Charty Registration No. 000932 Company Registration No 02557811 THE NATIONAL YOUTH BALLEf OF GREAT BRJTAIN (LIMITED BY GuAREEl REPORT AND ACCOUNTS YEAR ENDED 31 DECEMBER 2024
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN (LIMITED BY GUARANTEE) LEGAL & ADMINISTRATIVE INFORMATION Trustees (all of whom are directors) Patricia Castanha Lloyd Kavya Chauhan Ashley Dixon aint Masao Hayashi Sasha Monique Henry-crawford Paul Jackson MBE (known as Paul Reeve MBE) Kamal Lalwani Rosemary Ryde Annabelle Spring (known as Anna Meadmore) Charity number IIJX1932 Company nurnber 02S57811 Registered office The Courtyard Shoreham Road Upper Beeding Steyning West Sussex BN44 3TN Independent Examiner TC Group The Courtyard Shoreham Road Upper Beeding Steyning West Sussex BN44 3TN Bankers HSBC Bank PLC 333 Vauxhall Bridge Road London SWIV IEJ Finance Committee Simon Box, finance manager Patricia Castanha. trustee Ashley Dixon, trustee Kamal Lalwani, trustee Barbara Palczynski, chief executwe Paul Reeve, trustee Safeguarding Committee Charlie Fulton-Langley, general manager Anna Meadtnore. trustee Barbara Palczynski. chief executive Jules Renahan, safeguarding and support team manager Communications Committee Kawia Chauhan. trustee Clara Clayton, social media coordinator Megan Gibbons, marketing manager aint Masao Hayashi, trustee Barbara Palczynski. chief executive
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN {LIMITED BY GUARANTEE) LEGAL & ADMINISTRATIVE INFORMATION Environmental. 5oclal. Governance (ESGI Committee Charlie Fulton-Langleyi general manager Natalie Haslam, project manager inclusion and outreach Sasha Monique Henry-crawford, trustee Barbara Palczynski, chief executive Creatlve Advisory Committee Liam Francis Sayaka Ishikawa Mlinde Kulashe Drew Mconie. patron Jo Meredith. creative director Vanessa Vince-Pang Anna Watkins Tyrone Singleton. patron NYB All In I Steering Group Grace Abercrombie Max Arnold Suzie Birchwood Natasha Britton Honor Dixon Amy Groves Natalie Haslam Abri Holmes Pollyanna Hope Monique Jarrett Leanne Kirkham Jo Meredith Louise Moulton Joe Powell-MaTn Grace Thompson Sophie Tickle Linzi Whitton Youth Council Cece Ella Grace Honor Niamh Zak Please note that as this is a youth council. for safeguarding reasons these children are identified by first names only.
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) CONTENTS Page Trustees Report 1-28 Statement of Trustees, Responsibilities 29 Independent Examinerfs Report 30 Statement of Financial Activities 31 Balance Sheet 32 Notes to the Financial Statements 33-40
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 @ Lachlan Monaghan Evolving Visions 2024, Reody, And by Beyond Ballet" artist Amy G roves The directors and trustees have pleasure in presenting their Report and Financial Statements for the year ended 31 December 2024 together with the accounts forthe charity. The accounts comply with the requirements of the Charities Act 2011, the charS governing document and Accounting and Reporting by Charitie5- Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland IFRS 1021 (effectNe l January 2015). About National Youth Ballet For over 35 years NYB ha5 provided transformational opportunities foryoung people to participate in, create and perform classical and contemporary ballet. Our mission is to bringyoung people togetherthrough creative, joyful and inclusive ballet activities that nurture confiden, ski115 and posTtive values. Our vision is that young people are empowered to thrive, shaping the future of ballet and the world around them. Many of our alumni have become dancer5 and choreoEraphers in major British ballet companies including The Royal Ballet, Birmingham Royal Ballet. English National Ballet, Northern Ballet, Scottish Ballet, Rambert and Matthew Bourne's New Adventures, and many more have gone on to work in dance and related industries worldwide.
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES. REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 Executive summa of 2024 out uts NYB had a busy year of actNity growth engaging with 505 young dancers across all activities aEed 9-25 across various activities and working to our most ambitious Tnodel yet. Here are the headlines: 6 national auditions for our Residential Performance Company Evolving Wisions took place in London, Birmingham, Leeds, Newcastle, Bath and online, opening the doors to 276 young people from across the UK 9-day Residential Performance Company Evolving Wisions took place at Elmhur5t Ballet School, Birmingham for 98 young peoplefrom 9- 17 August 2024 inclusive 4 public performances of Evolving Ifisionstook place in CrescentTheatre Birmingham and Sadlerfs Wells Theatre London to audiences of 388 and 929 respectively 5-day Residential Performance Company Intensive took place in Elmhurst Ballet School. Birmingham reaching a further 28 young people from across UK 7-day Big Glve Arts for Impact appeal raising £10,343 Beyond Ballet• supported 7 emerging artists for our 2024 season as well as 4 choreographer5 through our Beyond Ballet network NYB All In! featured at both Sadlerfs Wells Theatre Empower in Motion Gala in February 2024 12 participants) and Royal Opera House Next Generation Festival in June 202416 participants) NYB All Inl ran a l-day inclusive workshop in Elmhurst Ballet School Birniingham reaching 11 new participants NYBAII In! ran its first term of inclusive ballet classes at South East Dance (27 engagements) and an online projett in partnershipwith Kate Stanforth for 17 young people unable to leavetheir horne dueto disability NYB All Inl company featured in Sadlerfs Wells Theatre Evolving Wisions public performance with 16 participants following a 3-day residency at South East Dance in collaboration with Parable Dance 9 x half-day sprin& summer and winter workshops reaching 133 young people195 in 20231 in Grimsby 130), Birmingham118}, Liverpool125}, London144) and Ipswich (16) National auditions for 2025 Residential performan Company opened at the end of 2024 Moving Minds was evaluated and delivered by the core NYB team across all our programmes of activity to cultivate a healthy mind-body balance and nurture confidence, mental health and wellbeing of all our young people Some duplication may occur in dats as participants are not 100% unique; individuals may have participated on rnore than one programme, though we have specifically avoided counting auditionees that later registered on projects
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 With increased outputs, NYB chlef executive and creative director worked together to maxirnise the opportunities for all our programmes through new partnerships, culminating in a year of widening participation activity and celebrated at a wonderful evening where we showcased nearly all our work at the prestigious Sadler's Wells Theatre. As we develop new and distinct opportunities for even more young people to experience lrfe-changing and transformational participant journeyswith NYB, and as we startto look ahead now to our40 year anniversary in 202712028. we ended the yearoptimisticallywith 2025 artistic plan5 securely in place to start anothertwo-year cycle. Our ro ramme 2024 Auditions In this public performance season, we were delighted to meet 276young dancers (302 in 2023, 232 in 2022) from across the UK at audrtions in London, Bimiingham and Leeds as well as in two new locations in Newcastle and Bath. to make NYB more accessible to dancers from Scotland, North of En8land and South West of England, and the result of this strategy for outreach continued to see further increases in appIantS from East Anglia, North East, North West, Wales and West Midlands. Data collected since 2022 continues to inform decisions about NYB'S reach and choosing locations for workshops feeds into the audience development strategy for the audition pipeline, to increase access to under-represented geographic areas. Demographic data of auditionees showed 30% of 2024 participants (26% in 2022 and 20231 were non-white British. Global majority auditionees represented 18% which is an increase in both % and absolute numbers (14% in 20231,, Il% rnale, representing a 2% increase since 2023- 1% disabled and IO% neurodivergent (same as in 2023). The rich detail in all the demographic data shows a wider range of diversity of applicants overall. Global majority refers to ethnic groups constitutingapproximately85% of the global populations, excludingwhite British, white Irish and other white categories. We were supported at auditions by Ashley Dixon, Principal CharacterArtist Northern Ballet and in Birmingham by patron Tyrone Singleton, Principal Dancer, Birmingham Royal Ballet. Residential Perfomiance Com an and Resldential Perfonnance Com an Intensive 2024 Our annual Residential Perfom)ance Company (RPC} sumrner residential replicates the experience of a professional ballet company, providing a distinct training experience and stepping-stone for up to 100 aspiring 9 19 year old aspiring ballet dancers. New also in 2024. we introduced the Residential Performance Company Intensive IRPCil, for an additional 28 dancers to create a shorter residential experience for dancers who were not quite ready for the challenge of the full RPC.
