Falling UP together OSCR Registered sao SC051447 FALLING UP TOGETHER (SCIO) TRUSTEES, RFPORT AND RECEIPTS AND PAymETs ACCOLTNT FOR THE FIFTEEN MONTH PERIOD TO 31 MARCH 202)
FALLING UP TOGETHER (SCIO) TRUSTEES, REPORT AND RECEIPTS AND PAYMEMTS ACCOUNT FOR THE FIFTEEIY MONTH PERIOD TO 31 MARCH 202) INDEX 1-13 Trustees, Report 14 Independent Examiner's Report 15-17 Receipts and Pavments Account and Statement of Balances
Falling UP together OSCR Registered scio SC051447 Trustees Report for the fifteen month period to 31st March 2025 Th¢ trustees serving during the period and since are as follows: Structure overnance and mana ement "J"he charitv is constituted as a Scottish Charitable IncOrTated Organisation (SCIO) and is goicrncd by its constitution. Trustccs are appointcd on the basis of profcssionalism and expcricnce, including specific lived experience. that relate to the charity's mi&sion. They have included: artist, reqearcher, curator, digital artiSL filmmaker. project manageT: therapist, academic, politiciatL educator and green advocalc. Valil P05iiions arc currcnily filled by appioachcs from Irusl¢cs and appointments are confim]ed by a majoritv vote ai a trustees, meeting. On apy)intment trustees also IcoMe members of the SCIO. A prospective Trustee is invited to attend a board meeting to learn about the aims of the charity and the expected comTnitnieni before they decide wther to be app)inted. New trustees are provided with a cop). of the constitution and documentation that explains the charity's vision and activities.
anisational Structure and Mana ement The board of trustee& who are elected in accordance wtth the Constitution. is Tesponsible for the managemeni ot" the charity. During board meeiings the board reviews and agree matters of strategy and principle as well as reviem" performance. The charitable activities are deliTrered a1 managed by the project faciliiator tcam. led by a self-emploved contracted consultant anist-researcher. There are four volunteer assistsnt lacilitators. threc of whorn arc trustec& Thc rest of the board arc considcrcd to LK thc scnior management team. Risk mana ement Thc trustces are continuAng to assess the major risks to which the charity, is cxwsed and are in the pr()ce8s of compiling and updating a register of ihe risks thal arise in the course of our expanding regular operntions indoors and outdoors. Mitigation of operational risks is by specific planning in the light of detailed updated risk assessment. Other risks are considered io be the loss of kev personnel and the need to secure long tern sources of funding. The 'Falling UP Living in Art, facilitator team are responsive to issues arising in the delivery of sessions and immediately incorporate any additional procedures required to mitigate risks. Strength in depth of the 'Falling UP Living in Art, leam ensures coniinuit), for the delivery of thc 'Living in Art, procLSS. 'hen we operate in new environments, as a priority we address the need tr) ensure a safe environmeni for people participating in our process. Ive havc developcd relevant risk assessment documents. Appropriate insurance policies for the 'Falling UP Living in Art, team along appropriate PVG registraiion is in place. as well as a policy to protect the board of trustccs. Our charity policics continue to be developcd and reviewed by the trugtees, taking into account the increLsing breadth of our project actiN'ities and all factors associated with operating professionally and securely. We continue to develop our business plan out capacity otTicer at Fife Voluntar! Action as a mcans to ¢nhancc our sustainability and attract funding opportunities in a broader s¢nsc. Alonnsidc tnistec ini'oli'cTcnt in th-. bii<incsg plin's creatiory Falling UP collaboralors, such lave Ixen keenl). involved. supporting its prooress io a hi?hl!' protcssional dcLrcc.
