, members should:
1.
Ensure that the equipment is in working order before hiring;
2.
Always keep the equipment in their custody and control;
3.
Ensure that the equipment is used in a skilful and proper manner
by persons deemed competent by a technician;
4.
At all times take proper care of the equipment and ensure that it
is properly stored, transported and protected;
5.
Report to Northern Visions any fault, defect or damage to the
equipment as soon as it occurs or is discovered.
Members should
note that the equipment is uninsured if it is left in an unattended vehicle,
and that in this situation the member is liable for the equipment. In the event
of equipment being lost or stolen while out on hire, it is the responsibility
of the hirer to notify the police and to provide Northern Visions with all the
details necessary to file an insurance claim.
Without the
previous consent of the staff of Northern Visions, members must not:
1.
Use the equipment on any abnormal or hazardous assignment;
2.
Allow the equipment to be taken out of the country.
Northern
Visions takes all due care and attention to provide its members with equipment
in proper working condition. Northern Visions cannot be held responsible for
injury or loss of time or business due to equipment failure or defect.
The above
regulations cover the general running of Northern Visions. In extreme
circumstances alternative arrangements may be made with prior consultation with
the staff and Board of Directors of Northern Visions.
Appendix 11
Promoting Alternative Lifestyles
Northern
Visions Radio accepts that there are many equally valid, decent, purposeful and
rewarding alternative lifestyles, but must be seen in the interest of those
members of the community who may be offended or corrupted, especially minors,
not to be promoting as acceptable or valid any such lifestyle regarding which
current British law lays down restrictions, controls, safeguards or
recommendations.
Our position
in respect of homosexual relationships in particular requires some
clarification. Homosexuality is a perfectly acceptable alternative lifestyle to
the heterosexual norm. By use of the term homosexual, we include bisexual, gay,
lesbian and transgender. However, as current legislation prohibits homosexual
relationships with a minor, currently defined as someone under the age of 18
years, and prohibits the active promotion of homosexual lifestyles, it is
deemed contrary to the law to appear to promote homosexuality during daytime
listening hours. There are a number of matters which may however be broadcast
during this period, which is deemed to be between 04:00 and 22:00.
References to
meetings, including parades, gatherings, film shows, cabaret and drop-in
centres are permitted, provided it is made clear that they are for adults only.
All other content is restricted to outside these hours. In these circumstances
it is felt that there is insufficient content to warrant a full programme
during the daytime. The duty producer will therefore assimilate any relevant
data into appropriate slots during this period. Northern Visions Radio will
make adequate time available between 21:00 and 00:00 for gay programming,
initially at the weekend, expanding into one or more midweek slots as the
station develops.
We trust this
goes some way towards clarifying our position, which is determined by current
legislation and is not necessarily representative of the views of the station
and its staff. Northern Visions Radio sincerely trusts that you will feel able
to work within these parameters, which, although they may appear somewhat
restrictive, have been determined in accordance with the law after much research
and legal counsel, and cannot be amended unless there is a change in the law
and resulting legal counsel.
Appendix 12:
Code Of Practice For Community Arts Workers
Introduction
It is now widely
accepted that Community Arts have a beneficial role to play in many areas.
These include work with Travellers groups, personal development courses, groups
working with people with disabilities, youth groups, offenders, community
development groups, women's groups, men's groups, active age groups, community
festivals - the list is now as long as the proverbial piece of string.
People have
found in community arts a new language to address and analyse aspects of their
life situations, to celebrate their lives both at a personal level and at a
community level, and explore ways of bringing about necessary social change.
Change can be
daunting. This makes it all the more necessary for the work to be undertaken in
the right way. There is legislation covering work, health and safety etc., but
to date there is no specific Code of Practice for this field. The Code or
Practice CAFE has drawn up is intended to provide a framework to enable all of
us involved in community arts to continue to develop good practice.
This Code of
Practice covers the practice of arts workers and the groups who employ them and
has been devised from ideas put forward at the national Community Arts
Conference held in Maynooth in 1995.
The Code is
based on the principles that community arts must be rooted in the local
community or a community of interest, tend towards the benefit of that
community, actively involve the participation of local people, and reflect
themes and experiences of relevance to the participants; that community art places
as much emphasis on process as on product and believes that the involvement of
the participants is the equal end being served by the project; an equal
opportunities ethos must prevail at all times - there being no discrimination
on grounds of race, colour, creed, gender, culture, sexuality, age or
disability.