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 Building on the two-year model, following the success of Evofving Vision5 2023, RPC artistic director Louise Bennett worked closely with NYB associate artistic director Amelia O'Hara and brought the team together again to complete the process of Evolving Visions 2024. The RPCI gave us a chance to explore what we can achieve with a smaller company of dancers working to a high level. Across the five days, theyworked with Jo Meredith and Carrie Taylor-johnsonto develop their creative skills and build theirexperience of picking up set repertoire. with afocus on developing performance qualities alongside Moving Minds skills to support confidence and well bein& They all took part in a Swan Lake repertoire workshop delivered by Birmingham Royal Ballet company dancer Lucy Waine, and they learnt Carnival repertoire, created for NYB in 1999 by Scottish Ballet artistic direttorchristopher Hampson. The RPCI culminated in a sharing where the young dancers had a chance to put what they had learnt about perf0rrnan into practice to an audience of friends and family and RPC participants. The 9-day main RPCand the 5-day RPCI took place at Elmhurst Ballet School, Bim)ingham, from 9- 17 August 2024 with the main RPC preparing for four public performances in Crescent Theatre Birmingham on 22 & 23 August 2024 and Sadlerfs Wells Theatre London for our gala performance on 8 September 2024 to audiences of 388 and 929 respectively- Audience surveys were sentout afterthe performance and to the question What, if anything, stood out as distinct to other performances you may have seen?. we received too many qualitative comments to include, but here is a sample: Young people of all obiliTties perform togetherf 'The tulent ond commitment of the young dancers- roo much to soyl Music choreogrophy, stond(7rd of dance, breadth of style, abijity, skill, excellencel- SO utterly unique. Ifelt I was watching something different t7nd immensely special. This 15 an amozing charity and initiative. I had goose bumps." We loved thefresh unpretentious and sheer vim of the performunces...you absolutelyfelt the students, thrill to be on stoge (7nd we morveled ot their ability ond ortistry. I dont doubt we hove seen many more skilled ond brilliant performonces by other troupes in the past but this wos just so real. The uniqueness of the choreography. It Wa5 so creative." The residential faced an unexpected challenge when the company had to relocate accommodation at short notice due to a problem with the water systems at Elmhurst Ballet School. Despite this. the company adapted quickly to twtce daily 45-minute coach transfers to and from Old Swinford Hospital School in Stourbridge and the young people demonstrated extraordinary maturity; the tearn was able to bring the company together in exactly the same way many professional companies work. Nonetheless. this did lead to an unexpected increase in costs through coach travel and for the off-site boardin& as well as on-site costs at Elmhurst Ballet School.
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN {LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 310ECEMBER 2024 (JLachlan Monahan Evolving Vision5 2024, BU4NK by Miguel Altunaga Evolving Visions creative team included professional choreographers: former 2022 Beyond Ballet• choreographer Tierney Lawlor ljunior company), Richard Bermange. Neus Gil Cortés, Daniel Davidson, Miguel Altunaga, Anya Mercer {restagerl as well as Beyond Ballet• choreographers Amy Groves and Rosie Mackley. During this period, we welcomed back over50freelancers induding a newlyappointed NYB project manager Lolli Fallon to workwith the venue5, chaperones, technical team, stage management, lightin& wardrobe, and volunteers. We also welcomed a support team of house parent volunteers. a residential support volunteer, on-site medic and a soft tissue therapist, all led byjules Renahan, safeguarding and 5UPPOrt team manager.
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES. REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 É) Lachlan Monaghan, Evolving Visions 2024, Ada by Louise Bennett, RPC artistic director Evolving Visions is a happy couple of hours in the company of some very talented young dancer5, whose joy and enthusiasm reached ocross thefootlights. Well done to alll Review from 'Seeing Dan. David Mead. 26 August 2024 In-house evaluation of impact data collected (n93) from pre- and post-activity, combiningthe collected data for all residential strands {Junior. Senior and Intensivel we can identify that: The average overall experience of participants was rated 4.615. When responding to survey statements under the theme of skills and knowledge participants, responses increased on average +12pp from before and after taking part. When responding to survey statements under the theme of confidence questions asked returned an average of +17pp increase afterthe course. Confidence increased most notably under the following sub-themes- o Being inVoed in a creatNe proces5. o In understanding a mind/body approach. o Testing new ideas. 28% of participants are first-tirne engagers with NYB. 33% were new to this type of ballet. 91% of participants self-identified that the RPC had made a change to them.
