Safety News and Blog Part 2
My appologies for the lack of new information etc. on this page, my excuse is vary tardy but I have undergone major surgury to remove my bladder and a few other bits following the return of cancer.
QUAIFICATIONS FOR ELECTRICIANS
The 18th Edition of The IET Wiring Regulations will be launched on 2 July 2018.
This update, also known as BS 7671:2018, provides an opportunity for all electricians to get fully up to date with the latest industry standards via the City & Guilds 2382: 18th Edition qualification (IEE Wiring Regulations, BS7671).
BS7909: 2011 – THE CODE OF PRACTICE FOR TEMPORARY ELECTRICAL SYSTEMS FOR ENTERTINMENT PURPOSES.
BS7909 is used in a huge range of events beyond the scope of the IET Regulations. The Standard outlines the necessary management arrangements and the required range of electrical supplies, heavy-duty flexible cables and portable distribution units needed. The systems used range from very simple to highly complex and the Standard gives recommendations for all temporary electrical systems.
NAPIT CITY AND GUILDS ACCREDITED TRAINING PROGRAME PROGRAM IN TEMPORAY POWER SYSTEMS.
This course has been developed on behalf of Skillset by James Eade to assesses the competence of those wanting to (or who already are) currently acting in the Senior Person Responsible (SPR) role for BS7909.
Delegates will get the certificate awarded if they pass the assessment. For more information on the requirements and origin of the course, dates and venues, visit the sub site www.skillset.eade.uk.com
The course consists of 10 modules and assessments are carried out at the end of each module to ascertain the candidates understanding of the content. Candidates also undergo a final more general practical assessment to help assess their competence.
There are no entry requirements although you must be conversant with basic electrical theory and the Wiring Regulations. Candidates would be expected to hold an electrical NVQ level 3 or City and Guilds City & Guilds 2382: 18th Edition qualification (IEE Wiring Regulations, BS7671) or have equivalent knowledge gained through other means such as private study.
1.Understanding health and safety requirements in the electrical environment. Gain an appreciation of the application of Standards, regulations and the law.
2.Understanding different earthing arrangements, sources of supply and earthing practices.
3.Understanding cable losses, specification and power quality.
4.Understanding protection methods including RCDs, electrical separation and automatic disconnection
5.Equipment testing and certification
6.Temporary electrical system testing and certification
7.Management of temporary electrical distributions and management structure
8.Requirements for systems in agricultural, water based and similar environments
9.Power supply arrangements in mobile and transportable units1
CDM - AGAIN
It is clear that there is still an issue with many promoters, venues, production companies and artists not understanding or implementing their CDM responsibilities across all forms of entertainment. The Exhibition industry has the greatest take up with Corporate Events and Touring Music being the least engaged from the comments noted.
ACOUSTIC SHOCK – MUSICIANS & NOISE ASSESSMENT
The compensation claim that went to the courts recently in which a musician is suing the Royal Opera House for alleged Acoustic Shock must focus our attention on our full and complete compliance with the Control of Noise at Work Regulations, detailed and regular examination and assessment of noise exposure must be maintained and recorded, importantly ensuring that no casual exposure during rehearsals can be claimed as poorly managed is also important.
The concern over the Judges remarks that an acoustic shock could cause harm at a level as low as 82dB(A) is significant as the requirement to enforce the wearing of appropriate hearing protection commences at 85dB(A) [twice that figure].
Acoustic Shock is also called Call Centre Ear where persons working in call centres suffer the wrath of frustrated call recipients who blow a whistle or use an air-horn back at the call maker – the resulting damage can be hyperacusis – instant deafness and a shutdown of the auditory nerve(s) or acoustic shock which makes the ear hyper-sensitive to all noise where for example passing vehicles sound like a chain saw running full tilt next to your head.
Whilst music noise was compared to a noisy factory the reality of all noise causing harm is very real and regardless of the pleasure we seek and receive from music must be treated as causing harm.
The matter is on the HSE Joint Advisory Committee for Entertainment (JACE) agenda, the HSE has encouraged all of us to consider being more detailed in our assessments, audiometric record keeping, management of rehearsal limits and protection and the keeping of complete health surveillance records.
It was identified that Clients will now seek to avoid the intrusive assessment process and favour pre-recorded music over the use of live thereby potentially harming the job prospects for musicians in events and general entertainment.
MARQUEE FIRE SAFET
Marquee fire safety marquee side panels, rigid panels and roof sheets and sections has been questioned. Data on testing does not seem legitimate in all cases and testing certification is often a lot older than the products brought to site.
HEALTH AND SAFETY MANAGEMENT IN THE LIVE MUSIC AND EVENTS INDUSTRY (THIRD EDITION) ISBN: 9781904031918
After what seems like years of waiting I am very pleased to say the latest edition of my book is now available, this is what the publishes have to say about it:
Chris Hannam’s major work on Health and Safety Management in the live music and events sector has been substantially expanded and totally revised for this third edition. Its 52 chapters cover all aspects of staging live entertainment events and the author’s treatment is highly detailed, running to well over 1000 pages.
The author draws on long personal experience in the industry and his approach is specific to the hazards that events create, for instance whether its manual handling or mechanical lifting or electrical safety or many other relevant topics, he provides answers on how to manage projects in the area of public performance.
There are comprehensive chapters on all of the legal frameworks for machinery, fire safety, work equipment, employers liability, PPE, working at height, special effects, temporary structures, COSHH, traffic management, working time regulations and many more. Health & Safety at Work magazine states: “This is an outstanding piece of work: an awful lot of book for the price, and an essential reference for anyone working in the events/entertainment sector”.
Order your copy direct from the publishers at www.etbooks.co.uk
A review from Health and Safety at Wowk magazine.
Recently I had to arbitrate in a dispute between two users of a local community building. One complained that equipment installed by the other (a theatre group) was unsafe both electrically and structurally. I went to my library for help, but have to say that none of the books I found was as good as this one by Chris Hannam. How I wish I had discovered it sooner! It would have given me shortcuts to the solution and also made me more confident that the advice I gave was well-founded.
Here, Hannam provides a complete overview of the health and safety issues that may arise in live music and similar events. When you think of a major event such as a Glastonbury, Reading or Leeds festival, with all that they involve in terms of providing (hopefully safe) amenities for thousands of people, with temporary structures put up by a whole spectrum of providers – while also having to manage noise, electrical safety, lifting, lighting, crowd control, emergency procedures, security, lasers, pyrotechnics… You quickly get some idea of the potential safety headaches.
The book, now in its third edition, contains many of the topics you would find in a general health and safety management textbook, but there is so much more besides. For a start, the treatment is very detailed: Hannam really does get down into the fine detail and does not (as some other authors do) gloss over specifics with sweeping injunctions to take “appropriate” precautions (whatever they are).Then there is the greatest strength of the book: whatever Hannam is talking about (and he writes in a very conversational style) he makes it specific to the hazards that events create. So whether he is covering mechanical lifting, temporary structures, electrical safety, manual handling or another of the host of relevant topics, he is always direct about how best to manage that issue in the context of a public event. To do so, he draws on vast personal experience, and he does not hesitate to feature case study examples of where health and safety have not been properly managed – and what the consequences were. His scope is not limited to health and safety: he also covers wider topics such as licensing law, basic food safety and waste/environmental issues.
Overall, though, this is an outstanding piece of work: an awful lot of book for the price and an essential reference for anyone working in the events/entertainment sector.
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