The Code is
also based on CAFE's founding principles that social equality is the right of
everyone to an equal share in the country's wealth and resources, and that
cultural equality is the right of access to the means of cultural production,
distribution and reception; that these two are linked and cannot be achieved in
isolation from each other.
It is CAFE's
intention to use the Code of Practice to guide its judgements in relation to
requests for assistance, information and advice, and in all its efforts to
develop community arts.
At present
there is little documentation of work in the sector. It is important that
people start to build documentation and evaluation into the processes of
community arts.
General
Rules for Community arts workers:
1) Be honest and clear about your skills level. Don't over or
undersell yourself.
2) Clarify whether you are to work on a project, or are training
workers to work with other people on projects. Minimum hourly rate is the
current VEC rate. Negotiate and agree how much preparation time is needed for
contact hours.
3) Meet project organiser and participants before starting on the
art work. Agree fee for this meeting. This way no unrealistic expectations of
your work should exist from either the project management or the participants.
If the project requires a helper/assistant, negotiate this at the start and who
it will be.
4) Make out list of all necessary equipment and materials and
agree with management how these are to be sourced, delivered, collected etc.
5) Draw up contract with the employing organisation giving names,
dates, service/duties, fee, expenses, hours, insurance, sickness benefits,
copyright, termination of contract, notice, and arbitration procedures, union
membership, training, health & safety, equal opportunity. Be clear on your
employer's reporting and communication systems.
6) Decide with your employer: when you will meet the participants?
who procures materials and equipment? is the insurance sufficient? who does the
cleaning up after sessions? who books the venues for any resulting performance
or exhibition etc? who organises transport for product? who has ownership of
products? who will document process? how is monitoring to be done? what form of
evaluation is to be used and by whom? who does the artsworker report to/get
assistance from? who are disclosures of abuse passed on to in the project? who
writes the final report? If this work is to be done by the artsworker, a
negotiated agreement needs to be made on a rate for this work.
7) Arrive on time for sessions.
8) If you have not met participants before work begins,
consult with them to see if the project is what they want to do. If not, they
should go back to management and negotiate.
9) Make sure all participants fully understand the project.
10) Explain and agree evaluation process with them. Is it on-going
or at the end? Ensure all participants understand the monitoring system.
Document the process and the product fully.
12) Keep within the budget. If changes are necessary, negotiate
early. Negotiate over any extra time/fee needed for performance, exhibition.
13) Make out a contract of terms and conditions negotiated and
agreed between the two parties; sign it yourself and get your employer to sign
it too. Each party keeps a copy.
General
Rules for Employer Organisations
1) Having checked out the artsworker's references, bring her/him and
the participants together at an early stage of planning a project. This ensures
that they are fully engaged in the process and also that no unrealistic targets
are set. Pay the artsworker for the planning or consultancy meetings.
2) Clarify whether you want the arts worker to work on a project,
or to train others to work with other people on projects.
3) Agree contract with artsworker under following headings: names,
dates, service/duties, fees, expenses, hours, insurance, sickness benefits,
copyright, termination of contract, notice, arbitration procedures, union
membership, training, health & safety, equal opportunity.
3) If the artsworker needs an assistant, negotiate this.
4) Resist the temptation to demand the work is done for an
unrealistic sum! If funding is currently limited, consider the possibility of starting
a process, with a 'public' product to come at a later time when further
funding is there. Minimum hourly rate is the current VEC rate.
Negotiate how much preparation time is needed for contact hours.
5) Decide with the arts worker: when you will meet the participants?
who procures materials and equipment? is the insurance sufficient? who does the
cleaning up after sessions? who books the venues for any resulting
performance/exhibition etc? who organises transport for product? who has
ownership of products? who will document process? how is monitoring to be done?
what form of evaluation is to be used and by whom? who does the artsworker
report to/get assistance from? who are disclosures of abuse passed on to in the
project? who writes the final report? Agree a rate of pay for these tasks if they
are to be carried out by the artsworker.
6) Accept that if you want the arts worker to do some or most of
this work they will have to be paid to do it.
7) Value your artsworker and participants by ensuring that the
space used for workshops is suitable, clean and sufficiently heated and lit.
8) Make someone on your staff available to support the artsworker
when necessary.
