The National Opera Studio (NOS) is supported by Arts Council England and by a growing number of individuals, companies, trusts and foundations. The Studio actively seeks private donations, grants and sponsorships to support core activities and projects. This policy clarifies the ethical principles that underpin our fundraising, outlines the methods by which these should be delivered, and ensures openness to all our stakeholders, artists and beneficiaries. It applies to all donations and sponsorship whether from individuals, businesses or trusts and foundations.

The Studio also regularly hires its spaces, the income from which directly supports our work. While we are not responsible for the business practices of any organisation or individual that hires our spaces, we undertake to ensure any risk these hires may cause to our reputation, policies, and working practices are mitigated and/or prevented.

Our key principles of responsible fundraising are:

• We have honest relationships with our donors and sponsors; all communications are truthful and transparent.
• All monies raised are used exclusively for the purposes specified and in accordance with our stated mission and purpose.
• Donors or sponsors support our values of accessibility and equality, no relationship can be to the detriment of these values.
• All fundraising initiatives reflect our values and do not compromise the reputational standing of either ourselves or our donors
• We adhere to all the Fundraising Regulator’s codes of practice to ensure best practice, transparency and accountability.

Acceptance Principles

NOS recognises some sources of support or potential support may create a risk of causing damage to the Studio’s reputation.

NOS will review all potential donations of more than £10,000 and, where appropriate, will refer them for approval as a matter of urgency (see Due Diligence below).

The Studio will not accept funds where:

• The donation is made anonymously through an intermediary who is not prepared to identify the donor or there are reasonable grounds to suspect that the donor has acted unlawfully in acquiring the funds.
• Acceptance of the funds would significantly damage the effective operation of the Studio in delivering its mission by:
– creating unacceptable conflicts of interest
– causing material damage to the reputation of the Studio
– causing undue harm to the Studio’s relationship with other benefactors, partners, artists or stakeholders

In addition there may be reasons to review or conduct due diligence on a donation – for example:

• Where a donor is known for activities which directly harm individuals; e.g. tobacco, gambling and addiction or fossil fuels.
• Where a donor is known for unethical employment practices such as breaching working hours, failing to pay minimum wage, or otherwise infringing employee rights.
• Where a donor has a poor reputation for equal opportunities and diversity.
• These principals will be applied to donations of more than £10,000 which come from a Corporate, a Trusts or Foundation, or from an individual donor.

All potential hires are subject to the same principals.

Due Diligence
To further ensure that significant donors do not carry any reputational damage or risks to NOS, we will conduct a screening process, subject to GDPR, for:

• any source proposing to make a contribution of over £10,000
• any source where any member of the board of trustees or an employee has raised a concern
• funding offered for a specific project where the source insists that a particular third party is used as a partner or supplier on the project
• funding that has unusual or disproportionate conditions attached
• Should a prospective supporter be deemed to be contentious, they will immediately be referred to the Artistic Director, the Chair and appropriate Trustees for further review.

Where necessary, further information and advice will be sought from third parties, such as professional search firms, international due diligence providers, and individual contacts who may have further knowledge of prospective supporters.

1. Introduction

1.1 These terms and conditions shall govern your use of our website.
1.2 By using our website, you accept these terms and conditions in full; accordingly, if you disagree with these terms and conditions or any part of these terms and conditions, you must not use our website.
1.3 If you register with our website oe make a donation, we will ask you to expressly agree to these terms and conditions.
1.4 Our website uses cookies; by using our website or agreeing to these terms and conditions, you consent to our use of cookies in accordance with the terms of our privacy policy.

2. Credit

2.1 This document is an SEQ Legal document from Website Contracts (http://www.website-contracts.co.uk).

3. Copyright notice

3.1 Copyright © 2024 National Opera Studio.
3.2 Subject to the express provisions of these terms and conditions:
(a) we, together with our licensors, own and control all the copyright and other intellectual property rights in our website and the material on our website; and
(b) all the copyright and other intellectual property rights in our website and the material on our website are reserved.

4. Licence to use website

4.1 You may:
(a) view pages from our website in a web browser;
(b) download pages from our website for caching in a web browser;
(c) print pages from our website;
(d) stream audio and video files from our website; and
(e) download Young Artist biographies and headshots which have been made available as clickable download links. (Please note that the use of these must be cleared in advance of any onward publication);
subject to the other provisions of these terms and conditions.
4.2 Except as expressly permitted by Section 4.1 or the other provisions of these terms and conditions, you must not download any material from our website or save any such material to your computer.
4.3 You may only use our website for your own personal and business purposes, and you must not use our website for any other purposes.
4.4 Except as expressly permitted by these terms and conditions, you must not edit or otherwise modify any material on our website.
4.5 Unless you own or control the relevant rights in the material, you must not:
(a) republish material from our website (including republication on another website);
(b) sell, rent or sub-license material from our website;
(c) show any material from our website in public;
(d) exploit material from our website for a commercial purpose; or
(e) redistribute material from our website.
4.6 Notwithstanding Section 4.5, you may redistribute content via the share buttons available on each page.
4.7 We reserve the right to restrict access to areas of our website, or indeed our whole website, at our discretion; you must not circumvent or bypass, or attempt to circumvent or bypass, any access restriction measures on our website.

5. Acceptable use

5.1 You must not:
(a) use our website in any way or take any action that causes, or may cause, damage to the website or impairment of the performance, availability or accessibility of the website;
(b) use our website in any way that is unlawful, illegal, fraudulent or harmful, or in connection with any unlawful, illegal, fraudulent or harmful purpose or activity;
(c) use our website to copy, store, host, transmit, send, use, publish or distribute any material which consists of (or is linked to) any spyware, computer virus, Trojan horse, worm, keystroke logger, rootkit or other malicious computer software;
(d) access or otherwise interact with our website using any robot, spider or other automated means, except for the purpose of search engine indexing;
(g) use data collected from our website for any direct marketing activity (including without limitation email marketing, SMS marketing, telemarketing and direct mailing).
5.2 You must not use data collected from our website to contact individuals, companies or other persons or entities.
5.3 You must ensure that all the information you supply to us through our website, or in relation to our website, is true, accurate, current, complete and non-misleading.

6. Your content: licence
6.1 In these terms and conditions, “your content” means all works and materials (including without limitation text, graphics, images, audio material, video material, audio-visual material, scripts, software and files) that you submit to us or our website for storage or publication on, processing by, or transmission via, our website.
6.2 You grant to us a worldwide, irrevocable, non-exclusive, royalty-free licence to use, reproduce, store and publish your content on and in relation to this website.
6.3 You grant to us the right to sub-license the rights licensed under Section 9.2.
6.4 You grant to us the right to bring an action for infringement of the rights licensed under Section 9.2.
6.5 You hereby waive all your moral rights in your content to the maximum extent permitted by applicable law; and you warrant and represent that all other moral rights in your content have been waived to the maximum extent permitted by applicable law.
6.6 You may edit your content to the extent permitted using the editing functionality made available on our website.
6.7 Without prejudice to our other rights under these terms and conditions, if you breach any provision of these terms and conditions in any way, or if we reasonably suspect that you have breached these terms and conditions in any way, we may delete, unpublish or edit any or all of your content.

7. Your content: rules
7.1 You warrant and represent that your content will comply with these terms and conditions.
7.2 Your content must not be illegal or unlawful, must not infringe any person’s legal rights, and must not be capable of giving rise to legal action against any person (in each case in any jurisdiction and under any applicable law).
7.3 Your content, and the use of your content by us in accordance with these terms and conditions, must not:
(a) be libellous or maliciously false;
(b) be obscene or indecent;
(c) infringe any copyright, moral right, database right, trade mark right, design right, right in passing off, or other intellectual property right;
(d) infringe any right of confidence, right of privacy or right under data protection legislation;
(e) constitute negligent advice or contain any negligent statement;
(f) constitute an incitement to commit a crime[, instructions for the commission of a crime or the promotion of criminal activity];
(g) be in contempt of any court, or in breach of any court order;
(h) be in breach of racial or religious hatred or discrimination legislation;
(i) be blasphemous;
(j) be in breach of official secrets legislation;
(k) be in breach of any contractual obligation owed to any person;
(l) depict violence;
(m) lewd, suggestive or sexually explicit;
(n) be untrue, false, inaccurate or misleading;
(o) consist of or contain any instructions, advice or other information which may be acted upon and could, if acted upon, cause illness, injury or death, or any other loss or damage;
(p) constitute spam;
(q) be offensive, deceptive, fraudulent, threatening, abusive, harassing, anti-social, menacing, hateful, discriminatory or inflammatory; or
(r) cause annoyance, inconvenience or needless anxiety to any person.

8. Limited warranties
8.1 We do not warrant or represent:
(a) the completeness or accuracy of the information published on our website;
(b) that the material on the website is up to date; or
(c) that the website or any service on the website will remain available.
8.2 We reserve the right to discontinue or alter any or all of our website services, and to stop publishing our website, at any time in our sole discretion without notice or explanation; and save to the extent expressly provided otherwise in these terms and conditions, you will not be entitled to any compensation or other payment upon the discontinuance or alteration of any website services, or if we stop publishing the website.
8.3 To the maximum extent permitted by applicable law and subject to Section 9.1, we exclude all representations and warranties relating to the subject matter of these terms and conditions, our website and the use of our website.

9. Limitations and exclusions of liability
9.1 Nothing in these terms and conditions will:
(a) limit or exclude any liability for death or personal injury resulting from negligence;
(b) limit or exclude any liability for fraud or fraudulent misrepresentation;
(c) limit any liabilities in any way that is not permitted under applicable law; or
(d) exclude any liabilities that may not be excluded under applicable law.
9.2 The limitations and exclusions of liability set out in this Section 9 and elsewhere in these terms and conditions:
(a) are subject to Section 9.1; and
(b) govern all liabilities arising under these terms and conditions or relating to the subject matter of these terms and conditions, including liabilities arising in contract, in tort (including negligence) and for breach of statutory duty, except to the extent expressly provided otherwise in these terms and conditions.
9.3 To the extent that our website and the information and services on our website are provided free of charge, we will not be liable for any loss or damage of any nature.
9.4 We will not be liable to you in respect of any losses arising out of any event or events beyond our reasonable control.
9.5 We will not be liable to you in respect of any business losses, including (without limitation) loss of or damage to profits, income, revenue, use, production, anticipated savings, business, contracts, commercial opportunities or goodwill.
9.6 We will not be liable to you in respect of any loss or corruption of any data, database or software.
9.7 We will not be liable to you in respect of any special, indirect or consequential loss or damage.
9.8 You accept that we have an interest in limiting the personal liability of our officers and employees and, having regard to that interest, you acknowledge that we are a limited liability entity; you agree that you will not bring any claim personally against our officers or employees in respect of any losses you suffer in connection with the website or these terms and conditions (this will not, of course, limit or exclude the liability of the limited liability entity itself for the acts and omissions of our officers and employees).