Ob"ectives and ActiTrities l. The advancement of healtlL 2. The promotion of equality and diversity. 3. The relief of those in need by reason of e, ill healtlL disability.. fmancial hardship OT another di&2dvantage. 4. Thc advancem¢nt of cducation. 5. The advancement of the arts and culture. 6. The provision of recreational facilities, or the organisation of recreational activities, with the object of improving the conditions of life for the persons for whom the facilities or activities are primarily intended. Summa of the main activities in relation to these ob ects Falling UP Together (SCIO) delivers a pioneering research-b&sed process of wellbeing through art, M'hich is called Falling UP. Its process is derived from the world famous House of Artists in Maria Guoging, Austri4 and is an amalgam of two proven-proccsses called 'Living in Ilrt, and 'Und die Wclt, (And the World). We facilitate these through social and artistic collaborative opportunities within the Falling UP art collective. This is a community approach to mental health and w¢llbcing that reduces isolation, and SWIrtS lifest%'les of people who are suffering from chronic mental illness. wr mental health and in addition, those 'hO are currently mentally health), and wish to maintain their FX)Sitive wellbeing. Our activities are both indoors (sthdio-based) and outdoors (in woodland and urtHn ar}. Our mission is to introduce into Scotland for public benefiL an innoN"atiN'e a¢ mental illness and recovery model of sustainable mental healthcare supty)ry which is inspired by the long-iern] success of the v40rld-renoTred Gugging system in Austri& The Falling UP w'ellbeing model operates through its development of artistic lifestyles within culture, where mentallv ill people become integraled as self-taught artists through a destigmatising approach is longitudinal. Structured and creative activitv for sin e andlor multi artici ation Single participation is on an individual basis in our 'Falling UP Living in Art, studio at the Fire Station Creative Art Centre in Dunfernlline. This develops individual creativity, resilience, and the ability to work respectfully with concentration in a space shared by many others, in the context of their num¢rous artistic styles and projects. Multiple. single, or group participation
tak¢s placc within a cotnmunal contcxt outdoors atKI also at othci indoor locations. This develops shared working practices, the ability to work respectfully and communally in public spaces within our public art projects, alongside rnernbers of the communitv Falling UP Together (SCIO)'s piogramme leader fur the Fdlling LT proLess is who has lived with Asperger syndrorne & Obsessive Compulsive Disorder since 2009. He conducted his PhD rerch into arL mental illness and recoi'ery between 2016 and 2021, at the or1d-famouS House of Artists ir, .4ustri& Both his educational experiential qualifjcations embodv insights into the problems of living with mental illness, as wcll as rcs¢arching and dcvcloping a Hous¢ of Artist inspired-solution for rccovcry lif¢-styl¢s through 'Living in Art,. Participants cornc to our project either with an interest in becoming self-taught artists or to develop their existing creati&e practice. Hoivevei, participants do not require prewious artistic experience or training. Falling UP Togcthcr (SCIO) as a charity is a grassroots iniliativc that addrcsscs and confronts living with chronic mental illn8 ihrough lifestyle8 in art. Lsearch discovered that through employing Gugging s process of 'Living in Art the tralling UP I"ogether projeci is unlike an)'thing else in Scotlan(L for health, culture and wcllbcing. Thc Falling LT model of 'Living in .4rt', holistically addrcsses all of thc six charitable purposes for Falling UP Together (SCIO). Our activities use participants, creativity and imagination to improve the quality of thcir lives, as well as the liN'es ot" other people. The 'Living in Art process nurtures and maintains socially inlegrative, lono-term healthy lifestyles of meaning and belonging. These outcornes are achieved through authentic self-e¥pre&sion within the Falling UP art collective, which is inclusiNe of all demographics, and a]1 levels of wellbeing - frorn the chronically ill to the cUentlY healthy. All participants owate in structUT¢d collaboraiions supp)rted and moniloTed by the two artist- researcher facilitators expericnced in Gugging. s proccsses. Each participant expericnccs a sense of belonging within the familial group of the F211ing UP art ColltiVe. encouraged and supported to use their imagination and pernal research to express their ideas and ambitions using drdwing, painiing, sLulp(UTC, ills1<illation ld mural SOUndape,