9) Make out a contact of terms and conditions negotiated and
agreed between the two parties; sign it yourself and get your artsworker to
sign it too. Each party keeps a copy.
Northern Visions
recognises that everyone has a right to be protected from all forms of abuse
and discrimination, and to be treated equally, irrespective of age, culture,
disability, employment status, ethnic origin, gender, linguistic preference,
marital status, nationality, political affiliation, race, religious conviction,
sexual identity or socio-economic group.
·
Everyone involved
with Northern Visions, in whatever capacity, has a role to play in safeguarding
the welfare of children and preventing abuse.
·
Northern Visions
role is not to investigate but to report suspected cases of abuse.
Definitions
·
Children are
defined as anyone under the age of 18 years;
·
Vulnerable persons
include adults with learning, mental health or severe physical, disability;
·
All references to
children include young people and vulnerable people.
Northern Visions’ Responsibilities
·
To safeguard and
promote the interests and well being of all children with whom we are working;
·
To take all
reasonable practicable steps to protect children and young people from harm,
discrimination or degrading treatment;
·
To respect
children’s rights, wishes and feelings;
·
To take seriously,
and respond to swiftly and appropriately to, all suspicions and allegations of
abuse.
Legal Context
The legislative
context within which children and vulnerable adults are protected includes:
·
A - United Nations
Convention on the Rights of the Child (UNCRC).
The most important articles in relation to child protection are:
·
Article 19 provides
that children have the right to be protected from all forms of physical or
mental violence, injury or abuse, neglect or negligent treatment, maltreatment
or exploitation including sexual abuse by those looking after them.
·
Article 12 further
provides that a child who is capable of forming his/her own views should be
assured the right to express those views freely in all matters affecting the
child, these views being given due weight in accordance with the age and
maturity of the child.
·
Finally and most
fundamentally Article 3 provides that when organisations make decisions, which
affect children, the best interests of the child must be a primary
consideration.
·
B - The Children
(NI) Order 1995 states that the welfare of the child must be the paramount
consideration and it is this essential principle, which underpins this
Guidance. Within this legislation a child is a person under the age of 18
years.
·
C - Data Protection
Act (1998). Whilst the Data Protection Act (1984) deals with the right of
individuals to obtain copies of individual data held on computer of which they
themselves are subject, this legislation which came into effect in 1999 extends
the above provisions to manually held data i.e. paper records. Information
relating to child abuse or possible abuse is however exempted from disclosure
requirements.
Good Practice
·
D - The Children
and Vulnerable Adults (NI) Order 2003 is there to prevent unsuitable people
from working with vulnerable groups. The Order strengthens the existing system
for checking people seeking work with children and vulnerable adults against
lists maintained by the Department of Health, Social Services and Public Safety
and by the Department of Education.
Northern Visions’
Board of Directors will put in place the following directives:
·
All programmes
involving children are carried out by vetted staff.
·
All partners
involved in Northern Visions projects and programmes involving young people
must have a Child Protection Policy and procedures compatible with Northern
Visions’ Child Protection Policy.
Expectation of Partners
·
Offer safeguards to
the children with whom we work and to our members of staff, tutors, freelancers
and volunteers;
·
Help maintain the
professionalism and standards set by Northern Visions.
We recognise that
any procedure is only as effective as the ability and skill of those who
operate it. Northern Visions will liase with partners prior to a project, which
involves children and young people taking place. Partners should recognise that
our staff, tutors, freelancers and volunteers are not experts in the field of
child abuse and that it is Northern Visions duty is to report suspected cases
of abuse, NOT to investigate cases.
Allegations of Abuse Against Members of
Staff, Tutors, Freelancers and Volunteers
Northern Visions’
Board of Directors shall be informed of all allegations and will take the
appropriate action;
·
A record of all
allegations shall be maintained;
·
The Project
Director will have responsibility for ensuring proper supervision of people
working with children on Northern Visions’ projects;
·
If the Project
Director is the subject of the suspicion/allegation, the report must be made to
the Chair of Northern Visions’ Board of Directors. The Chair will then be
responsible for taking the appropriate action.
Recruitment and Selecting Staff and
Volunteers
When undertaking
pre-selection checks for volunteers, tutors, freelancers, or paid staff who
will work with children, Northern Visions will require:
·
All volunteers and
permanent staff to complete an application form;
·
Consent to be
obtained from applicants for Police and Social Services checks to be made;
·
At least two
references to be taken up, one of which should, if possible, refer to previous
work with children;
·
All information
received to be treated in confidence.