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 Data collected also identifies some changes in the RPC demographics (Junior and Senior). The biggest socio- economic shift is a 6.5% increase in those corning from vocational training wtth financial assistance. Regional representation has grown year-on-year since 2022 in the West Midlands and the North West. The biggest demographic changes this year are across D/deaf' and disabled participants and those identifying as neurodivergent, with an average increase of 3.4% across these categories. Representation of neurodivergence in particular has grown year-on-year since 2022. The growth and development of our RPC delivery this year ha5 resulted In 52% of RPC participants (includin8 RPCi} reco8nising that they have a more positive mindset outside of NYB, with 36% saying they feel better able to cope with nerves. Attendees explained the irnpact of the RPC in their own words: -From the first yeur I huve done it I havefelt change within my5erfond my doncing. From storting in 2017 and leorning how to properly perform ond use myfoce and body to express the dancing more to this year when I've realised ljust hove to let oll my insecurities go and enjoyment and working hard have to go hand in hond.- RPC ottendee "I becamefriends Wlth Strangers (I've never done thot before)" RPC Intensive attendee "It made me strongerf- RPC Intensive attendee -Ifeel much more confident with performonce skills and it exponded my lovefor donce. It wos the best experience-_ RPC Intensive attendee NYB'S Choreographic Challenge. a highlight of the residential and formerly won by established choreographers Drew Mconie, Arielle Smith and Richard Chappell, provided an evening of creative choreographic talents and attended by professional dance artist Bim Malcomson. Awards were made to winners, and we recognised runners-up and commended entries for solos, duets/groups and as well as the Frank Freeman Cup, Nijinska Award, Barbara Geoghegan Musicality Award and Theatrical Intention Award. We held a relaxed 'QnA' evening with former alums and volunteer5 to talk about their post-18 pathways with experiences ranging from vocational dance training, working a5 freelancers in a wide range of dance settings, to university students, reminding all our young people of the many wide-ranging opportunities ahead of them. We extend our thanks to Old Swinford Hospital School for our accommodation and to Elmhurst Ballet School for h05ting us and look forward to returning in 2025. *Big D deaf defines those who are born deaf of experien hearing loss before spoken language is acquired and regard their deafness as part of their identity and culture rather than as a disability. They may identify themselves as using British Sign Language as their preferred language and sees themsefves as part of the Deaf community ratherthan the hearing cornmunity- Small d deaf refers to those who have become deafened or hard of hearing later in life, after they have acquired a spoken language and so identify themselves with the hearing community. Small d deaf are more likely to use hearing aids and develop lipreading skills, Definition from Deaf Action.
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN {LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 Be ond Ballet• Beyond Ballet" is our professional skills development programme for 18-25 year olds. It provides mentoring with industry experts and paid work opportunities at NYB to support emerging creatives in the early stages of their careers. Building on the cohort recrutted in 2023. Beyond Ballet continued to support 11 emerging artists from across the UK (four choreographers, wardrobe assistant, stage manager, lighting designer) and a new Beyond Ballet network of an additional four young people to widen the opportunity by giving them access to the online talks with our incredible network of industry professionals. Participants across the programme received bespoke one-to-one mentoring with NYB creative director Jo Meredith as well as a wide range of mentoring sessions and industry talks including three online professional development talks by Jo Meredith such a5 'Life as a setrF-employed person,. Beyond Ballet" choreographers received bespoke mentoringfrom Charlie Brittain, choreographer and dance artist, and production roles received one-to-one mentoring from Emilie Depauly-viguié (NYB head of costume) and Andrew Ellis {NYB technical director, staEe management / lighting) at the residential. The professional work opportunities offered through Beyond Ballet were central to the successful delivery of Evolving Visions. The whole Company benefrted from a huge amount of input from our new Beyond Ballet. technicians- Assistant Costume Supervisor Polly Mitton and Assistant Lighting Designer Ros Chase. Evolving Visions included work byfour Beyond Ballet" artists including two new works commissioned in 2023 and fully developed in 2024 by Rosie Mackley and Amy Groves as well as a new choreography of Romeo andjuliet as part of NYB All In! by Hannah George and Ross Black (see NYB All Inl). The wider Beyond Ballet network collaboration with English Heritage Young Producers 'Shout Out Loud, came to fruition in 2024 exploring heritage spaces, through the medium of film. Beyond the Plaques, commissioned by English Heritage and National Youth Ballet, is a dance film inspired by the lives of four female pioneers - sculptor Eleanor Coade, writer Frances Burney, Irieralist Elizabeth Barrett Brownin& and astronomer Annie Maunder. Featuring choreography and performances by Beyond Ballet artists Catherine Sleeman, Joeley Gibson, Anna Smith and Hannah George, with a beautiful musical score commissioned from young composer Sofia Roubati, the film is currently garnering international awards including official selections at many festivals. For more information about the film, folk)w their instagram @beyondtheplaques thefilm The film was screened in the Sadlerfs Wells foyer as part of the Evolving Visions evenin& and we look forward to continuing our collaboration with English Heritage in 2025.
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 Beyond Ba Ilet collaboration with English Heritage Beyond the Plaques In-house evaluation of impart data collected (n81 from pre- and post-attivrty has shown: The average overall experien of participants was rated 4.6/5 When responding to survey statements under the theme of skills and knowledge participants, responses increased on average +31% from before and after taking part.
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 Skills and knowledge increased most notably underthe following sub-themes: o Understanding how to work as a freelance portfolio artist e.g career planning. o Understanding financial management e.g. completing a tax return. o How to get work showcased. o Access to paid creative work to include in your portfolio. o Access to a professional network within ballet and related creative industries. Attendees explained the impart of Beyond Ballet in their own words: The work has been reallyfun ond engoging, ond the team hos been a joy to work with. It wos great to be given opportunities to work with my other Beyond Ballet peer5, and especially to be uble to try out the role of costume desioner with two pieces within the relutwe safrty of o smoller production, with the support there if I needed it.- -1 made connections with people that will outlast NYB and exist outside of it which is re(711y lovely." Creative erformance worksho Building on the 2023 workshop model, and reflecting our commitment to meetinE more young people to widen access to the talent pipeline, we streamlined our former Dancers, Development Experiences with our half-day workshops, and delivered five spring, surnmer and winter work%hop5 reaching 133 young people195 in 2023) to experience their first taste of high quality NYB activity and also supported our audience development work: Grimsby (301, building on the relationship in 2023 Birmingham {18) Liverpool {251, a new location for NYB in 2024 • London144) Ipswich116), bu ilding on the relationship in 2023 In-house evaluation of impact data collected (n47, acr055 two workshop iterations) from p- and post- activity has shown: The average overall experience of participants was rated 515. When responding to survey statements under the theme of skills and knowledge participants, responses increased on average +20% from before and after taking part. Skills and knowledge increased rnost notably under the following sub-theme5: o Technical skills, classical and/or contemporary ballet. Awareness of inclusive practice. o Performance skills. When respondin8 to survey 5taternents under the theme of confidence participants. responses increased on average +24% from before and after taking part. Confidence increased most notably under the following suthemes. o In being inVoed in a creative pro$$. o Testing new ideas. o In understanding a mind/l)ody apprc>ach. io