10. Breaches of these terms and conditions
10.1 Without prejudice to our other rights under these terms and conditions, if you breach these terms and conditions in any way, or if we reasonably suspect that you have breached these terms and conditions in any way, we may:
(a) send you one or more formal warnings;
(b) temporarily suspend your access to our website;
(c) permanently prohibit you from accessing our website;
(d) block computers using your IP address from accessing our website;
(e) commence legal action against you, whether for breach of contract or otherwise;
10.2 Where we suspend or prohibit or block your access to our website or a part of our website, you must not take any action to circumvent such suspension or prohibition or blocking

11. Variation
11.1 We may revise these terms and conditions from time to time.
11.2 The revised terms and conditions shall apply to the use of our website from the date of publication of the revised terms and conditions on the website, and you hereby waive any right you may otherwise have to be notified of, or to consent to, revisions of these terms and conditions.
11.3 If you have given your express agreement to these terms and conditions, we will ask for your express agreement to any revision of these terms and conditions; and if you do not give your express agreement to the revised terms and conditions within such period as we may specify, you must stop using the website.

12. Assignment
12.1 You hereby agree that we may assign, transfer, sub-contract or otherwise deal with our rights and/or obligations under these terms and conditions.
12.2 You may not without our prior written consent assign, transfer, sub-contract or otherwise deal with any of your rights and/or obligations under these terms and conditions.

13. Severability
13.1 If a provision of these terms and conditions is determined by any court or other competent authority to be unlawful and/or unenforceable, the other provisions will continue in effect.
13.2 If any unlawful and/or unenforceable provision of these terms and conditions would be lawful or enforceable if part of it were deleted, that part will be deemed to be deleted, and the rest of the provision will continue in effect.

14. Third party rights
14.1 A contract under these terms and conditions is for our benefit and your benefit, and is not intended to benefit or be enforceable by any third party.
14.2 The exercise of the parties’ rights under a contract under these terms and conditions is not subject to the consent of any third party.

15. Entire agreement
15.1 Subject to Section 12.1, these terms and conditions, together with our privacy policy, shall constitute the entire agreement between you and us in relation to your use of our website and shall supersede all previous agreements between you and us in relation to your use of our website.

16. Law and jurisdiction
16.1 These terms and conditions shall be governed by and construed in accordance with English law.
16.2 Any disputes relating to these terms and conditions shall be subject to the exclusive jurisdiction of the courts of England.

17. Statutory and regulatory disclosures
17.1 We are a registered Charity No. 274755;

18. Our details
18.1 This website is owned and operated by the National Opera Studio
18.2 We are a registered company in England and Wales under registration number 01332955, and our registered office is at 2 Chapel Yard, Wandsworth London SW18 4HZ
18.3 Our principal place of business is at 2 Chapel Yard, Wandsworth London SW18 4HZ.
18.4 You can contact us:
(a) by post, using the postal address given above;
(b) using our website contact form;
(d) by email, at [email protected]

Data Protection Policy

1. Policy Statement

For the National Opera Studio (NOS) to operate effectively, both as a training organisation and as an employer, it needs to collect and use certain types of information about the people it deals with. This includes current, past and prospective employees and trainees, freelance coaches, suppliers of goods and services, customers and others with whom it communicates. It may also occasionally be required by law to collect and use such information to comply with the requirements of the HM Revenue and Customs and other government departments.

The National Opera Studio recognises that personal information must be dealt with properly regardless of how it is collected, recorded and used and is committed to applying to the safeguards set out in the Data Protection Act 1998 to ensure that this happens. The lawful and correct treatment of personal data is essential to successful operations and to maintaining the confidence of those it deals with.

This policy sets out the requirements for Data Protection at the NOS, to ensure that all personal information is treated lawfully and correctly, in accordance with the Data Protection Act 1998 and related legislation including the Privacy and Electronic Communications (EC Directive) Regulations 2003. It seeks to promote best practice with regard to holding, obtaining, recording, using and sharing personal data.

2. Scope

This policy applies to all those who handle personal data on behalf of the National Opera Studio, including members of staff, freelancers, volunteers, contractors or sub-contractors.

3. Key Definitions

Personal data comprises information which relates to a living individual who can be identified from that information or from other information which is available to us. All data held on computer is covered by the Act but paper filing systems are only covered when the files are arranged in a way that allows information on individuals to be readily accessible (such as a set of A-Z files on employees).

Sensitive personal data is personal data about a data subject’s racial or ethnic origin; political opinions; religious beliefs or beliefs of a similar nature; trade union membership; physical or mental health or condition; sexual life; commission or alleged commission of any offence and information about any associated proceedings.

A data controller is an organisation or person that determines the purposes for which and the manner in which personal data are processed. In this case, it is the National Opera Studio.

A data subject is an individual about whom data are held. For example, an employee, a young artist, coach, alumnus, contractor or supplier would be a data subject.

A data protection officer is the person or persons responsible for ensuring that the NOS complies with all provisions of the Act.

Processing covers any action that can be done with data. This includes obtaining, recording, holding, organising, adapting, altering, retrieving, consulting, using, transferring, disclosing, aligning, combining, transcribing, printing, filing, sorting, blocking, erasing or destroying data.

4. Actions Required

The Data Protection Act 1998 specifies eight principles regarding the handling of personal data. These principles are summarised below, to illustrate the standards that everybody who handles personal data on behalf of the NOS are expected to follow, together with the measures the NOS takes to comply in each case. This is not an exhaustive list of all measures undertaken by NOS to safeguard data and ensure sound working practices which uphold the principles of the Data Protection Act.

Personal data must be processed fairly and lawfully and obtained for specified lawful purposes (principles 1 and 2)
To comply with these two closely related principles, personal data should be obtained only for one or more specified purposes and should be processed fairly and lawfully and in a manner which is compatible with those purposes.

Valid consent must be obtained from the individual whose data is to be processed, or that one of the other conditions specified in Schedule 2 of the Data Protection Act is met (for example, the processing is necessary into relation to a contract or another legal obligation). When “sensitive personal data” is collected (such as physical or mental health details or data on racial or ethnic origin) then consent must always be obtained.

National Opera Studio is a Data Controller under the Data Protection Act, and is therefore registered with the Information Commissioner’s Office. As such, the purposes for which we process personal data are set out in our entry the Register of Data Controllers (Z4952461). The Data Protection Officer must ensure that our entry on the register is regularly updated to specify any new purposes for which data will be collected or processed.

Furthermore, the National Opera Studio provides a Privacy Notice on its website. Again, the Data Protection Officer must ensure that this privacy notice is kept update and fully specifies the purposes for which data will be used. The principles behind the Privacy Notice are fairness and transparency.

Those who handle personal data on behalf of the NOS must consider the fairness of how the data is used and must not use data collected for one purpose for another purpose without explicit authority from the Data Protection Officer. Whenever personal information is collected for purposes not covered by the Privacy Notice published on the NOS website then a separate Privacy Notice should be prepared and available when individuals supply their personal data (for example, when young artist applicants or short course participants fill in a form to supply their personal details). Any new Privacy Notices must be approved by the Data Protection Officer before they are used.

Personal data must be adequate, relevant and not excessive, kept accurate and up to date and must not be kept for longer than necessary (principles 3, 4 and 5)
These principles concern “information standards” in relation to personal data. In each case, the standard relates to purposes for which the information is processed.

Whenever personal information is collected it must only include information that is relevant to the purpose for which that information is intended to be used. All forms used to collect data must meet this requirement. However, it should be noted that a legitimate purpose for the collection of data may be research (for example, market or audience research).

Everybody who handles personal data must ensure that it is kept accurate to the extent that is practical. In particular, whenever the National Opera Studio is informed that personal information is inaccurate (for example, by telephone to the office) the data must be corrected as soon as practicable, and in all circumstances within three working days.

Data will not be kept for longer than necessary for the purposes for which it is held.

Customer Data will be made anonymous after a designated period during which the customer has had no contact with the National Opera Studio.

Personal data must be processed in accordance with the rights of the data subjects, i.e. individuals about whom information is held (principle 6)
The National Opera Studio must fully comply when data subjects (that is, individuals about whom data are held) exercise their specific rights under the Data Protection Act. The key rights relevant here are as follows:

Subject Access Requests – individuals have the right to be told whether their personal data is being processed, to being given a description of the data and its processing, to be given a copy of the information comprising the data and to be told details of the source of the data (where available). In accordance with the law, the National Opera Studio will charge a £10 fee for this, though the fee may be waived at the discretion of the NOS Data Protection Officer. The National Opera Studio will provide the information in “permanent form”, as required by the Act. Requests will be handled by the NOS Data Protection Officer and must be answered within 40 calendar days from the receipt of the fee (or original request if the fee is waived). Anybody who had worked with personal data on behalf of the NOS must comply with requests from the NOS Data Protection Officer to hand over documents and emails containing personal data in response to a Subject Access Request.
Right to prevent processing – data subjects may object to processing likely to cause damage or distress. Requests must be referred to the NOS Data Protection Officer, as the rights are limited and any response must be fully assessed before action is taken. The Data Protection Officer will respond within 21 days of receiving the objection and will not charge a fee.
Right to prevent direct marketing – individuals have the right to stop marketing letters, emails, text messages or phone calls sent specifically to them. This is an “opt-out” right but the Privacy and Electronic Communications (EC Directive) Regulations 2003 creates an additional obligation to actively obtain the consent of data subjects before sending out marketing emails. The NOS will obtain consent from customers before engaging in direct marketing of any sort, and anybody responsible for NOS direct marketing must ensure that consent has been obtained. Requests to exercise the right under the Data Protection Act to prevent direct marketing may be handled by the person who receives the request but should be reported to the Data Protection Officer. Such a request should be complied with immediately whenever possible and must in all cases be complied with within three working days.
Right to correct inaccurate data – individuals may apply to a Court to rectify or erase inaccurate data. The Data Protection Officer will handle any requests referred to a court, but all those who handle personal data on behalf of the NOS must take all reasonable steps to ensure it is as accurate as practically possible and to correct factually inaccurate data on request.

Any requests in relation to data subjects’ rights under the Act must be submitted to the Data Protection Officer.

Personal data must be protected from unlawful or unauthorised processing and against accidental loss, destruction or damage (principle 7)
This principle requires the NOS to take appropriate technical and organisational security measures to safeguard personal information.

Technological measures refer to the security of IT systems and are the responsibility of the Chief Executive.