Child Protection Checklist
·
All individuals
need to work within the principles of good practice.
·
Individuals need to
be aware of the legal context within which they work.
·
Individuals need to
ensure they are aware of the specific needs of the groups they will be working
with and discuss with the contracting group how this will impact on their work
and how these needs can be met.
·
Prior to working in
any setting the individual and the relevant staff member should familiarise
themselves with both Northern Visions and receiving organisation’s Child
Protection and Vulnerable Adult Policies.
Shared Responsibilities
·
Individuals need to
have discussed what will be the process if they have a cause for concern during
their work and the use of their own organisation’s policy / Northern Visions
Child Protection Policy and Procedures.
·
Ensure that you are
fully aware of the receiving organisation’s / group’s / club’s Child Protection
Policy and your responsibility within it.
Identify the Designated Officer in the receiving organisation.
·
Be familiar with
Northern Visions Child Protection Policy and Procedures
·
Be clear that the
supervising adult in the room with you is appropriate i.e. knows the children
and/or vulnerable adults and is able to meet their needs and concerns.
·
Be aware of the
specific and special needs of children, young people and vulnerable adults in
the workshop and ensure that consideration is given to enabling their full
involvement in the process.
Responding to Disclosure
·
It is important
that children / young people feel they are being listened to and taken
seriously.
·
Be honest and do
not make promises you cannot keep.
·
If the child /
vulnerable adult is in immediate danger then consult with the supervising adult
re: immediate action.
·
Pass on the
information as quickly as possible to the supervisory adult and in writing to
the Designated Officer in the school / organisation and, if appropriate, follow
your own organisation’s policy.
·
Record your
concerns including the exact words of the child / vulnerable adult and copy to
Northern Visions Chairperson.
·
Maintain
appropriate confidentiality.
·
Follow the Northern
Visions Child Protection Policy and Procedure.
Reporting Procedure
·
Ensure that procedures
for responding to concerns are discussed at the planning meeting for the work
and that a process for doing this is agreed. The Designated Officer needs to be
named and contact details given.
·
Always inform the
supervising adult of concerns as quickly as possible.
·
Be objective and
concise on the ‘Cause for Concern Form’ and forward within 72 hours to the
Designated Officer of the school, group, organisation (as above) and copy to
the Northern Visions Chairperson.
·
Ensuring the
welfare of children and vulnerable adults is safeguarded is a shared
responsibility. You can talk with the Northern Visions Chairperson at any time.
Recording
·
Ensure that your
recording is factual, in a neutral language and concise.
·
Ensure you record
the name of the Supervising Adult and Designated Officer of the school, group,
organisation or club.
·
Ensure the Cause
For Concern Form is forwarded within 72 hours.
·
Ensure
confidentiality of sensitive information.
·
D - The Children
and Vulnerable Adults (NI) Order 2003 is there to prevent unsuitable people
from working with vulnerable groups. The Order strengthens the existing system
for checking people seeking work with children and vulnerable adults against
lists maintained by the Department of Health, Social Services and Public Safety
and by the Department of Education.
CAUSE FOR CONCERN FORM
PLEASE COMPLETE IN
BLOCK CAPITALS
Name of child /
young person / vulnerable adult . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . .
Date, day, time . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . .
Observation i.e.
behaviour / injury / cause for concern . . . . . . . . . . . . . . . . . . . .
. . . . .
. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . .
. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . .
Child / young
person’s statement / comments . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . .
. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . .
. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . .
Name/s of
Supervising Adult . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . .
. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . .
Action agreed to be
taken – date / time, who to be informed . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . .
Copy sent to:
Designated Officer
of school / organisation / group / club.
Name . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Date . . . . . . . . . .
NIFTC Designated
Officer Name . . . . . . . . . . . . . . . . . . . Date . . . . . . . . . .
Name of
Trainer/creative specialist . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . .
Signed . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Date . . . .
. . . . . . .
Contact Number . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Follow-up action: TO
BE COMPLETED BY NORTHERN VISIONS CHAIRPERSON
Name. . . . . . . .
. . . . . . . ……………………………………. Date . . . . . . . . . . .
Signed . . . . . .
. . . . . . . . . . . . . . . . . . . . . .
Follow-up of
Outcome(IF APPROPRIATE) . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . .
. . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . .