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 NYB'S workshop activty fills a unique place in the wider portfolio of activity on offer," 80% had done similar ballet before, demonstrating how the workshops offer a grovrth and progression opportunity for developing dancers. -Ifelt that I have leornt o range of new donce skills & techniques to help me tn thefuture- I really enjoyed makingfriends meeting wonderful teachers ondfeel inspired to look into choreograph -Ifelt more confident ond more inspiredl- Movin Minds Moving Minds wa5 developed in 2021 as a direct result of the pandemic. This is core to our mind / body approach to all our work, to look afterthe wellbeing of our dancers and build physical and mental resilience and confidence in more young people and more widely in the performing arts. Moving Minds is embedded across the delivery of all our sessions. This work continues to be relevant and as we continue to understand the degree to which NYB must meet the ongoing needs of our young dancers in terms of their mental health and wellbeing, we continue to invest in this area of our work. Carrie Taylor-johnson (Moving Minds prattwtioner since 20211 attended the residential and worked with Charlie Brittain to focus the delivery of Moving Minds. Together with our work on inclusrve practi through NYB All Inl and evaluation of what young people need to feel supported and included, NYB continues to seek ways to nurture mental health and wellbeing in young people. The production of a specific safeguarding video in 2024 focussing on disordered eating in dance as part of our training for practitioners is another example of how NYB take5 thi5 role seriously. NYBAII Inl NYB All In! is NY8's programme to make ballet more inclusive with a particular focus on working with dancers of different abilities including those who are non-disabled and disabled and neurodivergent. With the financial support of our first Big Give Arts for Impact 2024 fundraising campaign which hlghlighted the work of this prograrnme. plus anotherArts Council National Lottery Project Grant in 2024, we were really able to focus on the development of NYB All Inl this year. Jo Meredith, NYB Creative directorcontinued to lead this work with Natasha Britton, Parable Dance co-founder and artistic director and with our project managerfor inclusion and outreach, Natalie Haslam. li
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR EJVDED 31 DECEMBER 2024 Q Jules Renahan Evolving Visions 2024, NYB All In! Romeo andjuliet by Hannah George and Ross Black H ighlights for NYB All In l in 2024 included Two prestigious invitations frorn Joe Powell-main. NYB All Inl Ambassador to perform as part of the Sadlerfs Wells Theatre Empower in Motion Gala in February 2024 and as part of Royal Opera House Next Generation Festival in June 2024 on his workstrength in Adversity Screening of NY8 All Inl film at Northern Ballet Expressions Festlval in May 2024 Delivery of a new one-day workshop in Elmhurst Ballet School Birmingham reaching 11 new participants from Birmingham-based inclusive dance companyThat Dancel NYB All In! mixed company of disabled and non-disabled dancers featured in Sadlerfs Wells Theatre Evolving Vision5 public performance on 8 September 2024 • Delivery of six autumn term inclusive ballet classes to start to build a legacy of work set up in 2023 and 2024 at South East Dance Leading the NYB All Inl Steering group to share ideas on priorities for sector development Including two Beyond Ballet artiststo help develop a professional toolkit for the 21st century a5 inclusive practitioners of the future Developing our NYB All Inl Young Leaders, giving disabled people a voice and a chance to shine a light on their own contribution to the diverse body of NYB talent, showing the public and the ballet, and wider arts and disability sectors different way5 of working to advocate for inclusivity Delrvery of an online performance project with Kate Stanforth Academy of Arts CIC to bring meaningful accessible ballet opportu nities for participants at home with disabilities or long term health conditions Continuingto advocate forcontinued professional development training to balletteachers to understand how to work in an inclusiveway 12
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 An independent evaluation report by Judith Robinson for All In12024 stated that "NYB All Inl is enGbling young dancers ond leaders to become changemakers ond influencers of the fvture, and is encouraging audiences ond stakeholders to positively shift their thinking obout bollet & disability. This represents a 5hffft in NYB'5 orgoni50tional culture. Being inclusive is one of NYB'S values ond a core part of the culture of the organisation. This hos been spearheoded by NYB'S creative director, Jo Meredith, with the support of the chief executive and the board, taking the organisotion on a journey which has not only created huge impt7ct, und raised NYB'S profile in more woys thon we could have imogined, but it is Pt7ving the wayfor chonge in the sertor and changes in L7ttitude in society os well. None of this ht7ppen5 Wlthout energetic ond cour(Jgeous leadership. Driving wider culturol change, advocating for inclusion and demonstrating what is possible for people with disabilities c7nd what is needed by creative organisations and society to be better creative enablersfor all...is a long-term oimfor NYB and Is something that, it Ct7n be concluded, itis moking goodprogre5S towards. In order to mokefurtherprogress, there is odditional work to be done oround embedding the learningfrom All Inl more widely acr055 the organisation. We continue to gather rnore qualitattve feedback to capture the participant journey and the experience of families: Thank you so much. The quality of this infvrmation hus just m(7de me cry- because of the level of care and consideration clearly put into it. To open this amazing resourcefrom you, following onfrom your cure full L7nd compussionate enrolment process, litert711y mode me cry with gratitude. Thonk you. For taking the time to find out what makes o difference to people with additional needs, ondfor then taking the time to octuolly do it. It mokes such a drfference...And we hoven't even met you yet. Parent of a young dancerwith a disability, South East Legacy Classe5 -f the donce industry wants to actually 'be by andfor oll'_ if they octuolly believe thtit.. then you have to develop the people to do that. You've got to hove people who ore able to be role models you've got to have people who are able to disrupt spaces, you've got to hove people who ore oble to speak upfor those who can't or those who miohtstruggle or need support to do so. It's essential iys done in a way that gives o voice to everyone. Sometimes, you have to 90 into spaces and make yourself known ond creote thL7t change. IY5finding spaces where you're both occepted and supported, ond olso spoces where you come in ond say 'hey, maybe we need a bit of change around herel, The ability to goin those skills and confidence in those Safe spoces, to be oble to then go out into a world thot isn't often very welcoming to disabled people.. and st7y No, I deserve to be here, l om worth your time ond effort'- Grace, Young Leader NYB All Inl 2024 and 2025 hot we did was involuable. Not only have I not seen anything like this before. but being picked. It's not perfect but NYB is so open minded to change to make ballet ITnclusive and give opportunitie5 to people like me to develop leadership ski115, andpersonal, social ond communicotion skills and the exposure and safe space to communic(Jte.- Abri, Young Leader NYB All Inl 2024 and 2025 -1 have big dreomsfor projects like this. Over o qut7rter of the population have a long term heolth condition and mony of them, like a lot of our dancers can't leove the house, never mind occess a theatre or studio. My dream 13