Organisational security measures place an obligation on everybody who works for or on behalf of the NOS to ensure that personal data are never accidentally or deliberately compromised. All members of staff, freelancers and volunteers who handle personal data must therefore be aware of and follow these key principles:

– Keep paper files containing personal data locked away when unattended (either by placing files in a locked filing cabinet or by keeping the room itself locked whenever it is unoccupied).
– Limit access to electronic documents containing personal data to those with a genuine business need to access that information.
– Under no circumstances place personal data of any kind on USB memory sticks or other portable media, or to store copies of NOS personal data on a home computer or other electronic device owned by the employee (such as a tablet or mobile phone). This does not preclude accessing NOS personal data on a home computer or personal device, provided the data are accessed via a NOS Virtual Private Network and that any portable device used is secured with a PIN or password.
– Not to transfer data to other organisations except where authorised by the NOS Data Protection Officer, and under a formal Data Sharing Agreement in all cases of substantial transfers of personal data. Where personal data are transferred to other organisations by electronic means, the person making the transfer must put in place due safeguards procedures (for example, emailing a password protected spreadsheet and then sending the password in a separate email).
– With the exception of routine business contacts, to store all personal data in NOS databases and systems. Note in particular that NOS credit and debit card details must not be kept in spreadsheets or sent via email.

All known data protection breaches (for example, the loss of personal data or evidence that it has been accessed by an unauthorised person) must be reported immediately to the Data Protection Officer. Furthermore, the Data Protection Officer must keep a register of all breaches which are known to have occurred.

Personal data must not be transferred outside the European Economic Area (EEA) unless there is an adequate level of protection (principle 8)
This principle requires that personal data should not be transferred to a country or territory outside the European Economic Area (EEA) unless that country or territory is able to ensure an adequate level of protection for the rights and freedoms of data subjects in relation to the processing of their data. Apart from the EEA there are 11 other territories considered to have “adequate protection” and in the USA certain data controllers are signed up US Department of Commerce Safe Harbor Scheme, which also ensures adequate protection.

The National Opera Studio undertakes to take reasonable steps to ensure that personal data are not transferred outside the EEA without suitable safeguards.

5. Who is Responsible for the Actions Required?

NOS Data Protection Officer
The NOS Data Protection Officer is the Executive Director. The specific responsibilities of NOS Data Protection Officer are to:

– Ensure that notifications to the Information Commissioner’s Office and the Privacy Notice on the NOS website remains accurate and up to date
– Respond to Subject Access Requests (with power to waive the £10 fee at their discretion)
– Respond to requests to under the right to prevent processing
– Handle requests and actions brought under other rights of data subjects (including applications to a Court to correct or erase inaccurate data)
– Investigate any known breaches of Data Protection security, and keep a register of such breaches
– Authorise the transfer of personal data to other organisations, and ensure that Data Sharing Agreements are put in place where necessary.
– Define which databases and systems may be used to hold personal data.
– Audit all personal data held by the NOS and the processes used to manage personal data – such an audit may be undertaken at any time.
– Provide internal advice on Data Protection compliance

Executive Director
The Chief Executive is responsible for ensuring appropriate technological measures are put in place to maintain the security of IT systems, including annually external and internal penetration testing.

Head of Philanthropy
The Head of Philanthropy is responsible for ensuring that no person is allowed access to any Development database unless that person has undergone the necessary training.

Head of Marketing and Digital
The Head of Marketing and Digital is responsible for ensuring that no person is allowed access to any CRM database unless that person has undergone the necessary training.

Members of staff and others who handle personal data on behalf of the NOS
All members of staff, freelancers, volunteers, contractors and sub-contractors who handle personal data on behalf of the National Opera Studio have a responsibility to:

– Ensure that the processing of personal data is fair, normally by ensuring that valid consent is obtained, and not using data collected for one purpose for another purpose without explicit authority from the Data Protection Officer
– Correct data which is known to be inaccurate as soon as practicable, and preferably immediately
– Retain and destroy paper and electronic records containing personal data in accordance with the appropriate retention periods.
– Comply with requests from the NOS Data Protection Officer to hand over documents and emails containing personal data in response to a Subject Access Request
– Refer requests under the “right to prevent processing” promptly to the NOS Data Protection Officer
– Comply with requests to opt-out of direct marketing of any kind by updating the relevant permissions on the applicable database; this should be done immediately whenever possible and must always be done within three working days
– Take the practical actions specified in section 4.4 to ensure that personal data are held securely and protected from loss or authorised access, and report any known breaches to the Data Protection Officer
– Comply with requests from the Data Protection Officer to audit personal data held by the NOS and the processes in place to protect personal data

In addition, those who routinely handle personal data about individuals are personally accountable for ensuring that data are collected, used and safeguarded in accordance with the principles in this policy. This means that all business decisions involving personal data (for example, relating to marketing and fundraising campaigns) must be made with Data Protection factors in mind.

6. Monitoring and Compliance

The Data Protection Officer will monitor compliance with this policy by maintaining a register of all data protection subject access requests, known data security breaches and other Data Protection matters referred to them. This will demonstrate compliance, for example by showing the Subject Access Requests are responded to within the 40 calendar days specified in the Act.

In addition, the Data Protection Officer will report all data security breaches of a substantial nature to the Board.

The Executive Director must review procedures and staff training from time to time to ensure that they comply with the principles set out in this policy.

The National Opera Studio will proactively refer matters to the Information Commissioner’s Office (ICO) whenever there is significant doubt as whether the organisation is or will be fully compliant with the Data Protection Act or associated legislation. Any guidance from the ICO will be fully taken into account, and any instructions or notices from the ICO will be fully complied with as soon as practically possible.

Aim

The policy outlines the National Opera Studio’s (NOS) commitment to reduce its carbon footprint, promote eco-friendly behaviours, to operate an environmentally responsible institution and sustain our building. NOS aims to reduce its negative impact on the environment and to use resources with increasing efficiency over time. We encourage customers, suppliers and other stakeholders to do the same.

Our objectives, examples of what we are doing, what we intend to do and how we are working towards achieving them:

To minimise the use of natural resources and our negative impact on the environment in our day to day activities:

What we currently do:
• We have installed energy-efficient hand dryers in all of our bathrooms.
• We switch our heating systems off or to a low setting whilst the building is closed.
• We have made it possible to open all of our windows so that we can reduce the use of our air conditioning.
• We monitor the amount of printed marketing materials that we order, to prevent over-ordering and to reduce work.
• We combine print orders to reduce the number of deliveries.
• We only use printers that have a current environmental policy and are committed to off-setting their carbon footprint.
• We have planted a number of trees to contribute to a greener planet.
• All of our coaches now send their invoices to us digitally.

What we intend to do:
• We are continuing to ask more of our suppliers to send their invoices to us digitally.
• We intend to create a garden in the area around the back of our building.
• We are working with Wandsworth Council to repave Chapel Yard and add planters for biodiversity as well as beautification.

To encourage more Young Artists, staff, coaches, audience members and clients to use low emmisson/ zero emmisson forms of transport to the Studio:

What we currently do:
• We are on the TFL oyster card scheme to encourage our Young Artists to take public transport over private vechicles.
• We encourage our Young Artists to apply for a student National Rail travelcard and travel by public transport, rather than private vehicles.
• We monitor and record Young Artists’ carbon emissions for travelling to/from regional residencies and off-set this either through donation or reduction in carbon usage at the Studio. We also encourage Young Artists to take public transport or to car-share when travelling to and from their residencies.
• We send out directions to the Studio which highlight public transport routes to our staff, coaches, Young Artists and auditionees.
• We have given our team the code to enter the area around the back of the building for them to leave their bicycles securely locked.
• We have bicycle cylinders to encourage anyone who comes to the building to cycle.

Where possible, to use non-polluting and efficient forms of of energy:

What we currently do:
• We changed our stage and working lights to LED lighting in the summer of 2018 and have since had them serviced annually to see where we can improve their sustainability.
• We have changed all of the internal and external lighting in the building, including emergency lighting, to LED and eco-friendly lighting, with sensors.
• Our electricity is generated by non-Carbon power sources, including nuclear and green energy production.

To encourage Young Artists, staff, coaches, audience members and clients to actively promote recycling and operate a clear recycling system:

What we currently do:
• We have put a ‘scrap’ paper box next to the printer in the office for the team to add paper to, and to use.
• We have clear posters signalling our recycling bins throughout the building.
• We will continue to recycle paper, card, cans and plastics.
• We supply reusable cutlery and crockery for all to use.

To work towards a more paperless office:

What we currently do:
• We use an online audition application system (rather than processing hard-copy application forms).
• We use Microsoft Teams and Outlook as a primary way to send documents and contracts and use the ‘track changes’ functions to prevent using and sharing paper documents.
• All pay slips are sent digitally by default.
• We send music scores and schedules to Young Artists digitally instead of in hard copy.
• We encourage Young Artists to use digital scores where possible.
• All donation and gift aid forms available digitally.
• We have moved to a key-card printing system to limit and reduce the amount of music that Young Artists print.

Responsibility
The National Opera Studio recognises its responsibility to operate in an ethically and environmentally responsible manner. All employees and board members have a responsibility to ensure that the aims and objectives of our policy are met. This policy will be communicated to all staff, board members, Young Artists, contractors and suppliers, will be available to the public and will be reviewed annually to monitor its relevance.

Updated October 2023.

1. Introduction

The National Opera Studio is committed to protecting your personal information. It’s your information, it’s personal, and we respect that. We also want to maintain the trust and confidence of every one of our audience members and supporters, as well as each visitor who uses the National Opera Studio website.

Our Privacy Policy gives you detailed information on when and why we collect your personal information, how we use it and how we keep it secure.

2 How we collect your personal information

Generally, we collect your information when you decide to interact with us. This could include purchasing tickets online, over the phone or in person or it could be where you sign up to receive emails from us. We also look at how our visitors use our website.

We collect information when you;

• Buy tickets,
• Join as a Friend
• Make a donation
• Join our mailing list
• Register for auditions, short courses and other events
• Visit our website: we use cookies to help make the experience of using our website better and to personalise the service you receive from us – this means we will remember your previous visits and track the pages on our website that you visit. For more information please see our cookie policy. When you visit www.nationaloperastudio.org.uk the National Opera Studio’s web server automatically records your public internet protocol (‘IP’) address and also generates an anonymous log file.
• From time to time, we may also get data about you from third parties. This could include other artistic venues where you have seen the National Opera Studio’s work or partners that we have run events in collaboration with. This includes other Arts Council England National Portfolio Organisations.

 

 

3 The types of information we collect

We only collect the information that’s necessary to carry out our business, provide the particular service you’ve requested and to keep you informed.

When you create an account with us, register on our website or purchase tickets or other items from us online, by post or phone we need to collect information from you in order to provide the service you are requesting.