Name (Chairperson).
. . . . . . . . ………………………… . . . . . . . ,
Date . . . . . . . . .
Signed . . . . . .
. . . . . . . . . . . . . . . . . . . . . .
Code Of Behaviour For Specific Art
Forms
The following are
generic areas to consider across all art forms:
Children, young
people and vulnerable adults must be treated with respect at all times.
Children, young
people and vulnerable adults have a right not to partake in an activity, which
they feel uncomfortable with.
The need to seek
permissions required from parents / primary carers /children and young people.
The need to obtain
consent / release forms for use of any material produced by participants e.g.
film, video, photography etc. These
Consent / Release forms must provide as much information as possible for
parents / carers to give informed consent.
The need for the
provision of information in advance in relation to the content and requirements
of the performance / workshop e.g. methods, touch etc.
The need for
content and material that is age specific and appropriate to the needs of the group.
Any creative medium
can invoke personal reactions and emotions in participants and therefore
sensitivity and awareness is important.
Craft
This covers a wide
variety of craft forms and it is important to provide children, young people
and vulnerable adults with an opportunity to explore these. In relation to
child protection good practice issues the following are issues to be aware of:
Children, young
people and vulnerable adults and the supervising responsible adult should be
told in advance what, if any, physical touch will be involved.
Consent from the
child / vulnerable adult should be received before any physical touch is
carried out.
Awareness that
children, young people and vulnerable adults do not harm or attempt to harm
themselves or others with any of the craft materials.
Good practice in
working with crafts would indicate that physical touch is only necessary to
guide the person’s hands in the activity and therefore this should be a light
minimal touch. For example, in teaching
pottery that the trainer / creative specialist is in front of the child and
places their hands gently on top of the child’s hands to demonstrate the craft
as opposed to from behind.
Music
The wide variety of
music forms and expressions makes the community we live in come alive. It covers the traditional, modern - i.e.
electronic, techno, dance, hip hop, jazz, world - classical, opera, rock, pop
and orchestral. In relation to child protection good practice issues the following
are specific areas to be aware of:
The teaching of
specific musical instruments will involve at times the physical touch of
children and young people to ensure they are following the teacher’s
directions. Good practice would
highlight the importance of ensuring that children and young people are
informed that touch may be involved.
Physical touch may
involve the touching of the diaphragm to enhance / demonstrate breathing
techniques. This needs to be carried
out firstly with permission and secondly as lightly and as sensitively as possible.
The importance of
recognizing that touch or personal space being invaded is and can be a very
threatening experience. Therefore all
trainer/creative specialists must be aware of their need to respect personal
space and if touch must occur it is carried out in a respectful manner but
importantly with consent.
An example is in
teaching the drums, given the difficult task of teaching a child or young
person how to co-ordinate four limbs it may be necessary to stand behind the
person and lean over them. This can be
very threatening and good practice would highlight the importance of a child’s
comfort with this and if any discomfort / hesitation is shown then it must not
occur.
Literature
The art of story
telling is to be recognised as an exciting way for children and young people to
allow their imagination to expand.
In relation to
child protection good practice issues the following are specific areas to be
aware of:
The importance of
recognising the need for language to be respectful and not to be abusive,
degrading or exclusive.
That a literature
facilitator needs to recognise the special needs within the group and ensure
that these are given due consideration to ensure inclusivity.
It is important
that the material is age specific and appropriate to the age group/special
needs of those undertaking the workshop.
Given the nature of
creative writing in encouraging and enabling a person to explore their
imagination and feelings it will inevitably trigger within people their hidden
thoughts and emotions. Trainer/creative
specialists must therefore be aware of the experiential nature of creative
writing and make children and young people aware of this possibility. If this does occur then following the Policy
and Procedure recording procedure is advised.
It is also
recognized that many young people will use creative writing to highlight how
they are feeling, and may write down their abuse experiences. Trainer /
creative specialists must be aware of this and respond appropriately.
Dance
Dance is a physical
activity and this is what makes it a creative and joyful art form. In recognising that it is a physical
activity it is therefore inevitable that physical touch will be an integral
part of that experience. This physical
touch can include the teacher / choreographer / dancer having to touch a child,
young person or vulnerable adult in order to demonstrate a particular movement
or to improve posture. Touch can also
be to encourage a child or young person to work in pairs / trios with their
peers.