perfOrn)ce, poety and creative writing, comic tx)ok art. digital art. anilltIOn and film making, f&shioTL photography. landsca and environmental ar¢ art as activism, and art as research. These Lollabor(ttions have o rated indoors at: The 'Falling UP Living in Art, smdio at the Fire Station Creative in Dunfemiline" The Fire Station Creative gallery" Falkland Palace; Falkland House School; Kettle Primary School; Auchmuty High School, Glenrothes" NHS Veteran's First Point (Vl P) at the Roswell Centre, Lochore" Keillcr Centr¢. Dundee" NHS Strathede Ando Crated outdoors at: Around Dunferndine at the Calais Wood at Duloch; Wooers. Alley; Tower Burn; a historical battlefield site at Pitreavie" the city of Edinburgh during the Festival Fringe" Falkland Palace; Falkland House School. M&spi¢ tkn in Falklan(L Monitorin and evaluation tools & demonstration of im act on beneficiaries We use a range of perforniance indicators to track participants, social & creative behavioural p¢rforniance levels. These provide quantitative and qualitativc data for analysis. that helps us to nurture participants personal by structuring bespoke social & artistic activity. Our analysis helps us to guide participation that personalises what wellbeing means to each participant, including their mental, emotional, social, spiritual, and creativity health. We identify, selecL process & anal):se data from the following sources: notebooks. photo docum¢ntation" crcative outcomes; Likert scales; w.ellbeing development checklists" data visualisation of creative behaviours" inteD¥iews' documented participant collaborations; partner fced-back: focus groups: satisfaction response sheels" and questiomlres. Across all data, our evidence quantifies & qualifies the efficaciousness of our project. demonstrating the impact on participants, mental health & wellbeing. Our Facebook timeline shOwcS and recognises the progress of project activitie% cxhibitions, pop-up events & public awareness. It documents individual and collective achievement milestones; highlighting successes of participants, creativity outcomes, resilience and social integration in collaborative process. Our timeline gives participants creative acknowledgcment and acceptance within our art collective, providing peer recognition in the public domain. Our website lde]Y infornis the public about the ongoing nature and contextual framework of our art collective's artistic and cultural successes in our local community and further afield. Our
evaluation tools archive a legacy of accumulative progression of project engagcment and the ways it in which it continues to provide participants creative identities and improved mental wellbeing. Achievements and Perforniance Summary of the main achieTr'ements of the charity during the financial period In this financial period ( l January 2024 - 31 March 2025)- we successfully delivered projects and activities as part of the Communities Mental Health and Wellbeing Fund Year 3. The Living in Art (LIA) studio process added to the new outdoor process of Und die Welt (UDW), allowed us to significantly develop sociallv-int¢gratii'e pathwa). projecls with collaborativ¢ activities for participants from all levels across the spectrum of mental heal neurodivergence and at-risk groups. We wcre thus able to sustainablTr support both existing and new participants to expcrience long-terni relief from Ex)or levels of mental h¢alth. We successfully delifv'ered 1000 sessions to 200 participants. Increased numbers of self- referrals were supplemented by refealS from BRAG Enterprises: Fain¥ay Fife, Change Mental Health, Link Life Fife, NHS Fifc, NHS Veterdns, First Point (VIP). and Scottish Autism. We increasingly provided life-long learning opportunities through the longitudinal approach of UDW pathway projects, whRch have extended many participants, development over the past 3 years. These includ¢ ¢xtensions through eN'ening & weekend scssions. Observations by Project facilitators combined 1th monitoring feedback forn & testimoniaIs, ¢vid¢nc¢d that participants experienced significant growtb in sclf-¢Stcem. social confidence and collaborative skills. Within the LIA process, participants evolved individualised self-deterniined art- practices. As a resulL this shov¥c&sed their voice and creative ambition as part of the Falling UP art collective within the local community. This gave participants a sense of empowennent and hope, counteracting and balancing low moods to mitigate difficult issues faced in other aspects of their lives. Social isolation reducedlpreventcd, whilst social resilience was increased through participants, shd s¢nse of connectiveness and social agency within the LIA process. Strengthening a sense of belonging and bcing with other& 'orkIng communally, were facilitated by the UDW proce. where we introduced and delivered 3 long-tern] projects that operated in the Ial community and fijrther afield across Fife: l.'Dreaming Dunfcrmline, .