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN {LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 IS tht7t companies will colloborote with groups like ours ond take us Wlth them so at every venue those dancers CfJn 'virtuol' tour via o screen in thefvyer.- Kate Stanforth, disabled dancer and activist Audience feedback from Sadlerfs Wells performance with NYB All Inl integrated into main stage performance: "Definitely different wos lovely. Liked that all different kinds of people in the show" "Inclusion, every child is unique, great comp17n he "All Inl- performance was amozingll- -1 think NYB are doing a brilliant job. It was wonderful to see all abilities included. Well done111 "I had never seen a Romeo andjuliet P05 de deux perfomied by ortuol teenagers, let alone a rendition with Juliet gliding ethereolly across the stage in her wheelchoir. The young doncers in the program shone brightly in the 5POtlight. . Review of Empower in Motion Gala. Thinking Dance, February 2024 You can watch the video of our South East Young Leaders film htt vimeo.com 1056391122 Our ever-improving understanding of all the danrS we work with across all our attivities has Indicated a strong increase in NYB participants identifying as neurodivergent and D/deaf or disabled. Removing RPC participants from the data collected (to avoid double-counting audition and performance company members) neurodivergent and D/deaf or disabled participants represent an overc7ge (meonj increase of +6.3%p across both categories, from 2023 to 2024, making our NYB All In! work even more relevant. Evaluation of data collected (n121 has shown: The average overall experience of participants was rated 515 When responding to SUeY statements under the theme of skills and knowledge participants, responses increased +23% from before and after taking part. Skills and knowledge increased most notably underthe following sub-themes: o Awareness of dancers who are neurodivergent and/or disabled andlor have learning disabilities. o Awareness of inclusive practice. 0 Individual choreographic skills. Confidence increased most notably underthe following Suthemes. o Self-confidence to work inclusively in a ballet setting o Self-Confiden to approach ballet technique in a new way Some may be multi-pro8ramme participants. so may be a slight margin for errorwhere a Small number of records may still be double-counted. 14
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES. REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 Of particular note, data from two iterations of NYB All In! suggests that participants, self-assessed 'level of confidence, has increased after taking part. This is represented by a +20QA increase. from before and after taking part. 50% of attendees reported having never done similar ballet before, which would suggest this makes this confidence increase more significant- not only are participants learning new skills, but gaining in confidence as a result of the way NYB has facilitated this personal growth. Most interestingly, when isolating onlythe data forthose experiencing this type of ballet forthe first-time, their confidence improved even more than the cohort average, going up by +23%. 58Yo used variations of the word 'love' to express their thoughts Tn this optional field. -Ifelt more confident working inclusively now ond know so much more obout inclusive ballet and choreogmph he progromme WGS an Incdible experience and made me ftel comfortable to be myseir act Evaluation At the end of 2024 we recruited Rob Fellman as Data, Impact and Evaluation Officer to support this aspect of our work. We continue to ask a consistent set of participant questions as part of our evaluation framework. In 2024 we also started to suNey our audiences to get feedback to help us understand how we can improve our outreach. This work aligns with Arts Council England's Investment Principles. Rob Fellman will work with the chief executive to create a more robust methodology framework as well as using expertise to cleanse and analyse existing data, examining who is new to NYB. and who is a repeat attender, to help us understand how to build a participant journey as they progress from a workshop to an audition and into the main company when th are ready. NYB'S Impact Evaluation Framework is drawn from Nesta's Understandin the Difference You Make Evaluation Toolkit andACE Im act and Insi ht Evaluation Framework. OurTheory of Change show5 ourorganisational purpose and strategies for long term change, identifytng audience. outputs and outcomes. We work ethically (voluntary participation, informed consent, safeguardin& confidentiality) using different methodology frameworks that include- accessible pre- and post*vent participant-tailored surveys, interviews and case studies to capture quantitative and qualitatNe data. understand change, and unexpected findings audience data collection / Mentimeter We are using this data to understand the demographic information of our pipeline, and also the difference we make in terms of skills, knowledge and confidence, how 'relevant' our work is, what the 'quality' of the work is, the extent to which our work has resutrted in changes for participant, how 'distincV the work is (whether participant5 have done any ballet similarto this before). how'unique, NYB is overall as an organisation, and how we can do better. 15
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN {LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 Headline data highlights that in 2024 91% participants said NYB 'supported their development as a dancerf 94% self-identified that they had experienced a 'change' The three areas of most improved regional reach were East Anglia, East Midlands, South West Main increases in demographic representation were neurodivergence (increased +4%) and D/deaf or disabled (increased +8.6%} The overall ratings lout of 5) across all our activity were Quality 4.59 Di5tinrtiveness 4.43 Relevance 4.57 NYB wos a wonderful and inspiring environment to work in and all of the words and values are really demonstrated through ortionl" Beyond Ballet" participant Through our evaluation we continue to demonstrate how we are achieving our overall aim to improve: organisational growth to integrate exceptional, relevant and distinct work into a sustainable financial model pathways into NYB with a widergeographic reach and more diverse company audience awareness of ballet as an art form: changes in attitudes to ballet Our ur ose and artivities for ublic benefit We have considered the Charity Commission's guidance on public benefit, including in relation to fee charging. Our charitable objecttves are set out in our Articles of Association. Trustees ensure this purpose is carried out for the public benefit by delrvering services that continue to be of value to beneficiarie5, whether young people, or our audien5 of family, friends and the wider community. We continue to review our range of fee structures for all NYB activty, taking into consideration the cost of living crisis and our commitment to fair access to encourage as wide an audience as possible. We conduct regular and comprehensive reviews of all NYB policies {available on the website). Our core values are embedded through all our documentation and procedures, including contracts, recruitment, policie5 and participant documentation. 16
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR EJVDED 31 DECEMBER 2024 Bursaries and removin financial barriers NYB continues to think of new ways t05UPPOrt as many dancers as possible by removing financial barriers to keep activities financial accessible to families, especially as the cost of living crisis continues. The 2024 Evolving Visions Residential Perforrnance Companywas moreexpensive forparticipants because of the public performance element so we continued to try and think creatively about how to keep our costs down. We introduced a 'Pay it Forward, Relevè appeal at the point of registration for auditions. inviting families to make a small donation that could contribute to support another ballet dancer. In 2024 we supported 16 dancers on a range of bursaries as part of our RPC and RPC Intensive. In addition, we made one Pat Prime Award, which is Specifically for global majority dancers. Recogni5ing the socio-economic barrier5 to accessing ballet 15 part of our EDI strategy. We continueto assess applicants usingthejerwood ToolkitforSocio-Economic DTversity in the Arts to ensure a robust assessment framework. We made specific funding applications in 2024 highlighting the need for 'Access to Excellence, to allow us to SUPPOrt even more young people. NYB also continues to price its activities through discussions with local ballet teachers, reducing the cost of regional workshops where necessary to make them affordable and accessible. Our decision to host two more 2024 audition5 in new locations in Newcastle and Bath and having one audition online reduced some of the travel costs for families and, by removing the process of second audrtions, we have been able to keepthe overall cost of auditions down. The target forfinancial assistance in 2025 will be to continue the Releve appeal, maintain a similar level of support for dancers as well as award up to five travel bursaries forthose facing high costs due to remote geographic location. Governance In 2024 two trustees stood down from the board- Giles Gordon and Vanessa Vince-Pang. The board remained stable with the three new trustees recruited at the end of 2023. Arts Council England monitoring information undertaken collected data from nine board members and two senior executives with the following profile of current governance at the start of 2024: Ethnicity.. 