Therefore the touch
of children and young people must be recognised as important to the task of the
teacher/ choreographer / dancer in order to teach the young people / children.
In relation to
child protection good practice issues the following are specific areas to be
aware of:
Touch is given and
directed in a respectful and non-threatening manner.
Permission is
sought from the child for touch to take place.
It is important to
highlight to children, young people and vulnerable adults that it is OK to say
no and they do not have to partake in any activity which they do not want to.
Awareness of the
issues of power, physical size and bullying within a group of young people in
encouraging the working of pairs / trios.
It is important that young people are made aware if their behaviour is
uncomfortable / frightening for their peers
That a teacher /
choreographer / dancer is not involved in the changing of children or young
people. Privacy for individuals (girls
and boys) when changing and separate facilities should be available where
possible.
Separate changing
facilities should also be available for teacher / choreographer / dancer.
Where possible
provision of tutors / supervisors of both sexes should be made available.
Visual / Film
It is important to
realise that the increase in visual forms of communication has greatly enhanced
our world today, which for the most part is extremely positive. However, the Internet has also provided an
avenue for the exploitation of children and young people through images.
In relation to
Child Protection good practice issues the following are specific areas to be
aware of:
That clear
information is given to those persons whether children, young people or
vulnerable adults and their parents / guardians / carers as to the exact detail
of the visual art being used. Consent for children / vulnerable adults to
attend the workshop is received in the first stage of the consent process.
Good practice would
recommend that a Release Form for use of visual work / images is forwarded
prior to the visual facilitator attending the school / youth club / day centre
to be completed by the parents / carers / guardians of the children and or
young people who will be attending the workshop.
It is important to
understand the motivation of a person who is involved in the sexual
exploitation of children, young people and vulnerable adults and that for them
even the most innocent of photographs, images or film can provide them with
sexual stimulation.
The inclusion of a
child, young person or vulnerable adult’s image on a website has been another
positive communication medium for visual facilitators to highlight their work
and showcase the work of groups.
However, the Internet is a medium with no boundaries and therefore an
image can be forwarded to any number of other websites / emails / individuals.
The security of these images to your particular website cannot be guaranteed.
In recognising
these issues it is therefore good practice to ensure that those adults signing
a consent form are aware of all the visual mediums that their child or young
person’s image may be displayed on and permission sought for their consent in
this way.
As a visual arts
facilitator you must abide by child protection guidelines which would request
that you do not place a child in an at risk situation. Therefore it is good practice to question
your motivation when considering displaying an image or film of a child or
young person and if it is absolutely necessary.
The showcasing of
visual facilitators’ work is very important for the display of work and in
encouraging children / young people and vulnerable adults to continue to
explore the visual arts. However, if
showcasing a piece of work for which you have received consent in the Release
Form also includes the image of another child / young person / vulnerable adult
then it is good practice that consent for that image is received from the
responsible parent / carer /guardian for that child / adult in that image.
Good practice would
highlight that all the material generated in the visual arts workshops remains
the property of the individual participants / receiving organisation. Further consent for the showcasing of work
needs to be given by the consenting parent / carer / guardian. For further information in relation to
issues of copyright / ownership of intellectual property please go to
Department for Culture, Media and Sports (DCMS) at www.culture.gov.uk.
Visual arts
facilitators should never be alone with a child, young person or vulnerable
adult in a ‘dark’ room/ editing studio situation.
Accessing the
Internet can provide a breadth and depth of creative opportunities for children
and young people and vulnerable adults as indicated earlier, however this needs
to be monitored to ensure its safe use. It is therefore important that at the
planning stage protocols are agreed that address:
Confirmation that a
child protection block is in place on the computers e.g. ‘Childnet’.
Levels and quality
of supervision are agreed.
Levels of taste and
decency and appropriateness of material for the children, young people and
vulnerable adults. It is better to err on the side of caution unsure.
Drama
In recognising that
physical contact is an integral part of the teaching of Drama, it is important
to highlight child protection good practice issues. The following are specific
areas to be aware of:
In relation to
physical touch it is important that all children and young people are fully
aware of the fact that touch is integral to doing drama.
Parents need to be
informed by the receiving organisation of the nature of a drama workshop and
the role touch plays.
It is also vital to
recognise that any type of drama or creative expression of feelings can trigger
for any child or young person who has suffered or is suffering.
Northern Visions
June 2007
Signed
CHAIRPERSON