collaboration with the Electoral Refonn Society Scodand (ERSS). 2.'Falling UP Mary Barnes, - a collaboration 1th Falkland Palace. 3.'Falling UP on the Battle of Pitreavie, _ a collaboration with OnFife, Historic Envirotllnent Scotland & Frfe Council. UDW pathway projects developed participants, problem-solving & decision making skills as they co-created site- specific activities. Collaboration fostered interyernal skills within shared experiences, self- belief, high Icvels of concentration and flexibility whilst working creatively alongsidc project stakeholders & facilitators to meet the demands of collaknrative timetabled structures with deadlines. Project Facilitators created working environments where participants could listen and r¢spcct other's ideas and inpuL Our range of activities in LIA & UDW supported the full spectrum of genres across the arts, including traditional analogue and digital art fornis. Combining LIA & UDW processes, participants enjoyed full access to: Falling UP'S innovative creati&e experience; shared individual & communal impact on each other; creative aspirational goals" emergent art friendships" co-learning; intergenerational working communities. collaborative creative experiences" shared mitigation of troublesome thoughts through group art-making. interpersonal creativity-behaviours that enabled meaningful focus & mindful process; the opportunity to develop rCeptiOnal, psychornotor. interdctional, knowledge-sharing and workplace skills. Both LIA & UDW processes utilised participants, existing strengths: engendering practices of co-creation & teamworking. Individuals, input contributed to communal ethos within our projecl's identity as a communit), art collectiTr"e. Participants received cultural and social recognition thmugh 12 public indoorloutdoor Falling UP exhibition mini-pop-up advocacy displays both in Scodand and in Austri& for the presentation of participants, art. Through these events participants became both a contributor & a consumer of culture via their art outcomes, thinking and expressing artistically together enhancing their lifestyle of recovery. Displays took place in.- Dunfern)line 7th Falling UP 9.0 at the Fire Station Creative (with 3 5 participants, art on display)" in Falkland Palace" Falkland House School and M&spie Den at the Falkland Estate; at the House of Artists in Gugging and on the streets of Vienna. Other opportunities to showcase participants, art took place at: Scottish Autism" Veterans F irst Point Rosewell Centre; at 'Common Ground - a cultural sun]nllt for Fife and a presentation to the Scottish Parliament Cross-party 0Up for disability.
The abundance of cumulative eXriences, memories, individual and collective successes are celebrated through our Facebook page limeline, highlighting participants, social and creative achievements. This not only nefits participants, own self<steem, bui allows them a social and cultural footprint within Falling UP as an art collective. Participants, families and friends can follow their engagement within the project and bear witnesses to their successes. The local community also has insight by folloWg the Facebook Page. The wider community of Scotland and ind¢¢d. given our connection to Austria and the House of Artists in Gugging: international communities also follow our project actiiities. Our charity website has now evolved to reflect and distil LIA & UDW project activities, foregrounding participants, involvemenL The websitr also encapsulates our mission to introduce into Scotland for public benefit an innovative arL mental illness and recovery mod¢l of ecologically sustainable mcntal healthcare through artistic lifestyles within culture, based on thc renowned Gugging SJ stem in Austria. The contextual framework behind our charity's origins and the research-based history of Falling UP are also available for any prospectivc participants and other organisations to delve inlo. One key example of how our proj¢ct can raise awareness of significant local historical sites, has been the year-long laying the groundwork through participants, collaborations that advocate for official commemoration of thc Battle of Pitreavie {1651). This has included pop- up creative interventions by participants, which include fOrn}anCe, re-enactmenL poety reading, installation