We may collect:

• Prefix and name
• Gender
• Email address
• Date of Birth
• Contact phone number(s)
• Payment card details. Please note, we will not hold payment information for any longer than it takes to process your transaction.
• Delivery address(s)
• Billing address

 

 

When visiting our website we may collect the following information:

• Automatically populated IP address: a public IP address is a unique number which allows a computer, group of computers or other internet connected device to browse the internet. The log file records the time and date of your visit, the pages that were requested, the referring website (if provided) and your internet browser version. This information is collected to help diagnose and manage the website, to audit the geographical make-up of users, and to establish how they have arrived at the website.
• Cookies: for further information about Cookies and how the National Opera Studio uses them, please read the National Opera Studio Cookie Policy

 

4. Applying for an audition

By applying to audition to the Studio you agree to us processing personal data contained in your application form, or other data which the Studio may obtain from you or other people. For purposes connected with your audition, health and safety or for any other legitimate reason.

We do not share personal and financial information provided to us in the payment process, nor do we share this information with 3rd parties.

5. Information we may collect from you
   We may collect and process the following data about you:

• Information that you provide by filling in forms on our site www.nationaloperastudio.org.uk (‘our site’). This includes information provided at the time of registering to use our site, applying to audition, or requesting further information.
• If you contact us, we may keep a record of that correspondence
• We may also give you the option of completing surveys that we use for research purposes, although these are usually anonymous
• Details of transactions you carry out through our site and of the fulfilment of your application

Details of your visits to our site include, but are not limited to, traffic data, location data, weblogs and other communication data, whether this is required for billing purposes or otherwise and the resources that you access.

Data Hygiene

From time to time we may screen our database against recognized data hygiene file such as National Change of Address file and cleanse our file or correct inaccurate data. We may also update inaccurate data if the information is available.

Social Media

Depending on your settings or the privacy policies for social media and messaging services like Facebook, WhatsApp or X, you may give us permission to access information from those accounts or services.

Information available publicly

We may include information found in places such as Companies House and information that has been published in articles/ newspapers.

6. Why We Collect Your Personal Information and How We Use It

The information we hold on you will be used in a number of ways. Here are the main ones: to provide a service you have requested, offer you a personalised experience and understand our audience’s needs better, inform you of events or updates you’ve asked for or contact you if we need to obtain or provide additional information (e.g. repertoire or artist changes).

Specifically, we use your information we collect in the following ways:

To carry out our business and to provide a service or carry out a contract with you:

• To fulfil ticket, donation and membership requests.
• Process payments. Please note that the National Opera Studio does not store any Credit Card or other payment information once the transaction has been completed.
• Provide the best possible customer services and to help us with internal administration.
• Contact you with important information relating to your booking or purchase, such as confirming your order, reminding you of an upcoming performance you’ve booked for or letting you know about cast changes or other developments that may affect your visit.

 

Where we have your consent:

• Send you updates via email about what’s on, offers and news or about supporting us.
• Email you about a specific topic you’ve requested to hear more on such as short courses or auditions

 

Where we have justifiable reason (including legal obligation and legitimate interest):

• Learn about your interests and preferences so that we can contact you with information that is relevant to you.
• Help us target our marketing communications and adverts so that they’re more relevant to you.
• Use your anonymised details to show you advertising on such Social Media platforms as Facebook and Instagram or via other third party advertising that may appear on other websites you use. The information shared with these platforms is anonymised to protect your personal data.
• For classifying our audience into groups or segments, using booking and publicly available information. These segments help us to understand our audience better and ensure we’re sending relevant messages to each group.
• Measure and understand how our audiences respond to a variety of marketing activity so we can ensure our activity is well targeted, relevant and effective.
• Undertake consumer research: we may contact you to ask you to participate in consumer research either via an online or telephone survey or in person. You are under no obligation to participate in research and, should you provide any further information, the national Opera Studio will inform you how any further information will be used.
• Analyse and continually improve the services we offer including our artistic output, our website and our other products.
• To keep our database accurate and relevant, for example, using National Change of Address.
• Detect and reduce fraud and credit risk.

 

For a small number of our audience, where we want to better understand people’s engagement with the national Opera Studio and their potential interest in supporting us further:

We are a registered charity (No. 1332955) and rely heavily on voluntary contributions from our audience and other funders. Based on the frequency of your visits and purchasing patterns, we may promote our memberships to you or ask you for additional support for our work. If you are a member or donor, we may use a number of basic research tools to estimate your potential interest in other membership levels or in supporting us further.

From experience we know that our donors would expect us to have ascertained a level of interest and considered the appropriateness of a request for donations before approaching them. We therefore research some of our customers and supporters and occasionally potential supporters to find shared interests. This research may include information we hold on them (for example, payment methods and postcodes) and publicly-available information (for example, through social media, Companies House, Charity Commission), where they live, their age and similar demographics.  In some cases, we will rely on legitimate interest for processing data of potential supporters. This means we may carry out initial research on potential higher level donors prior to requesting consent. This information will also help us to meet our obligations to protect the charity from financial fraud and risk.  We do not use wealth screening companies to analyse our data.

7. How we handle your information and other organizations

The National Opera Studio will never share, sell, rent or trade your personal information to any third parties.

Some of our service providers may have access to process data in order to perform services on our behalf.  This includes our payment providers, our IT contractors, our mailing list supplier, and our accounting software. We make sure anyone who provides a service for the National Opera Studio enters into an agreement with us and meets our standards for data security and privacy. They will not use your data for anything other than the clearly defined purpose relating to the service that they are providing, and will never contact you regarding anything not related to your relationship with us.

8. How we protect your data

The National Opera Studio is committed to protecting the personal information you entrust to us. We adopt robust and appropriate technologies and policies, so the information we have about you is protected from unauthorized access and improper use e.g. your online account is encrypted and our own network is protected.

As part of the services offered to you through the National Opera Studio website, the personal information you provide may be transferred to countries outside the European Economic Area (EEA). By way of example, this may happen if any of the computer servers used to host the website are located in a country outside of the EEA. If the National Opera Studio transfers your personal information outside of the EEA in this way, we will take steps to ensure that your privacy rights continue to be protected as outlined in this privacy notice.

The National Opera Studio may transfer your data to the USA to organizations such as Facebook, Google or Mailchimp. The USA has weaker data protection laws than that of the EEA and therefore we will ensure that only organisations who are a part of the EU privacy shield initiative will handle your personal information. More details on this certification can be found at www.privacyshield.gov

We will keep your information only for as long as is reasonably necessary for the purposes set out in this privacy notice and to fulfil our legal obligations. We will not keep more information than we need. The retention period will vary according to the purpose, for example if purchasing a ticket only, we will typically keep your data for up to ten years from the date of your last transaction whereas if you have pledged a legacy to the National Opera Studio, we will hold your details until notified by your executors. For further information about how long we will keep your information, please contact the Data Protection Manager using the contact details outlined in this notice.

If you ask us to stop sending direct marketing communications to you, we will keep the minimum amount of information (e.g. name, address or email address) to ensure we adhere with such requests.

9. Your choices

You have the right to obtain from us an electronic or paper copy of all Personal Information concerning yourself, or to speak to a National Opera Studio representative on any matter, by e-mailing [email protected] or writing to the Executive Director, National Opera Studio, The Clore Building, 2 Chapel Yard Wandsworth High Street, London SW18 4HZ. If you decide not to use our services any further or to instruct us to cease using your Personal Information as contemplated in this Policy, and notify us either in writing or by email as mentioned above, we shall destroy any retained Personal Information.

Users Under 18

If you are under 18, please ensure that you obtain your parent/guardian’s consent beforehand whenever you provide Personal Information to the website. Users without such consent are not allowed to provide us with Personal Information.

 

Cookie Policy

Cookies are small pieces of information that are stored by your browser on your computer’s hard drive. They make it possible for us to provide our online ticketing service and track visitor statistics, such as returning visitors.

We use cookies to manage the shopping baskets on our ticketing pages as well as logging in and using your account pages. The cookies used for these functions are temporary cookies that are removed once the transaction has been completed or you log out. It is not possible to purchase anything on our website without accepting these cookies.

This website uses the following non-essential cookies:

Google Analytics cookies
These cookies are used to collect information about how visitors use our site. The cookies collect information in an anonymous form, so we don’t know who is using our site. We use the information on how people use our website to compile reports and to help us improve the site. You can go to http://www.google.com/analytics/learn/privacy.html to find out more about Google Analytics cookies and how to opt-out of them.

Email and web tracking cookies used by the National Opera Studio:
These cookies are used to collect information about how visitors who have subscribed to our email lists are using the website. This data is not anonymised and we use the information to help improve our email communications and target specifically-tailored messages for our email subscribers. You can review and change your settings using the link just below.

Cookies used by Twitter and Facebook
These cookies provide information on visitors to X and Facebook, check whether users are logged in to either platform and set application cookies for Twitter and Facebook.

This website also uses advertising cookies and we offer the option to opt out of these to prevent them being set on your computer.

For more information on cookies, please visit:
aboutcookies.org
Wikipedia

Updated September 2024

This Cookie Policy explains how National Opera Studio (“Company,” “we,” “us,” and “our“) uses cookies and similar technologies to recognize you when you visit our website at  https://www.nationaloperastudio.org.uk (“Website“). It explains what these technologies are and why we use them, as well as your rights to control our use of them.

In some cases we may use cookies to collect personal information, or that becomes personal information if we combine it with other information.

What are cookies?

Cookies are small data files that are placed on your computer or mobile device when you visit a website. Cookies are widely used by website owners in order to make their websites work, or to work more efficiently, as well as to provide reporting information.

Cookies set by the website owner (in this case, National Opera Studio) are called “first-party cookies.” Cookies set by parties other than the website owner are called “third-party cookies.” Third-party cookies enable third-party features or functionality to be provided on or through the website (e.g., advertising, interactive content, and analytics). The parties that set these third-party cookies can recognize your computer both when it visits the website in question and also when it visits certain other websites.

Why do we use cookies?

We use first- and third-party cookies for several reasons. Some cookies are required for technical reasons in order for our Website to operate, and we refer to these as “essential” or “strictly necessary” cookies. Other cookies also enable us to track and target the interests of our users to enhance the experience on our Online Properties. Third parties serve cookies through our Website for advertising, analytics, and other purposes. This is described in more detail below.

How can I control cookies?

You have the right to decide whether to accept or reject cookies. You can exercise your cookie rights by setting your preferences in the Cookie Consent Manager. The Cookie Consent Manager allows you to select which categories of cookies you accept or reject. Essential cookies cannot be rejected as they are strictly necessary to provide you with services.

The Cookie Consent Manager can be found in the notification banner and on our website. If you choose to reject cookies, you may still use our website though your access to some functionality and areas of our website may be restricted. You may also set or amend your web browser controls to accept or refuse cookies.

The specific types of first- and third-party cookies served through our Website and the purposes they perform are described in the table below (please note that the specific cookies served may vary depending on the specific Online Properties you visit):

Essential website cookies:

These cookies are strictly necessary to provide you with services available through our Website and to use some of its features, such as access to secure areas.