3 White British. I White Other, I mixed multiple ethnic, 3 Indian, l Black Caribbean, l Not Known, I Prefer not to say Age: 20-24 (21, 35-39 (31, 50-6414). l Not Known, I Prefer not to say D/deaf or disabled: l Not Known, I Prefer not to say Gender Identity: 5 Female, 4 Male, l Not Known. I Prefer not to say The chair and chief executNe continue to meet once a month and board succession planning is an on-going part of the agenda. The Strategic vision of NYB is delivered through a model of sub-committees which includes Finance, Environmental Social and Governance IESG), Communications (Comms). Safeguarding and a Creative Advisory Council. The committees set up in 2022 continue to meet quarterly to provide a more informed decision-rnaking framework backed up by specialist knowledge, action-oriented KPIS and coordinated strategic planning linked to the business plan. In 2025 we will complete Terms of Reference for all the sub-committees to outline their 17
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 respective schemes of delegation and decision-making. The commrttees are supported by the NYB All Inl Steering Group and the Youth Council. Leadershi and or anisational develo ment Barbara Palc2ynski continued as chief executive in 2024 and updated a three-yearbusiness plan as the foundation for more ambitious multi-year funding applications to new trusts and foundations which outlined four strategic pillars of creative, marcomms, finance and organisational development. The strategy is based on finding the right balance of exponential growth of the organisation, delivering the most socially Impaciful work (NYB All Inl) whilst investing in outreach (regional workshops, auditions, new partnerships) to continue theworkof wideningthe pipeline, creating pathNvays into NYB, and building new participantjourneys. Barbara Palctynski led a core team Away Day in October 2024 at The Roundhouse in London to examine our Inclusion Action Plan, our rebrand and consider next steps for NYB and in particular our relationship with Arts Council England. The board Away Day took pla inthe Same month led bysusanna Eastburn MBE, senior partner of Counter Culture and fomer chief executive of Sound and Music and cUrnt Chairof Orchestra5 forAII, an Arts Council National Portfolio Organisation. The chief executive and board are grateful to Avi Feman, Partner and Patent Attorney at Beck Greener, for providing in-kind support through use of their board room. The outcome was a team and board consensus on objectives for 2025 including rebrand, website redevelopment, impact evaluation, youth voice, whilst examining the cost versus impact of our current workload. Patricia Castanha, Paul Reeve and Barbara Palczynski navigated negotiations with Elmhurst Ballet School to resolve the significant financial impact of the unexpected summer residential relocation which led to an unplanned total deficit on that actNity of £12,026. Simultaneously Barbara Palczynski worked on National Youth Ballet's first retrospective Theatre Tax Relief claim for activity delivered in 2022 with creative tax relief expert Graham Suggett. This led to unexpected income in January 2025 of £49,641 which is being accounted for in 2024 as this related to actlvity delivered in 2022. The impact of the summer and the negotiations and financial uncertainty meantthat the board and senior executives signed off on a budget for an R&D-driven year in 2025 in preparation for a subsequent year of public performances in 2026. Commitment to E uali Diversi and Inclusion Understanding our talent pipeline {who is applyin& where they come from) through collecting a wlde range of demographic data in a robust way is allowing us to use granular level detail to understand how we can improve pathways into NYB. For all participants we ask the same socio-economic questions including type of school attended, parental educational qualtfication, parental job, whether participants are eligible for Free School Meals, a young carer, a looked after / adopted child. The ESG committee met quarterly and examined EDI data collected to inform strategic decisions and set priorities for 2025. Data expressed below in percentages is based on total responses for each category, per year 18
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 (rather than total participants engaged as previously measured). The % change is by 'percentage points, [%p] rather than % (as the total responses are different each year). #Change Is the actual change by count. Survey completion rate is 98%, though there are 'no responses, to some questions causing gaps in data. RPC land Intensive) has been removed from the figures below to avoid double-counting those auditionees that took up places, though some duplication may have been included for other multi-programme participants (due to data being stored anonymously). It should also be noted that "23-24 Free Schools Meal Data was skewed due to an issue in reporting. Overall data collected in 2024 across our drfferent non-residential activities including auditions, workshops. and NYB All Inl not including the Beyond Ballet. participants (18-25 year olds) shows". Gender identity.. 10.4% male, reflecting a +2.5%p change. 88.1% female, 0.6% non-binary. 0.4% in another way, 0.4% prefer not to say. Ethnicity.. 74.5% White British, reflecting a +1.6%p change, 9.7% White Other/White Irish, 15.1% global majority (13% in 2023 and the greatest increase a 2.l%p change). 0.7% prefer not to say D/deaf, disabled or long term health condition- 9.7% {a significant increase from 2023. an 8.6%p change and +40#changel; 2 respondents prefer not to say Neurodivergent: 13.3%19.3% in 2023 a +4.O%p change)," 19 respondents 'Don't knoW and 6 respondents prefer not to say. Additional socio-economic data was collected to use for future benchmarking and comparison acioss years: Type of school attended: 48.3% (57% in 2023) state-njn school, 6.5% independent or fee paying schools with financial assistance (a 2.2%p change since 2023), 19.9% in vocational dance training {13.2% in 2023, a 6.7%p change since 20231. Of note, the 'otherf category increased by +13 #changei Possibly reflerting broader range of alternative educational provision including home-schooling. Parental income." 69.9% parents are professionals of which 31.5% modern professional occupations { 2.4%p decrease)," 27.5% senior managers (+0.5%p increase)," 10.8% traditional professionals {-2.3%p decrease). 10.6% are clerical, technical, semi-routine, routine or manual workers {+l.l%p increase in technical skilled jobs). The largest increase is 9.6% '0therf reflecting a 3.l%p change. 6.8% prefer not to say. Parental qualifications: 74.3% at least one parent educated to degree level or above {a 1.7%p changel. 13% below degree {-0.9%p decrease): 5.1% no formalqualifications (0.4%p increase); l.l% other (-0.3%p decrease) ,. 6.5% prefer not to say. Free School Meals: 9.1% participants {4.1% in 2023. the #change data wa5 skewed in 2024 due to a reporting issue). Young carers: 9 young carers {4 #change since 2023). Looked after/ adopted child: 5 students { -2 #change since 2023). -1 did notfeel tht7t NY8 wosfor people like me. l assumed it would befull of people who'd olways done this type of thing ond the¢d all be better thon me. I had never been told obout NYB before but someone who'd done it last yeor told me all about it and encoumged me to uudition. l am so pleosed they did.-_ RPC participont 19