and photoshoots. These are achi¢vcd quickly. documentc(L and are both respectful and non-intrusive. In parallel to these advocacy actions, we, alongside our participants, have instigated conversations with Fife Council, OnFife, Dunfennline and West Fife Tourism, Historic Environment Scotland and the Regional Archaeologist. Our aim is to garner institutional awar¢ness raising activities that can work alongside our participants, longitudinal creative involvemcnt on the battlefield. This is one such context whereby our project's facilitation of participants, integrative experience can be heard and valued by local agencies and organisations" thus ensuring a cultural, social and historical legacy. Another important dcvelopment is through our ongoing comiection w'ith the Electoral Reforn] Society Scotland (ERSS). and in a ]der sense, it's philosophy of 'deliberative democracy,. The ERSS support thc gencration and faciliialion of citizens assemblies to better reflect the views and opinions of a broad demographic of the Scottish pulace, towards more inclusive
representation in cornmunitylwider decision making. Our particular involvement with the ERRS came about through representatives visiting the Falling UP 8.0 'Outsid¢nnside' exhibition. Our alignment with the concept of 'deliberative democracy,, and indeed the way in which the UDW process enshrines collective dccision-making in the development of pathwa). projeLts, saw us collaborating 1th the ERSS and its mission. Since we id¢ntify elements of UDW as being deliberdtive democracy in nature, we have met with ERSS numerous times, collaboratively creating the 'Dreaming Dunferndine, project. This project elicÈts Falling UP participants, ide&s on what they would like to see happen or change in the city of Dunferniline. In tem]s of a connection within the field of arts communities, we probed the possibility ot. commencing a relationship with an artists, group tho are the current custodians of the Keiller Centre (itself a now disused shopping centre) in Dundee. The intention of the custodians of the Keiller Centre is to regenerdte the venue into a highuallty. mixed-use development space. Our relationship with the Keiller Centre h&s now, been established and will see exhibition opportunities in the future. Excitingly, this will provide Falling UP a direct link back to the city of Dundee. Our attempts to foster a working relationship with the NHS w¢r¢ broadcned thusly: the success of dclivering a proarnMe of LIA outreach scssions to military veterans at NHS Veterans, First Point (Vl P) at the Roswell Centre in Lochgelly; and our endeavour to similar provide LIA outreach sessions on-site at NHS Strdtheden. Il'e had significant success working with Vl P military veterans, several of whom crossed over into the LIA studio and onto UDW pathway projects, after V I P sessions concluded. The latter progrdmme of aclivities at NHS Stratheden afforded us a learning experience in how to work in the setting of a psychiatric hospital. Boih opportunities gavc an increased understanding in ho, the NHS operates within two very contrasting settings, and their vary'ing deoiees of flexibility and accommodation of the LIA outrcach process. The experience of operatin¥ at NHS strathede working with hospitsl patient-residents, directly fed into our ¢xploration of the feasibilitv in replicating the residential aspect of Gugging's House of Artists. Therefore, it w&s a crucial milestone for our mission, providing us a wealth of insights into the functionality of Scollish SJ stems of healthcare in comparison to the ideal Austrian system the House of Artist enjoys. On the subj¢ct of the House of Artis projeci facilitators returned to Austria in December 2024, visiting Gugging as part of their longitudin research process" whilst also generating