Name:	test_cookie
Purpose:	A session cookie used to check if the user’s browser supports cookies.
Provider:	.doubleclick.net
Service:	DoubleClick View Service Privacy Policy
Type:	http_cookie
Expires in:	15 minutes

 

Name:	VISITOR_PRIVACY_METADATA
Purpose:	Description pending. Cookie expires after 180 days.
Provider:	.youtube.com
Service:	youtube.com View Service Privacy Policy
Type:	http_cookie
Expires in:	5 months 27 days

 

Name:	Priority
Purpose:	This cookie is used to record if a user has accepted the use of cookies on our website.
Provider:	www.google.com
Type:	server_cookie
Expires in:	session
Name:	Priority

 

Name:	csrf_token
Purpose:	Protects against hacking and malicious actors.
Provider:	www.nationaloperastudio.org.uk
Service:	Django View Service Privacy Policy
Type:	http_cookie
Expires in:	29 days

 

 

Name:	YSC
Purpose:	YouTube is a Google-owned platform for hosting and sharing videos. YouTube collects user data through videos embedded in websites, which is aggregated with profile data from other Google services in order to display targeted advertising to web visitors across a broad range of their own and other websites. Used by Google in combination with SID to verify Google user account and most recent login time.
Provider:	.youtube.com
Service:	YouTube View Service Privacy Policy
Type:	http_cookie
Expires in:	session

 

Name:	__stripe_mid
Purpose:	Used by our payment provider, Stripe, in order to process payments on checkout.
Provider:	www.nationaloperastudio.org.uk
Service:	Stripe View Service Privacy Policy
Type:	http_cookie
Expires in:	__________

 

Name:	__stripe_sid
Purpose:	Used by our payment provider, Stripe, in order to process payments on checkout.
Provider:	www.nationaloperastudio.org.uk
Service:	Stripe View Service Privacy Policy
Type:	http_cookie
Expires in:	__________

 

Name:	TempMember_RequiresVerification
Purpose:	Contains “true” if the person has recently signed up to the website but has not yet verified their account.
Provider:	www.nationaloperastudio.org.uk
Service:	National Opera Studio
Type:	http_cookie
Expires in:	__________

 

Name:	cf_use_ob
Purpose:	Cookie set by Cloudflare which informs Cloudflare to fetch the requested resource from the Always Online cache.
Provider:	www.nationaloperastudio.org.uk
Service:	Cloudflare View Service Privacy Policy
Type:	http_cookie
Expires in:	__________

 

Name:	AI_buffer
Purpose:	Cookie set by Microsoft Application Insights, which allow Insights to monitor the health and status of the server and website.
Provider:	www.nationaloperastudio.org.uk
Type:	html_session_storage
Expires in:	session
Name:	AI_buffer

 

Name:	TempMember
Purpose:	Set when a user first signs up for our site, but does not verify their account via email. It’s used to associate the user’s actions with the new user account.
Provider:	www.nationaloperastudio.org.uk
Type:	http_cookie
Expires in:	12 hours
Name:	TempMember

 

Name:	_GRECAPTCHA
Purpose:	Used to filter spam traffic and allow only legitimate visitors to use Termly’s services.
Provider:	www.google.com
Service:	reCAPTCHA View Service Privacy Policy
Type:	http_cookie
Expires in:	5 months 27 days

 

Name:	__stripe_sid
Purpose:	Fraud prevention and detection
Provider:	.www.nationaloperastudio.org.uk
Service:	Stripe View Service Privacy Policy
Type:	http_cookie
Expires in:	29 minutes

 

Name:	rc::d
Purpose:	Used to track and analyze user behavior to distinguish humans from bots or automated software.
Provider:	www.google.com
Service:	reCAPTCHA View Service Privacy Policy
Type:	html_local_storage
Expires in:	persistent

 

Name:	__stripe_mid
Purpose:	Fraud prevention and detection
Provider:	.www.nationaloperastudio.org.uk
Service:	Stripe View Service Privacy Policy
Type:	http_cookie
Expires in:	11 months 30 days

 

Name:	rc::f
Purpose:	used to differentiate between human and bot traffic
Provider:	www.google.com
Type:	html_local_storage
Expires in:	persistent

 

Name:	m
Purpose:	For fraud detection. Helps Stripe assess the risk associated with an attempted transaction on your website.
Provider:	m.stripe.com
Service:	Stripe View Service Privacy Policy
Type:	http_cookie
Expires in:	1 year 11 months 29 days

 

Name:	_grecaptcha
Purpose:	Used to filter spam traffic and allow only legitimate visitors to use the website.
Provider:	www.nationaloperastudio.org.uk
Service:	reCAPTCHA View Service Privacy Policy
Type:	http_cookie
Expires in:	persistent

 

Name:	__stripe_mid
Purpose:	Fraud prevention and detection
Provider:	.www.nationaloperastudio.org.uk
Service:	Stripe View Service Privacy Policy
Type:	http_cookie
Expires in:	11 months 30 days

 

Name:	AI_sentBuffer
Purpose:	Cookie set by Microsoft Application Insights, which allow Insights to monitor the health and status of the server and website.
Provider:	www.nationaloperastudio.org.uk
Type:	html_session_storage
Expires in:	session
Name:	AI_sentBuffer

 

Name:	tid
Purpose:	Used by the Platform to store user session data. This includes antiforgery tokens and shopping basket data.
Provider:	www.nationaloperastudio.org.uk
Type:	server_cookie
Expires in:	30 days
Name:	tid

 

Name:	TERMLY_API_CACHE
Purpose:	Used to store visitor’s consent result in order to improve performance of the consent banner.
Provider:	www.nationaloperastudio.org.uk
Service:	Termly View Service Privacy Policy
Type:	html_local_storage
Expires in:	1 year

 

Performance and functionality cookies:

These cookies are used to enhance the performance and functionality of our Website but are non-essential to their use. However, without these cookies, certain functionality (like videos) may become unavailable.

Name:	ai_user
Purpose:	Collects telemetry information and statistical usage for the Microsoft Application Insights software. It is able to recognize users on return visits by storing unique identifiers.
Provider:	www.nationaloperastudio.org.uk
Service:	Azure View Service Privacy Policy
Type:	http_cookie
Expires in:	11 months 30 days

 

Name:	PHPSESSID
Purpose:	Cookie generated by applications based on the PHP language. This is a general purpose identifier used to maintain user session variables. It is normally a random generated number, how it is used can be specific to the site, but a good example is maintaining a logged-in status for a user between pages.
Provider:	albumizr.com
Service:	PHP.net View Service Privacy Policy
Type:	server_cookie
Expires in:	session

 

Name:	NID
Purpose:	Set by Google to set a unique user ID to remember user preferences. Persistent cookie that stays for 182 days
Provider:	.google.com
Service:	Google View Service Privacy Policy
Type:	server_cookie
Expires in:	6 months

 

Name:	ai_session
Purpose:	Monitors the performance of the iperceptions portal of applications running on Azure
Provider:	www.nationaloperastudio.org.uk
Service:	Azure View Service Privacy Policy
Type:	http_cookie
Expires in:	29 minutes

Analytics and customization cookies:

These cookies collect information that is used either in aggregate form to help us understand how our Website is being used or how effective our marketing campaigns are, or to help us customize our Website for you.

Name:	_ga
Purpose:	Records a particular ID used to come up with data about website usage by the user
Provider:	.nationaloperastudio.org.uk
Service:	Google Analytics View Service Privacy Policy
Type:	http_cookie
Expires in:	1 year 1 month 4 days

 

Name:	#collect
Purpose:	Sends data such as visitor’s behavior and device to Google Analytics. It is able to keep track of the visitor across marketing channels and devices. It is a pixel tracker type cookie whose activity lasts within the browsing session.
Provider:	www.google-analytics.com
Service:	Google Analytics View Service Privacy Policy
Type:	pixel_tracker
Expires in:	session

 

Name:	jallery_uid
Provider:	albumizr.com
Type:	server_cookie
Expires in:	1 year 1 month 4 days

 

Name:	873169358
Provider:	www.google.com
Type:	pixel_tracker
Expires in:	session

 

Name:	_gid
Purpose:	Keeps an entry of unique ID which is then used to come up with statistical data on website usage by visitors. It is a HTTP cookie type and expires after a browsing session.
Provider:	.nationaloperastudio.org.uk
Service:	Google Analytics View Service Privacy Policy
Type:	http_cookie
Expires in:	1 day

 

Name:	_ga_#
Purpose:	Used to distinguish individual users by means of designation of a randomly generated number as client identifier, which allows calculation of visits and sessions
Provider:	.nationaloperastudio.org.uk
Service:	Google Analytics View Service Privacy Policy
Type:	http_cookie
Expires in:	1 year 1 month 4 days

 

Name:	_gat#
Purpose:	Enables Google Analytics regulate the rate of requesting. It is a HTTP cookie type that lasts for a session.
Provider:	.nationaloperastudio.org.uk
Service:	Google Analytics View Service Privacy Policy
Type:	http_cookie
Expires in:	less than 1 minute

 

Name:	GetImage.ashx
Provider:	www.sharktrust.org
Type:	pixel_tracker
Expires in:	session

Advertising cookies:

These cookies are used to make advertising messages more relevant to you. They perform functions like preventing the same ad from continuously reappearing, ensuring that ads are properly displayed for advertisers, and in some cases selecting advertisements that are based on your interests.

Name:	IDE
Purpose:	Used to measure the conversion rate of ads presented to the user. Expires in 1.5 years.
Provider:	.doubleclick.net
Service:	DoubleClick View Service Privacy Policy
Type:	server_cookie
Expires in:	1 year 11 months 29 days

 

Name:	rc::a
Purpose:	Marketing/tracking
Provider:	www.google.com
Service:	Google ReCAPTCHA View Service Privacy Policy
Type:	html_local_storage
Expires in:	persistent

 

Name:	landing
Purpose:	Used to track user interactions with online advertisements
Provider:	googleads.g.doubleclick.net
Service:	DoubleClick View Service Privacy Policy
Type:	pixel_tracker
Expires in:	session

 

Name:	_gcl_au
Purpose:	Used by Google AdSense for experimenting with advertisement efficiency across websites using their services.
Provider:	.nationaloperastudio.org.uk
Service:	Google AdSense View Service Privacy Policy
Type:	http_cookie
Expires in:	2 months 29 days

 

Social networking cookies:

These cookies are used to enable you to share pages and content that you find interesting on our Website through third-party social networking and other websites. These cookies may also be used for advertising purposes.

