Falling UP
together
OSCR
Registered
sao
SC051447
FALLING UP TOGETHER (SCIO)
TRUSTEES, RFPORT AND RECEIPTS AND PAymE￿Ts 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 IncOr￿Tated 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. Vali￿l 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 I￿coMe 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 w￿ther 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 a￿1 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 SWI￿rtS 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-reno￿Tred
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 re￿rch 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 illn￿8 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 cU￿entlY 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 Coll￿tiVe. encouraged and
supported to use their imagination and per￿nal research to express their ideas and
ambitions using drdwing, painiing, sLulp(UTC, ills1<illation l￿d mural SOUnd￿ape,

perfOrn￿)ce, poety and creative writing, comic tx)ok art. digital art. anill￿tIOn 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 questiom￿lres. Across all
data, our evidence quantifies & qualifies the efficaciousness of our project. demonstrating the
impact on participants, mental health & wellbeing.
Our Facebook timeline shOwc￿S 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 refe￿alS 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, sh￿d 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 I￿al 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 interyer￿nal 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 eX￿riences, 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 folloW￿g 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 high￿uallty. 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 pro￿arnMe 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 SI￿lfiCant]Y noteworthv working visiL for he
had the opportunity to meei Gugging artists and Gugging staff a￿1 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 long1t￿Inal 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 Princi￿1 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 preSe￿e of our UD￿7 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 aSsi￿S in the Creatioo maintenance and strengthening of partnerships
in ihe local are&
Re5erve5
The truSt￿S 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 daY￿timeS 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
pillh￿￿tY 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 pa￿r 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 LOm￿rIsOn 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 r￿Sonable ¢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 Ma￿h 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 a￿0llnts
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$ets at end of perN
Equipment I￿5 deprecI￿lOn
Computer
Portd)ins
FurnIti￿¢ for POrt￿in$
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 re￿VeTh.
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
Gentr*l 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 per￿d to 31 Marth 2025
IYote5 to the Acc•unls Icoilinued)
#Bd p￿rpOSe0r 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<tid ts> in the 31.320?J (?023 £niD.
17