more cont¢nt for iheir film about Gugging and its relationship to Falling UP. Our chair accompanied ihe Project f&ilitatOTS. making It a SIlfiCant]Y noteworthv working visiL for he had the opportunity to meei Gugging artists and Gugging staff a1 experience first-hand Gugging's TernaTkably special properties and intrinsic value. This engendered, in the chair, a more profound appreciation and richer understanding of why Gugging is at the Core of Falling UP Together (SCIO) and its philosophical grounding. Transitioning to a different long1tInal journev of Falling UP Together (SCIO). we have been endeai'ouring io firndy establish and maintam a more solid fooling with the new Dunfennline Learning Campus in Duloch (DLC)" in particular, Fife College. Conversations with Fif¢ c.ollege stal'l. the Princi1 and Chief Executive: the Curriculum Manager; ld the Carnpus Innovation Officer. have been prornising and are in the negoiiaiions stage as to how io work together. The ideal opiion would be for LIA to in- reach within a dedicated space in Fife College, collaborating with students and staff. In parallel, students and staff would engag¢ at the LIA studio. The preSee of our UD7 outdoor studio- contsiner in Duloch and our Tr'alling UP Woodhenge exhibition space in Calais Wood could factor into this. Sta)'ing in thc rcalm of cducation, wc coniinucd thc process of cngaging with primary h0O15 in Fife: directly linking pupil responses to our Falling IJP Mar), Barnes project and the creative outcornes made b). LIA & UDI¥' participants. Collaborating ivithin the educational sector offers add¢d valuc Io SULh insliiutions through our d¢stigm&isinbJ cngdgjcment a5 art colleclive, which itself evolved in the 'Orld of education & academia. Building upon our l¢gacy will continue through new experiences. rnak.ing memories to be shared amongst participants to fLffther ilnprove their wellbeing and supp)rt each individual's ambition. Flnancial Review The Trustees agreed to change the accounting period end to 31 March in order to be coterniinous with the period erxl for most sources ot govemment fimding. The Receipts and Payments account therefore coN'ers the frfteen month riod fn)m l Januar! 2024 to 31 March 2025. Receipts of £80.000 include £JO.000 received for the year to 31 March 2026 and Note 4 on page 16 shows that included in the balance of £33,097 carried forward in the Restricted Fund for Communitics Mental Hcalth and M'elltKing. £50,967 was spent from ihai fund in the period and ihe remaining payments ere all(Kated £6,396 to the fLmd brought fon¥ard for work financed the Community Recovery grant arKI £250 to the General Fund. 10
Donated services and facilities ias spcnt 6 days each wcek, 7 hours cach dav in the i)11-51UdIl). ()r on location, as an unpaid assistant to Fornierl)". he was one ol PhD research assistants, and his role in Fdlling LP Togcther has been co-mdnagiiig Lhe interconnected projects of Gugging's process of 'Und die Welt., and as an assistant facilitator-artisi working with project participants collaboratively, as as contributing to tracking each participant s creative & social development. The Chair. Droactii"elv works Mith Llli a voluntary basis: boih in the LIA studio and on location during UDII. aciivilies. He assists in ihe supcrvision of the LIA studio as an artist working on his own prdclicc, hclping gcneratinwn Ll collegiate creative approach. h]I engaging ryth participants. Within UDW actii'itiex. helps shape their creatiorL design and Strategic deplo)'ment as such activities tske shape in Ihe ri¢ld. IIDvides volunidry SUPPOrt during) the developmeni dnd realisation of some UDIII activities and Falling UP exhibitions uith particular emphasis in the practical set-up of installations. Martin also aSsiS in the Creatioo maintenance and strengthening of partnerships in ihe local are& Re5erve5 The truStS are aware of the need to build up an unrestricied general reserve. They are developing a t"unthaising strategy in order to achieve an appropriaie level in the rnedium tem). Thc board is aiming to set up a sub group of trustees to work tow'ards acquiring additional typcs of funding which will include designing a ternplate for applications to grant-giving trusts. Future lans hich take in to account our activities for the CMHW Year 4 fund During this fumncial year we applicd for funding from the Communities Mental Ilealth and Wellbeing Year 4 fund, which we 'ere successful with. As thith previous years, this has allowed seamless continuity of operation M'ith the LIA studio and our various UDW pathway proj¢cls. This fund covers aciiviiies up to February 2026. Our long-terni ambition of 1rnUlatlng intercst for an exhibition of Gugging art in Scotland has taken a significant qtep forward through our connection with OnFife' particularlv with the OnFife team at Dunferniline Carnegie Library & Galleries, which in itself was borne out of our