Name:	VISITOR_INFO1_LIVE
Purpose:	YouTube is a Google-owned platform for hosting and sharing videos. YouTube collects user data through videos embedded in websites, which is aggregated with profile data from other Google services in order to display targeted advertising to web visitors across a broad range of their own and other websites. Used by Google in combination with SID to verify Google user account and most recent login time.
Provider:	.youtube.com
Service:	YouTube View Service Privacy Policy
Type:	http_cookie
Expires in:	5 months 27 days

How can I control cookies on my browser?

As the means by which you can refuse cookies through your web browser controls vary from browser to browser, you should visit your browser’s help menu for more information. The following is information about how to manage cookies on the most popular browsers:

• Chrome
• Internet Explorer
• Firefox
• Safari
• Edge
• Opera

In addition, most advertising networks offer you a way to opt out of targeted advertising. If you would like to find out more information, please visit:

• Digital Advertising Alliance
• Digital Advertising Alliance of Canada
• European Interactive Digital Advertising Alliance

What about other tracking technologies, like web beacons?

Cookies are not the only way to recognize or track visitors to a website. We may use other, similar technologies from time to time, like web beacons (sometimes called “tracking pixels” or “clear gifs”). These are tiny graphics files that contain a unique identifier that enables us to recognize when someone has visited our Website or opened an email including them. This allows us, for example, to monitor the traffic patterns of users from one page within a website to another, to deliver or communicate with cookies, to understand whether you have come to the website from an online advertisement displayed on a third-party website, to improve site performance, and to measure the success of email marketing campaigns. In many instances, these technologies are reliant on cookies to function properly, and so declining cookies will impair their functioning.

Do you use Flash cookies or Local Shared Objects?

Websites may also use so-called “Flash Cookies” (also known as Local Shared Objects or “LSOs”) to, among other things, collect and store information about your use of our services, fraud prevention, and for other site operations.

If you do not want Flash Cookies stored on your computer, you can adjust the settings of your Flash player to block Flash Cookies storage using the tools contained in the Website Storage Settings Panel. You can also control Flash Cookies by going to the Global Storage Settings Panel and following the instructions (which may include instructions that explain, for example, how to delete existing Flash Cookies (referred to “information” on the Macromedia site), how to prevent Flash LSOs from being placed on your computer without your being asked, and (for Flash Player 8 and later) how to block Flash Cookies that are not being delivered by the operator of the page you are on at the time).

Please note that setting the Flash Player to restrict or limit acceptance of Flash Cookies may reduce or impede the functionality of some Flash applications, including, potentially, Flash applications used in connection with our services or online content.

Do you serve targeted advertising?

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National Opera Studio

The Clore Building, 2 Chapel Yard

Wandsworth, Greater London SW18 4HZ

United Kingdom

Phone: +442088748811

The National Opera Studio has a duty of care to children with whom we work and is committed to the safety and protection of children in our care. We want to ensure children are respected, taken seriously, listened to, and prevent anything that contradicts the dignity and rights of a child. Parents, carers and guardians need to feel confident that, as an organisation, we have the safety of their children as our primary concern.

The National Opera Studio is equally committed to ensuring that its members of staff are kept informed, supported and protected from unfounded allegations of abuse. This policy demonstrates its commitment to the welfare of both children and employees, and has implemented effective procedures for recording and responding to incidents, complaints and alleged or suspected incidents of abuse.

The Safeguarding Children and Young People Policy forms part of all new staff induction packs, along with the NOS Safeguarding Code of Conduct.

Safeguarding Children and Young People Procedures

The National Opera Studio Safeguarding Children and Young People Policy has been drafted in line with the guidance document produced by Arts Council England entitled ‘Keeping Arts Safe; Guidance for Artists and Arts Organisations on Safeguarding Children, Young People and Vulnerable Adults’ and with the London Safeguarding Children Board policy and procedures.

The Executive Director is the designated person with primary responsibility for child protection for the National Opera Studio.

Legal and Funding Context

Legislative context

The Protection of Children Act 1999 established a coherent framework for identifying those adults considered to be unsuitable to work with children. The Act required childcare organisations to make use of the Disclosure service in their recruitment and reporting processes (and strongly urges other organisations involved with children and young adults to do so). The Protection of Children Act 1999 was superseded by the Criminal Justice and Court Services Act 2000, which is specifically about disclosures and child protection issues. Since 2002, there have been significant developments and incidents that bring protection issues to the forefront. These include:

• The introduction of the Criminal Records Bureau Disclosure service in April 2002.
• Sexual Offences Act 2003 and the Children’s Act 2004.
• High-profile cases of children and young people harmed by adults known to them.
• The DFE requirements of increased vigilance regarding the recruitment of staff and the admittance of visitors to schools.
• Growing public awareness of how the internet can be exploited for the purposes of child sexual abuse.

The Protection of Freedoms Act 2012 is now the key statutory reference for the safeguarding of children and young people.

Definitions

For the purposes of this policy and procedure, the following definitions apply:

Member of staff: The term ‘Member of staff’ shall mean any permanent or fixed-term employee, casual worker freelancer or volunteer.

Child: For these purposes, a child is defined as any young person under the age of 18 (Section 105 of the Children Act 1989) who is participating in NOS performances, educational activities or on work experience.

Responsible adult: Any adult, not being a parent of the child, who, for the time being, has legitimate care, custody or control of that child.

Child Abuse: Child abuse is the abuse of relationships. It is a misuse of power and a betrayal of trust. The results of abuse have an immediate and harmful effect on the child and the effects may remain with the child throughout later life. The consequences of the pain of child abuse are frequently more harmful than most people realise and unresolved abuse issues may follow the child into adulthood.

Physical Abuse: Physical abuse means injury to a child that has been intentionally inflicted or knowingly not prevented.

Emotional Abuse: Emotional abuse means a persistent lack of affection, continual rejection, isolation, exclusion, deliberate humiliation or threats. It may also refer to an absence of praise, encouragement and stimulation.

Neglect: Neglect means the failure to meet a child’s basic needs and includes failing adequately to provide such things as food, drink, warmth, adequate clothing, protection from danger or adequate supervision.

Sexual Abuse: Sexual abuse means using children for sexual gratification or knowingly failing to protect them from sexual harm. Sexual abuse includes sexual harassment, touching the child in a sexual manner, encouraging the child to touch themselves or another person in a sexual manner, the use of inappropriate sexual language, exposing the child to sexual images, text or imagined situations or photographing children in indecent or sexual poses.

Code of Conduct

1. No member of staff shall engage in sexual contact or in any relationship with a child other than a properly conducted staff-to-young person relationship. This condition applies regardless of the age of the child and also when the child is over the age of consent (It should be noted that a sexual relationship between an adult teacher and any student is in breach of professional teaching guidelines. In certain circumstances it may also constitute a criminal offence).
2. No member of staff shall engage in conduct towards a child that is intended to be oppressive, threatening, and manipulative or in any way improper or with a view to causing the child physical or emotional harm or sexual harm.
3. It is unrealistic and inappropriate for NOS to prohibit physical contact between its staff and children. Touch is an essential part of the creative and coaching process, can be used as a means of directing movement, encouraging performance and providing comfort and reassurance. Where physical contact is necessary the responsible adult should be able to explain the reason. However, staff must bear in mind that even innocent actions can be misconstrued. It is important for staff to be sensitive to a child’s reaction to physical contact and to act appropriately. No child should ever be touched on a part of his/her body in a way that is indecent. Touch must always be related to the needs of the child rather than to those of the member of staff.

4. It is the primary duty of every member of staff to ensure the safety and well being of every child in their care. Each member of staff must ensure that all reasonable steps are taken to minimise the risk of harm or injury to any child and must abide by the policies, procedures and guidelines set out in this document.
5. Where there is any reason for believing that a child has been abused, is being abused or is at risk of being abused, in any way arising as a result of that child’s association with the NOS, it shall be the duty of any person member of staff to whom that information is made known to take action at once, according to the procedures laid down in the Incident Reporting Form, which is available from the Artistic Planning Manager.
6. Any instance of inappropriate behaviour towards a child, by any person employed by NOS, shall be the subject of an enquiry, which may involve external statutory authorities and/or experts appointed by the NOS. The NOS will always seek advice from the Local Authority Designated Authority (LADO). The report of any enquiry will be presented to the Management of NOS who will decide what further action is necessary and whether there are sufficient grounds to institute disciplinary proceedings. This will take place whether the Police choose to prosecute or not.
7. A member of staff who finds him/herself alone with a child must exercise particular care. There should be no apprehensiveness in the mind of either person if such a situation arises, but physical contact should be avoided whenever possible and the presence of an additional person sought as soon as reasonably practicable.
8. Children must at all times be treated with respect in attitude, language and behaviour. Sexual innuendo whether by word or gesture is prohibited.
9. No person under the age of 18 years shall have the responsibility for supervising any other child.
10. The arrangements contained herein will apply to vulnerable adults as appropriate.
11. The National Opera Studio works with a wide variety of media to promote understanding and engagement with its work. Children should not be photographed or filmed without prior permission from their teacher, parent or guardian.
12. In use of this material the following guidelines should be considered:

• Photographs of children in performances and other activities must be retained and stored in an appropriate manner and only used for legitimate National Opera Studio purposes.
• The use of both a child’s first and last name in photographs, captions and file names should be avoided.
• Group pictures rather than individuals should be used wherever possible.
• Only images of children in suitable dress should be used to reduce the risk of inappropriate use.

13. Staff should not accept children below 18 years of age who they have met through their work with the National Opera Studio as ‘friends’ on social networking sites. Neither should they divulge private email addresses or telephone numbers to these children. Staff should not publish pictures on social networking sites of their work at the NOS that involves children.
14. In working with children staff should be aware of the Good Practice guidelines below. Good practice creates a positive child protection climate and assists in protecting staff from false allegations of abuse.

Good practice:

• Always working in and encouraging an open environment (e.g. no secrets);
• Treating all young people equally, with respect and dignity;
• Always putting the welfare of each young person first;
• Maintaining a safe and appropriate distance except where it is an essential part of the process;
• Building a balanced relationship based on mutual trust, which empowers children;
• Ensuring that any form of manual assistance or physical support is provided openly. Children and parents, guardians or carers should be consulted and their agreement gained;
• Involve parents, guardians, carers and chaperones wherever possible;
• If groups have to be supervised do so in pairs where practicable;
• Being an excellent role model, this includes not smoking or drinking alcohol in the company of young people;
• Record any injuries sustained accurately in line with the National Opera Studio accident policy.

Practice to be avoided:

• Avoid spending time alone with children away from others;
• Avoid association (outside the work environment) with children you have met at work.

Practice never to be sanctioned:

• Engage in rough, physical or sexually provocative games, including horseplay;
• Share a changing room alone with a child;
• Allow or engage in any form of inappropriate touching;
• Allow children to use inappropriate language unchallenged;
• Allow adults to use inappropriate language in the presence of children unchallenged;
• Make sexually suggestive comments to a child, even in fun;
• Reduce a child to tears as a form of control;
• Allow allegations made by a child to go unchallenged, unrecorded or not acted upon;
• Do things of a personal nature for children that they can do by themselves;
• Invite or allow children to stay with you at your home unsupervised.