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR EJVDED 310ECEMBER 2024 By looking at the year change in both percentage and absolute numbers, we continue to learn about our pipeline a5 we broaden our demographic reach. We will continue to use the data that we collect and data from the sector more widely to inform our strategic partnerships. We consider the under-represented groups in the context of LM)th EDI and audience development. By the end of 2024, Rob Fellman was able to review allthe data consistently collected acr055 all activities and wtth his expertise we will be able to monitoreven more accuratelythe demographics of the participants we are engaging. Our 2025 priorities will focus on the folk>winB EDI area5: ethnicity, disability, neurodivergence. Gender and geography will be categorlsed u nder our audience development strategy. Since 2021 we have seen signlficant increases in engagement KPIS acr055 all our activities (including both auditionees and RPC participants for wider engagement figures) in specific under-represented groups: socio economic diversity124 participants were eligible for Free School Meals, only l in 2021) geographic diversrty {48.4% in London and South East down from 66% in 2022, showing increase in other regions) participants who identify as male (67 dancers, in 2021 we worked with 6 boys) participants who are D/deaf disabled / have long temi health condition {47 dancers in 2024, an exponential increase since 2021) participants who are neurodivergent {54 dancers in 2024, only 4 in 2021) Through monÉtoring increases across all priority areas, overthe next three years NYB aims to steadily increase the % of dancers in the company and in creative roles across its workforce WIK) are more representative of the Society in which we live, thu5 reflecting a space which feels relevant for all young people and audiences. Youth Council Youth voice is at the heart of ourwork. Following an open callforapplications forthe NYB Youth Council, we were delighted in 2024 to establish this new commrttee consisting of six young people aged 13-20. The group will work strategically with the team and the board in 2025. 50 NYB can operate with young people's direct input and allow the organisation to evolve in line with all its stakeholders. In 2024 the Youth Council high5ights included meeting altogether atthe 2024 residentlal and feeding into the new NYB tagline for our 2025 rebrand, Inspire Move Create. The Youth Council voice will be integrated into the board meeting5 in 2025. Marketin Communications and Audience Develo ment At the board Away Day in September 2023, growth in communications and publK engagement was identified as a strategic priorityfor 2024. Marcomms is one of the key pillars of our business plan to achieve our overall aim of changing the perception of ballet. We tell our stories, raise our profile and engage with the public through a carefully executed Marketin& Communications and Audience Development Strategy. 20
THE NATIONAL YOUTH BALLET OF GREAT BRrrAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 The Comms Committee led by trustee Kavya Chauhan {marketing and content consultant speciali5ing in social media, content and influencer strategy) and joined by new trustee Clint Hayashi (senior communicator working with global brands including Disney, Paramount and Universal) met quarterly to refresh the marcomms strategy with a particular focus on digital engagement. We refreshed our Vimeo and YouTube channets in 2024 and launched two short films". NYB All In! underpinned our successful Arts for Impact comms campaign in spring 2024 and This is NYB! launched in summer 2024, our first film to capture all the elernent5 of NYB'S work through all the voices and faces of our participants. Analytics of our social media audien tells usthat instagram is still the plarform of choice for us, leading with strongvisual assets thanks to our social media coordinatorciara Clyaton as part of our comm5 calendar. At the end of 2024 the Comms Committee endorsed the decision to remove NYB from X (fomierly Twitter) in January 2025. We recruited a new marketing and cornmunications manager injanuary 2024, R05ie Blackadder but unfortunately we had to re-recruit only five months later due to ill health. She was succeeded by our current marketing and communications manager Megan Gibbons. The drfFiculties of having part-time roles WFth a lack of continuity was a challenge and this led to postponingthe rebrand and website developmentwork into 2025. Nonetheless, Megan Gibbons delivered a tight, dynamic meta campaign for our London gala performance which saw us reach our box office targets in Sadlerfs Wells. Megan Gibbons began the pro5$ of leadingthe rebrand work which will begin in 2025, and at the end of 2024 the marketing team was looking forward to recruitment of a furtherteam member as marketing. outreach and audience development assistarrt to further execute the outreach and audience development element of the strategy. Fundraisin and diversification of income NYB adheres to the Fundraising Code of Practice formerly administered by the Fundraising Standards Board, now regulated by the Fundraising Regulator. Ourfundraising comprises approachesto trusts and foundationsi publicfunders and individuals. Thetotal secured for 2024 from trusts, individuals and legacies, including Gift Aid was £179,52412023 £136,336}. Trusts and Foundations Thanks to the dedication of our expert fundraising manager Martha Oddy Boninfante, articulating our case for support through the exponential growth in outputs and outcomes over three years of ambitious delivery led to securing our largest core fundinggrant yet, from the Linbury Trust {£90,000 overthree years). We note that mufti- vearcommitments are becoming more difficult to locate. however, we are mostgrateful to have received a range of grants in 2024 towards our core costs, including the final in5talment of a three-year pledge from the 29th May 1961 Charitable Trust, and repeat gifts from loyal donors the International Music and Art Foundation (IMAF) and Maria Bjornson Memorial Fund. We were also delighted to receive core funding awards from new funder5 Legat Foundation and Brian Mitchell Charitable Settlement. 21
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 We were most grateful for the significant support of Cockayne - Grants for the Arts: a donor advised fund held at The London Comrnunity Foundation. enabling the creation and performance of new works premiered at Sadler's Wells in London in September 2024. Thanks to our considerable focu5 on the Birmingham area, we were delighted that WE Dunn Charitable Trust awarded us a grant once again and werejoined by a new local funder, the George Cadbury Charitable Trust. A number of trusts were moved to become NYB donors for the first time by supporting our Access to Excellence activities, including the Bursaries Fund and regional workshops. We a grateful to the Basil Samuel Charitable Trust, Hedley Foundation, Thistle Trust and Astor Foundation for responding to this vital appeal. The Abderrahim Crickmay Charitable Settlement and Leche Trust CIO once again provided invaluable support for our Beyond Ballet" scheme for early career artists and, at the end of 2024, Idlewild Trtjst also renewed their support of the scheme for activities in 2025. Public Fundin NYB continues to align its work with Arts Council England's Investment Principles. Building on Its first public funding through DCMS/Arts Council Culture Recovery Funding Round 2 (£36,504) in 2021, and National Lottery Project Grant (NLPG) in 20221£14,950} and in 2023 {£29,950) forNYB All In! We secured anotherNLPG for£29,979 to build on the NYB All In! work and grow our economic and organisational development. We will continue to work to the framework of Arts Council Investment Principles as we strengthen our case for support to have the national significance of our work recognised and continue to build the relationship with ACE. Individuals and cam al ns Building on the new 2022 regular giving Circles scheme. NYB was grateful for all donations received. including one-off Annual Relevé Appeal donations. a total of £10,343 from our first successfLJI Arts for Impact appeal (including match-funds from The Big Give), and major gifts from 11 repeat subscribers and new joiners to our Circles as follows: Five NYB Company Sp)nsors from £500 per annum Two Barre Circle from £l.000 per annum Two Centre Circle frorn £2,500 per annum Two Spotlight Circle from £5,000- £10,000 per annum We recognise that Circle support is particularlyvaluable since our members offer an enhanced level of loyalty. We extend speci31 thanks to formertrustee Giles Gordon and his felSow Spotlight Circle donor, who prefers to rna1n anonymous, for refreshing their particularly signrficant donations. We secured ILIO% {34% in 20231 of our ambitious target for individual giving: we know how vital thi5 source of income is for NYB and will continue to build on this worl maintaining the target in 2025. 22