highly sucrc&sful Falling UP 8.0 'Out5iddInsidc' cxhibition. Th¢ solid foundation gain¢d with OnFife, through said exhibition in the Dunferniline Carnegie Library & Galleries community gallery. engendered the beginnings of a plan io canvas their interesl in hosting the firsi eiier exhibition of Gugging art in Scotland. Discussions are ongoing but are proving hopeful. sincc OnFife 15 keen to pursue such a v¢ntur¢ with u& In kptcmbcr ?0?5. with th¢ support o I. ve set up an in-peTson meeting between ourselve%. the imdnaging Direclor of the House of Artists at Gugging, land (idliim Lrurnpiory Onbile's Exhibilions and Engagement Manag¢r. This resulted in a possible date for the first eNer Gugging exhibiiion in Scotland being proposed for taking place in 2028. In addition tn this opportunity with OnFife. hai'e been exploring the wssibility of Falling UP as an art collective in residence within a space in Dunfermlinc Carnegie Library & Galleries. In a similar fashion To the way we 'piloied' Falling UP &$ working on sile in the community. gallerv during Falling UP 8.0 'OulsideAnside', we intend this residency to operate across different daYtimeS of the week in conjunction to the running of the LIA studio and other UDW pathway projects. As part c)f DIT F211ing UP 'Dreaming Dunferndine pmject,, we are working with residents at 'arc home in Dunfcrn]linc, gcncrating thcir 'drcams' for various arcas of Dunferniline. The link back in to the a rekindling of onsite access e last had in 2022. This time, however. the purpose is Io¢using on bringing forth collaboration in an UDW pillhtY proj¢ct, raihcr than individuali*d art-aking. TheTefore, residents have a diffLrL'nl experience of agenc). in that their ideas are being shared 7th Falling LP participants" oNerall enhancing th¢ 'Drcarning Dunferniline, concept with residents, memories and insights into thc past. The fruits of our relationship with the Keiller Centre bore the exhibition 'Falling UP Mary Bames at the Keiller Centre, which ran for 3 months. 65 participants, artworks were displayed, two artists worked on-site on their art (including the creation of an installalion). and pertomiance activity/poety reading activities took place. This exhibition was a culrnination point in the Falling UP Mary Bames projccl, whilst not Ixing an cnd poini bv any means: a significant milestone aS reached. many months work by participants on their contributions, resulted in the opportunitv to amalgamate in a new kind of setting. We hope to develop other eative opportunities with the Keiller Centre in the future as it Progresses its ambition to revitalise itself as a prosperous functional mixed-use venue. 12
Finallv, our ambitions with Fife College are shaping inio a Falling UP Incubator project with the intention to potentially disseminate the 'Falling UP, model throughout Scotland, using the existing network of Scottish finther education colleges. Discussions on partnerino with Fife CollLQL are no. ai the stsge of advanced discus5i0lI li iih new ini'olvement trom Fife College's ViLe Ptincipal, and IlTr¢ S¢¢tor Lcad: Trautna Infortncd Practice and Health and "¢lIbeing at Fife College. In parallel to the advancernent of the incubation prow)1. Ftfe College encouraged us to create a complementsry par detsiling our plans. Said rerM)rt has merged with the formation of our business plan: as there are many crossover ¢eaS of contenL plal'ed a key role in developing this paper. The incubator paper will be SUDrnilled to the Scottish Goyernrnent's Mental Health Directorate as a means of supporting our upcoming Meeting in the Scotlish Parliament. This Meeting aims to persuade the Scottish (iovernmeni to back the incubator proposal across a thrcc vcar pcriod. The trustees declare that they have approvcd the trllstets, report above. Signed on behalf of the charity's trustees 27 November 2025 13