Incident Procedure

This section provides guidance on what procedures should be followed when a potential child protection incident arises. In the event of an accident or non-child protection-related incident the standard Health and Safety reporting procedures should be followed. In regard to potential child protection incidents, there are four main scenarios where the need to report is necessary.

If you have:

1. The suspicion that a child/young person attending the National Opera Studio or its related projects is being abused but by somebody not connected to the National Opera Studio;
2. The suspicion that a child/young person is being abused by a National Opera Studio member of staff;
3. An allegation from a child/young person or adult that they are being abused by somebody not connected to the National Opera Studio;
4. An allegation that somebody working at the National Opera Studio has abused a child/young person

You should contact the Executive Director on 020 8874 8811. Calls will be returned as a matter of urgency. The Executive Director may wish to contact the SAFE CIC support line (www.safecic.co.uk) on 01379 871 091 during office hours or on the Emergency telephone number: 07792 770 263. With regard to the action that should be taken when direct allegations are made, prior to the investigation, the Executive Director may obtain specialist independent advice on whether the allegation is one where the suspension is necessary. If the decision is made to suspend an individual, it is extremely important for all members of the organisation to understand fully that suspension is the normal course of action taken in these cases and no guilt should be attached to the fact that a person has been suspended. The NOS is aware that we have a responsibility both to the children and to the staff member who has been accused. To be accused of abuse or inappropriate behaviour is an extremely traumatic experience for all concerned. The Executive Director can arrange for telephone support for staff members from an independent agency. If the allegation about a member of staff is made to another member of staff it is important that this information is reported to the Executive Director as soon as possible. Because of the rules of evidence with regard to a criminal investigation, it is important that staff do not seek to interview the child, influence the parents or seek to stop the child from informing the statutory agencies. Such action can also be seen as conspiring to pervert the course of justice. Failure to refer promptly may mean that vital evidence will be lost and result in more suffering to the child concerned, as well as potentially leaving other children at risk.

All staff should have appropriate attitudes and behaviour towards children and operate within the ‘Arena of Safety’. If all staff are aware of the ‘Arena of Safety’ and behave appropriately, it should reduce the likelihood of any staff having the need to express concern.

Understanding the ‘Arena of Safety’

The ‘Arena of Safety’ is a place of integrity and respect for others and yourself. It is a position where morale and confidence are enhanced and where both adults and children can feel safe. It is a place of appropriate attitudes, behaviour, lifestyle, regime and cultural practice.

A violation of the ‘Arena of Safety’

A violation of the ‘Arena of Safety’ concerns inappropriate attitudes and behaviour that confuses the relationship and makes the vulnerable feel unsafe. Such behaviour also gives more weight to any allegation that may be subsequently made. It is the exploitation of a trusted relationship to satisfy personal needs. The focus of concern is normally physical or sexual but it may also be emotional, financial, self-promoting etc. It usually involves the following:

Role reversal, dividing and ruling, ruling rather than serving, not listening and being above criticism, secret behaviour, extraneous commitments, separating out and giving special attention, bullying, manipulation, indulgence in personal privilege, unacceptable power and control issues, loyalty being used to maintain silence and control.

If the ‘Arena of Safety’ is not being employed by individuals in practice, or there is a suspicion that a member of staff is acting inappropriately and it is felt that it is not being taken account a ‘whistle-blowing’ protocol exists. Anyone in the National Opera Studio can give information on a confidential basis, outside of management structures, to the Chief Executive.

In certain circumstances, it may not be appropriate for a member of National Opera Studio staff to investigate an alleged incident themselves, in which case investigations must be left to appropriate professionals. On occasion, the evidence needed to prosecute an alleged offender ‘beyond reasonable doubt’ is of such a high standard of proof, that a prosecution will not take place and even if a prosecution goes ahead, that person may be acquitted. Employees need to be aware that regardless of whether a prosecution takes place, the behaviour may still be in breach of our the NOS standards of conduct, and the allegations subject to an internal disciplinary process.

Confidentiality

The National Opera Studio has a responsibility to share relevant information about the protection of children. If a child confides in a member of staff and requests that the information is kept secret, it is important that the member of staff tells the child sensitively that he/she has a responsibility to refer cases of alleged abuse to the appropriate agencies for the child’s own sake. Within that context, the child should, however, be assured that the matter will be disclosed only to people who need to know about it. Members of staff who receive information about children and their families in the course of their work should share that information only within appropriate professional contexts.

Whistleblowing

The National Opera Studio encourages all members of staff to raise any concerns that they may have about the conduct of others in the organisation in relation to any suspected instances of fraud, misconduct or wrongdoing. The NOS Whistleblowing Policy and Procedures set out the NOS’s position in these matters and lay out a procedure for individuals to raise any concerns and how those concerns will be dealt with.

Work Experience

The NOS endeavours to provide young people with work experience opportunities:

• The Executive Director is responsible for ensuring, prior to the placement commencing, that the parent, carer or guardian of the child has completed a permission form for attendance on the work experience, and has been provided with all documentation relevant to the placement.
• The Executive Director must ensure that the members of staff who are working with or supervising that young person are briefed on their responsibilities and are competent to undertake that role.
• Staff supervising or working alongside young people on work experience would not normally be required to undertake a DBS check, however, all staff must be aware of and must follow the code of conduct for dealing with children outlined above.
• The Artistic Planning Manager must ensure that the young person receives a health and safety briefing at the beginning of the placement.
• The Artistic Planning Manager must ensure that the young person is supervised at all times.

Background and Disclosure and Barring Service (DBS) Checks

Which NOS staff need a DBS check?

Only NOS staff who work directly with unsupervised children/vulnerable adults for 4 or more days in a 30 day period will be required to hold a recent (within the last 3 years) Enhanced Disclosure Certificate.

Carrying out DBS checks

As a result of the confidential material involved in the disclosure process, an external professional agency, Safe CIC (or equivalent) will manage the checking procedure with the DBS. The Chief Executive will arrange for staff who require an Enhanced Disclosure Certificate to complete the Disclosure Application Form and will arrange for the application to be processed by Safe CIC. Safe CIC will notify the Chief Executive on the suitability or otherwise of an individual to work with children. All detailed information obtained through the disclosure process will be kept strictly confidential to Safe CIC. No information will be disclosed except where there is a legal duty to do so or where the persons designated are advised that disclosure ought to take place to ensure the protection of children.

The cost of obtaining an Enhanced Disclosure Certificate from the Disclosure and Barring Service (DBS) will be borne by the National Opera Studio.

Updated September 2024

1. Introduction

The National Opera Studio (NOS) has an Equality Policy which it aims to implement in all aspects of its work.

The aim of this policy is to ensure that no job applicant, member of staff or auditionee receives less favourable treatment on the grounds of age, race, sex, sexual orientation, marital or family status, pregnancy, disability, gender reassignment or religion, or is disadvantaged by conditions or requirements which cannot be shown to be justifiable.

The Equality Policy applies to all employees, artists, workers, interns, suppliers and contractors working for the National Opera Studio.

The National Opera Studio adheres to the policies and guidelines of the Equality Act 2010.

2. Equality Policy Statement

The National Opera Studio is an equal opportunities employer and welcomes diversity in its workforce.

We subscribe to and uphold the following:

2.0.1   We will treat all staff and artists with dignity and respect and are committed to providing a harmonious working environment that offers equal treatment and equal opportunities for all our staff.

2.0.2   There should be no discrimination, harassment or less favourable treatment shown, either directly or indirectly, against an employee, worker, job applicant, artist, auditionee or supplier on the grounds of the following characteristics:

•  Age
• Race, including colour, nationality, ethnic or national origin
• Being or becoming a transsexual person
• Being married or in a civil partnership
• Being pregnant or on maternity leave
• Disability
• Sex
• Sexual orientation
• Religion, belief or lack of religion/belief

These are known as the ‘protected characteristics’.

2.0.3             We value the individual contributions of all our staff and artists and seek to encourage all our staff to develop their potential within an environment of equal opportunity.

2.0.4             At all levels, both the NOS and its staff will work to promote a culture of equality and will uphold the spirit and letter of this policy. It will follow best practice guidelines and provide training for staff where appropriate.

2.0.5             The NOS operates in an accessibility award-winning building and is committed to taking all reasonably practical steps to assist the recruitment, development and retention of disabled staff and artists.

2.0.6             The NOS will provide any necessary reasonable adjustments for disabled employees, workers, job applicants, auditionees and artists.

2.0.7             We will not tolerate acts which breach this policy and all instances of such behaviour or alleged behaviour or cases of inciting such behaviour will be taken seriously, investigated and may be subject to NOS disciplinary procedures. In serious cases, such behaviour may constitute gross misconduct and may result in dismissal.

3. Definitions

3.1 Direct Discrimination

Direct discrimination occurs if staff, job applicants, artists or auditionees are treated less favourably than others on grounds of the protected characteristics.

For example, decisions or actions listed below would be unlawful if taken purely on grounds of the protected characteristics:

• • Deciding not to employ someone or not to take them onto the training programmes
  • Dismissing them
  • Refusing training
  • Denying promotion
  • Denying pay and benefits
  • Giving them adverse terms and conditions of employment or engagement

3.2 Indirect Discrimination

Indirect discrimination occurs if:

• A provision, criterion or practice is not applied equally to people with different protected characteristics;
• The proportion of people who can comply with it is much smaller for people with protected characteristics, and is to their detriment;
• The provision, criterion or practice cannot be shown to be a proportionate means of achieving a legitimate aim.

Indirect discrimination is unlawful, whether it is intentional or not.

3.3 Harassment

Harassment is unwanted conduct that violates the dignity of a person or creates an intimidating, hostile, degrading, humiliating or offensive environment. It may be intentional bullying which is obvious or violent, but it can also be unintentional, subtle or insidious. It may not be targeted at an individual but may consist of a general culture, which undermines a particular group.

Harassment will not be tolerated under any circumstances and any case of harassment should be reported to the Chief Executive or the Director. Any reported case of harassment will be followed up and may be investigated. Following an investigation, an employee may be subject to NOS disciplinary procedures.

The NOS operates a Professional Code of Conduct that forms part of all new artist and staff induction packs and is shared with all visiting artists and coaches.

Specific examples of harassment include, but are not limited to:

• Racial harassment: racist jokes or language, open hostility, or unfair exclusion from social events, or unfair allocation of work on racial or ethnic grounds
• Sexual or maternity-related harassment: gender-specific jokes, unnecessary physical contact or threatened violence, displays of offensive material or emails, speculation about a person’s private life, unwanted propositions or gifts, exclusion from social events or unreasonable allocation of work on grounds of sex, maternity or pregnancy
• Harassment on grounds of sexual orientation, gender reassignment or identity: insensitive language, jokes, display of offensive material, speculation about a person’s private life or exclusion from social events on grounds of sexual orientation, gender reassignment or identity
• Harassment on grounds of marital or family status or civil partnership: inappropriate jokes or language, speculation about a person’s private life or exclusion from social events on grounds of marital or family status or civil partnership
• Harassment on grounds of religion or belief: jokes, inappropriate language, open hostility or threatening behaviour, displays of offensive material or emails, exclusion from social events or unfair allocation of work on grounds of religion or belief
• Harassment on grounds of disability: insensitive language, jokes or gestures, inappropriate personal questions about the disability, inappropriate assumptions about the capabilities of a disabled person, unfair allocation of work, exclusion from social events on grounds of disability
• Harassment on grounds of age: insensitive jokes or language, exclusion from social events or unfair allocation of work on grounds of age.

3.4 Bullying

Bullying most commonly occurs in the form of unacceptable misuse of managerial power, but can also occur between colleagues at the same level. Bullying is distinct from performance management or a robust management style. It is destructive rather than constructive, it focuses on the person rather than their work performance, and results in the individual feeling threatened or compromised.

Specific examples of bullying include, but are not limited to:

• Shouting or abuse
• A public reprimand or humiliation
• Deliberately undermining an employee or making them appear incompetent
• Deliberately withholding essential resources, information or training
• Deliberate wrongful attribution of blame
• Unreasonable allocation of work, responsibilities or targets

Any case of bullying will be viewed as a form of harassment. If a member of staff or an artist is subjected to bullying they should report it to the Chief Executive or if appropriate, the Chair. Any reported case of bullying will be followed up and may be investigated. Following an investigation, an employee or artist may be subject to NOS disciplinary procedures.

3.5 Associative Discrimination

Associative discrimination occurs when an employee or artist is directly discriminated against or harassed for their association with another individual who has a protected characteristic.

3.6 Perceptive Discrimination

Perceptive discrimination occurs where an employee or artist is harassed based on a perception that they have a particular protected characteristic when they do not actually have that characteristic.

3.7 Third-party harassment

Third-party harassment occurs where an employee, worker or artist is harassed in relation to a protected characteristic by third parties such as patrons or contractors, and if this occurs on more than two occasions. In the event that an employee or artist experiences harassment on the basis of a protected characteristic by a third-party, this should be reported to the Chief Executive so that appropriate steps can be taken to help prevent reoccurrence.

3.8 Victimisation

Victimisation occurs when a member of staff or artist treats another member of staff or artist less favourably because:

• The other person has brought proceedings alleging that he or she has been discriminated against contrary to this policy; or
• They have indicated that they intend to make such a claim; or
• They have assisted a colleague to make such a claim.

Victimisation will not be tolerated under any circumstances and any employee or artist who is found to have victimised another member of staff or artist will be subject to NOS disciplinary procedures.

3.9 Occupational Requirement

In the context of recruitment or auditioning, if a particular protected characteristic is central to a particular job or training programme, there are very limited circumstances in which a jobholder or artist must have a particular protected characteristic. In such circumstances, this will be an occupational requirement.

3.10 Positive Action

Selection for recruitment, training or development must be on merit. In certain circumstances, however, it may be possible to take steps to encourage people from groups with different needs or with a past track record of disadvantage or low participation by taking positive action. Such steps may include targeting training or job advertising to reach out to certain groups or minorities.

4. Code of Practice

The purpose of this Code of Practice is to outline practices by which the NOS Equality Policy may be given full effect. As an employer, the NOS is bound by law to promote equality of opportunity by removing or avoiding discriminatory practices in accordance with the Equality Act 2010.

All staff and artists have a right to a working environment free from unfair discrimination, harassment or victimisation of any kind. Where problems occur, it is recommended that these are addressed quickly and as close to the event as possible, initially through an informal procedure, prior to having recourse to the formal procedure. Some forms of discrimination can happen accidentally or through thoughtlessness,
and some forms of harassment can be unintentional. In these cases, every effort should be made to resolve the issue informally. Where discrimination has occurred, and in order to facilitate the informal procedure, individuals should be receptive to feedback or guidance on matters related to the NOS Equality Policy.

It is the responsibility of all staff and artists to behave in accordance with the principles of this policy.

4.1 Recruitment

4.1.1      No vacancy or audition will be advertised or publicised in such a way that discourages applications from any sector of the population.

4.1.2      Exceptions will be made only for jobs with genuine occupational requirements.

4.1.3      No priority for any part of the recruitment or auditions process shall be given to relatives or associates of employees, artists or former employees or artists.

4.1.4      Selection criteria and procedures will ensure that individuals are selected, promoted and treated on the basis of their relevant merits and abilities. Each individual shall be assessed so far as practicable against a set of objective, non-discriminatory criteria directly related to the demands of the particular vacancy.

4.1.5      The NOS will share its Equality Policy on its website. All recruitment material will state that the NOS is an equal opportunities employer.

4.1.6      The NOS will consider supplying details in different formats if requested by disabled applicants.

4.1.7      It is the general policy of the NOS to advertise all job vacancies externally and as widely as possible.

4.1.8      All interviews for job positions will be conducted in accordance with the terms and spirit of this policy. The questions asked of candidates will be asked in order to elicit information that will give a fair and equal assessment of that particular applicant’s willingness and ability to perform the tasks required by the vacancy.

4.1.9      NOS will, where appropriate, make reasonable adjustments to its arrangements for interviews and conditions of employment for disabled applicants to ensure that they do not place such applicants at an unjustified and significant disadvantage. Alternative terms and conditions may sometimes be justified with regard to a disabled applicant where a material and substantial reason applies, and there is no reasonable adjustment which can be made to remove that reason.

4.1.10    No one sector of the population will be disadvantaged or discriminated against in relation to the terms of employment offered or applied to them.

4.2 Environment

4.2.1       NOS is committed to maintaining an environment which encourages all members of staff to contribute fully and on an equal basis in their work to the life of the NOS.

4.2.2      NOS will continue in its efforts to ensure that so far as is reasonably practical, all parts of the NOS are accessible and safe for all staff and artists, regardless of disability.

4.2.3      NOS will endeavour to use non-discriminatory language in all its internal and external documents and official correspondence.

4.3 Staff and artist awareness

4.3.1      All employees and artists are encouraged to assist in the removal of any discriminatory practices that may exist at the NOS by drawing them to the attention of the Chief Executive.  In order to promote practices which will lead to increases in equality of opportunity, all staff and artists will be made aware of the NOS Equality Policy.

4.3.2      Specifically, if any person uses actions or words reflecting prejudice or otherwise contravening the NOS Equality Policy, any members of staff are asked to:

a)            tactfully indicate to the person concerned that their behaviour is unacceptable

b)            report the incident to the Chief Executive as soon as possible and in writing.

At least two senior members of staff will discuss the allegation with the person concerned and seek a response.  Where the allegation concerns contravention of any of the guidelines of the Equality Act 2010, the senior staff will use their judgement and discretion to decide whether further action is required. If there are additional, verified infringements by the offender, the senior staff will report this to the Chair of Trustees together with their supporting documentation.

Following an investigation, an employee or artist may be subject to NOS disciplinary procedures.

4.4 Training, Development and Promotion of Staff

4.4.1      All members of staff will be given equal opportunity and, where appropriate, training to progress within the NOS. The NOS is committed to ensuring that this policy remains fully effective.

4.4.2      Employees involved in recruitment or management of others will receive training or coaching as required to help them understand and comply with the law and our policy.

4.5 Grievance Procedure

4.5.1      Any employee or artist who alleges that he or she has been the subject of discrimination or harassment by the NOS or by one of its members of staff, should report the complaint, in writing, to the Chief Executive or if this is not appropriate, to the Chair.

4.6 Monitoring

4.6.1      NOS Equality Policy will be publicised in appropriate ways within the NOS and a copy will be issued to all new members of staff, visiting staff and artists.  The NOS Equality Policy will be explained to all members of staff and artists when taking up an appointment or at their induction.

4.6.2      NOS will continue to give guidance on equal opportunities to members of staff, particularly those with managerial responsibilities.

4.6.3      NOS will monitor the effectiveness of its equal opportunities in recruitment and in the diversity of the workforce and training programmes through equal opportunities monitoring forms.

4.6.4      To this end, all job applicants, freelance or visiting staff and auditionees will be asked to provide information on key areas relevant to current legislation: gender, ethnic origin, age, and disability. Such information will only be used for the purpose of monitoring the diversity of the NOS workforce, prospective applicants and its artists and training programmes.

4.6.5      The Executive Director shall keep the working of the NOS Equality Policy under review and record any specific measures adopted to promote equality of opportunity.

4.7 References

4.7.1      Any reference post-employment will be provided in accordance with this policy without bias.

4.7.2      Any post-employment reference will provide factual information on the individual’s employment history and may include information on the basis of merit, capability and conduct.

4.7.3      As part of the NOS recruitment and audition process, offers are made subject to satisfactory references. In the case of negative references received the NOS may request further documentation from the referee and consult with the candidate as necessary.

4.8 Freelance and Visiting Staff and Contractors

4.8.1      Freelance, visiting staff, artists and contractors should be made aware of the NOS Equality Policy when working at or visiting the NOS.

4.8.2      Any reported breach of the NOS Equality Policy by a visiting member of staff, artist or contractor will be followed up in accordance with our procedures.

4.9 Young Artists

4.9.1      Subject to the provisions of paragraph 4.9.2 below, the NOS will ensure that all applicants for admission are considered only on the basis of their artistic merit, defined through a competitive audition, or suitability for the course for which the application has been made.

4.9.2      Where an applicant with any form of disability is deemed to be acceptable for admission on artistic merit, the NOS will take into account any special needs of the Artist and the NOS’ ability to meet them, prior to reaching a decision as to whether an offer of a place can be made.  Where, after having taken the views of the applicant into account, a recommendation is made to reject such an applicant because the NOS is unable to physically accommodate him or her, a record shall be kept and the applicant will receive a written explanation giving reasons for that recommendation.  Before rejecting any disabled candidate, the NOS will appraise its own access procedures and support services for artists, and give guidance about the NOS’ responsibility under the Equality Act 2010.

4.9.3      NOS is committed to maintaining an environment which encourages all artists to contribute fully and on an equal basis both to their training and to the life of the NOS.

4.9.4      NOS will designate a member of staff (the Artistic Planning Manager) who will have administrative responsibility for artists with physical disabilities and who will coordinate admissions procedures and any requirements in respect of such artists seeking admission and in respect of artists on the course.

4.9.5      All artists engaged on training programmes at the NOS are expected to abide by the NOS Equality Policy.