INDEPENDENT EXAMINER?S REPORT TO THE TRUSTF.F.S OF FALLING UP TOGETHER (SCIO) I repon on Ihe accounTs of FallingyUP To¥eih¢r (scIo) for the fifteen month period ended 31 March 2025 which comprise the Receipts and Payments Account. Statement of Balances and the related notes. Respective Responsibilities of the Trustees and the Examiner The Trustees are responsible for the prepayation of the accounts in accordan with the tern]s of the Chariiies and Trustee Investment (Scoiland) Act 2(K)5 and the Charilies Accounls (Scoiland) Regulations 2006. The Trustees consider that the audst requirement of Regulation 10( I l(d) of the Accounts Reoulations does not apply. It is my responsibilit). to examine the acwunts as rcquired under section 44(1)(c) of the Act and to state whethcr particular matters have come to my allention. Basis of Independent Examiner's Statement My examinaiion is carried out in accordance with Regulation I l of the Charities Accounts {Scoiland) Rcgulalions 2006. An e.xamination includes a review of the accounting records kepl b) Ihe Charity and a LOmrIsOn of the accounts pr¢s¢ni¢d with those records. It also include5 consideration of any unusual items or disclosures in the accounts and seeks explanations frorn the Trustees concerning any such matters. The procedures undertaken do not provide all the cvidcncc thal would be required in an audiL conscqucntly I do not express an audit opinion on the accounts. Independent F.xaminer's Statement In the course of my examinalion, no matter has come to my attention l. Which gives me rSonable ¢ause to believe that in any material respect the requirements To keep ac¢ouniing records in accordance with section 44(1)(a) of the 2005 Acl and section 4 of the 2006 Accounts Regulations, and To prepare accounts M'hich accord with the accounting records and cornply with section 8 of the ?006 Accounts Regulations have not b¢¢n m¢L or 2. To M'hich. in my Opinio attention should be drawn in order to enable a proper 27 November 2025
FALLING UPTOGF.THER(SCIO) R¢Leipis and Paifflents Account for th¢ fifteen monih perw)d to JI Mah 2025 IS month period to Jl.J.25 Unrestricted Rcstri¢ted Tolgl funds funds funds Yearto31.12.23 Totsl funds KECEIPTS Donations Grant from Fife Voluntary Action Grants from Fifc Council Charitable aciiNities 750 780 80.000 80,000 9,920 11,543 840 TOTAL RECEIFrs 750 80,000 80,750 22,3Q3 PAYMENTS C'haritable actii'ittes Sessional fees stati()ry and art materia15 Printing Equiprnent Purchase of portacabins Landscaping of cabIng siie 'rransp)rt Studio rent Insurance Website MiscellaT*OUS 42.720 42.720 4.370 2,000 31,640 2.000 I,)51 3,608 1,186 500 1,180 500 5,000 744 1.000 556 l J94 1,394 444 235 23) 56,356 56,356 57,656 Go%¢rance costs Independent examination 250 250 ?50 250 250 TOTAL PAYMEIYTS ?50 56.)56 56,606 57,906 NET {PAYMENTS)IRECEJvrs 2J.644 24,144 51.4IEMLfiT OTr" BALANCES Balances al start of period Bank a0llnts 10.447 10,4iO NET IPAYMENTS)IRECEIPTS iOO 23.644 24,144 (35,60i) BALANCES AT END OF PF.RIOD Bank aeeounts J4.091 34,594 10.450 2 1 November 2025 15
FALLING UP T(KETHER (SCIO) Receipts and Payments Accounts for the fiftttn month puiDd to 31 Mard 2025 Notes to the Arcounts l. Basis of accounting Thcse )un[S have been preparal on the RLxYipts and Palinthts basis in )rdance . tth the Charities and Trustee Ini'isttncnt {Scodand) Act 21K)i and the Charsii¢S .4co)w)ts (Swdand) Regulation5 ?(M)6 (& ended}. 15 months to 31J.25 Yearto 31.12.23 2. Other s$ets at end of perN Equipment I5 deprecIlOn Computer Portd)ins FurnIti¢ for POrtin$ E4ndswing and gardcning tsM)Ls 428 3.247 2.886 662 1.124 3. Liabiltiies at of perK•d Sc55lOt fcLS 2.400 4. Natllreand purpo$eof funds Restricted fund5 Communitits lent21 Heahh & Wellbeing 2025 Total O¥r Mittds Comm¥oity Matter reVeTh. RLretpts (tncluding £30:(KKI for We to 31.3.26} Paymcnts go. (50.967) 80.(K>O (56,356) (5J89) N¢rt payments 29.033 (5J89) 23.&14 Opening bank balancc {13) 6.396 10,447 13 (13) Bank balance at 31.3.25 33.097 994 34.091 Gentrl fund R<xeipts Pa)'ments paym¢i)ts 750 (250) Orthing bank balance balancc at 31.3.25 16
FALLING UP T(KETHER {SCIO) Reeeipts and Payments Aeco¥nts for the frftren m•nth perd to 31 Marth 2025 IYote5 to the Acc•unls Icoilinued)
Bd prpOSe0r funds (¢oDlimuul)
Rotii¢ted fllnds
Communiiies
2023
Totsl
Healih &
R¢1p
Pai'ments
9.920
(9.933)
11.543
(5.147)
21.463
(5?.066)
(36.986)
Net paymLmLs
(36.9S6)
(131
6.3(
(30.6()3)
Opening bank bal%
41.050
balance at 31.12.23
(131
6.3
10.417
Ceneral fund
H¢1pts
840
S.840)
paymenLS
{5.IMXI)
Opening bank bthnc¢
5.(M13
bal¢¢ at 31.12.23
5. '1'rnsttts remuneratiDn and eJpeKses
Lycivoj scssiona ot'delii'LTing'Living in Art. 8nd'Und die 'dv
No P