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 We were delighted to release an £8,0 donation (plus gift aid) from patron Amanda Fone, deferred from 2023, to support the creation of a new commission in 2024 as part of Evolving Visions. At the end of 2024, we submitted an application to The Big Give Trust, which was successful in being selected for match-fundingfor its second Artsfor Impact appeal in March 2025. Thiswill bean opportunityfor NYB to galvanise a donor base of both higher value and smaller donorsthrough the mechanism of a carefully managed campaign. acies The NYB board released the final £20,000 of the O'Neill lega, the lasttranche of the three year designated fund, to support the work around widening participation. The board, chief executive and fundraising manager continue to work together to progress beyond the cycle of in-year fundraising towards securing strategic multi-year grants and donations. This will increase our f inancial resilience and sustaSnability as we grow a model for diversifying income stream5, which includes: increasinE donated incomethrough regularly submitting proposals to funders. At the end of 2024 we had secured pledges and grants equal to 31% of the £120,000 target fortrust and foundation grants for 2025 159% in December 2023 for 20241 wtth an increased target of £36,000 for individual giving. actively engaging a new pool of individual supporters and cultivating patrons with the mechanism of a 2025 Art5 for Impact matching funding appeal and giving Circles to boost our individual giving income building on our now four-year relationship with Arts Council England and working towards a fourth National Lottery Project Grant in 2025 securing multi-year core funding from key trusts and foundations constantly developing new dCrete propositions suitable for regionally or thematical ly focused grantmakers continuing to pitch for new earned income opportunities through workshops and CPD trainln8 With the dance sertor Pat Prime Restricted Fund Award In 2024 NYB awarded one Pat Prime Award to a young male dancerwho fit the eligibility criteria - people of global majority aged 9-18 and from the United Kingdom who are under-represented in our artforrn and who show remarkable potential. The award was generously donated by Pat Prime's family in 2021. We were thrilled to be joined at the performance by Pat's daughtersian Prime. to share in thejoyof seeing thisyoung dancer experience ajourney of personal growth at our residential, performing as a 50101st at the final gala in Sadlerfs Wells. NYB ha5 decided we will continue to celebrate this award in the future through allocating bursaries under this name. 23
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 Lachlan Monaghan, Pat Prime Award recipient, winner of Frank Freeman cup, Choreographic Challenge 2024, performing TIME LAPSE Safe uardin Health and Safe NYB is committed to the safety and protettion of children and young people in our care as well as to our staff, trustees and volunteers. NYB'S Safeguarding Policy is publicly available on ourwebsite and to contractors and the Safeguarding Committee continues to meet quarterly. The Safeguarding Poliw is revised annually in conjunction with updates to the DfE Keeping Children Safe in Education Guidance. Further amendments are sometimes necessary as new guidance is published. Barbara Palczynski and Charlie Fulton-Langley are Level 3-trained and are Designated Safeguarding Officer and Deputy Designated Safeguarding Officer respectively. Anna Meadmore continues as safeguarding trustee. NYB recruited a safeguarding and support team manager for the Residential. Jules Renahan, a secondary school teacher and NYB parent, joined the support team providing professional expertise in safeguarding as well as attending the Safeguarding Committee. NYB used the training budget in 2024 for Charlie Fulton-Langley to prepare the next video in our safeguarding series on disordered eating as part of our portfolio of training for practitioners. In the context of media stories about bodyshaming in the ballet industry, tackling language and how practrtioner5 talkto participants about their bodies is a particu larly important skill to nurture, as well as remindin8 US that disordered eating is an illness a nd a safeguarding concern. 24
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES. REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 Barbara Palczynski ran the annual two-hour all-team safeguarding training session ahead of the residential. This work is central to NYB5' culture and forms a regular part of team meeting discussions. NYB practises safer recruitment. Barbara Palczynski a150 undertook a health and safety training for managers and ran a refresher on Health and Safety in the workplace forthe team. Sustainabilit and environmental res onsibilit At NYB we are on a mission to integrate environmental good practice with our innovative work in youth ballet. Our vision is that young people are empowered tothrive, shaping the future of ballet and the world around them and we believe that the climate and biodiversity emergencies cannot be separated from this vision. The ESG Committee took over the delivery of the Climate Action Plan prepared in 2023. The plan aligns with the Arts Council Investment Principles on Environmental Sustainability and looks in depth at how NYB can make environmentally conscious active choices across the five B-corp 'pillars'. At NYB thi5 includes Finance and Operations, Equality of Access, Influence and Advocacy, Governan and our Creative outputs. In 2024 this included Meat-free Monday at our Residential, using the online calculator to work out that we saved 417 tennis courtsof forest and morel We have introduced a new section in the Trustees Declaratlon of Interests that outlines our commitment to sustainability. In 2024 we moved ourticketin8 from Eventbrite to Ticket Tailor, which has the benefit of being a B-corp and also delivering £1,500of savings to us {based onvolume of salesfrom 22/23 sea50nl. We understand we are role modelling this to our participants and in 2024 continued to source merchandise from an ethical supplier. to ensure low environmental impact. We continued with NYB water bottles to avoid the use of plastic cups at activities. We are using a carbon emissions form to capture the detalls of our artists and contributors for all NYB activity, designed using tools from arts sector leaders Julie's Bicycle. We will use this data to measure our ongoing carbon footprint in line with our commitment to our core value of sustainability. Discussions with the Finance Committee include transferring NYB banking to a more ethical bank in 2025. Risk rnana ement NYB'S Risk Register identifies the potential financial. operational, reputational and strategic risks and outlines the possible causes, impacts and mitigating management actions. Trustees review and update the Risk Register annually. Covid-19 is no longer a threat to the safe delivery of activities, but our Infectious Disease Outbreak Management Plan continues to guide u5 on safeguarding the health of both our young people, our team and the company product and being consistent in our approach to managing illness at in-person activities with contingency plans in place for all eventualities. The main uncertaintie5 facing NYB at the end of December 2024 are: 25
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 Failure to achieve income tar et Whilst we ended the financial year achievingourfundrdising target through trusts and foundation5 and individual giving targets, NYB'S business model and ability to meet core organisational costs and achieve a balanced budget is heavi reliant on public and earned incorne. We have increased ourfundraisingtargets for 2025 and ourtargets for earned and public income have been decreased. The hard-to-predict targets for participants at audittons or ticket sales remain fragile. with audience behaviours in 2024 demonstrating that ticket sales are not reliable in a recession, with escalatin8 Costs of livin& high rates of inflation and statements by some trusts and foundations about the very signifjcant increase in applications (both volume and amounts). The board and chief executive review targets regularly to ensure we have a realistic and achievable strategic plan, linked to a deliverable fundraising strategy and timeline. Loss of ke team and leadershl NYB'S outputs in terms of activity are increasing exponentially which demands more work from the core tearn. Retention has been excellent overall, butwe have seen three marketing managers come and go during 12 months. The model of working with freelancers on part-time contracts provides a lack of long term security in the team, but the chief executive ensures that all team members have annual reviews and clear scopes of work and is recruiting where new skills are required. In 2024 the core team received a 3% uplift in fees as well as increasing contracted days, to avoid Ios5 of key tearn due to over-work. The 2025/202612027 budgets must reflect increased fees implemented carefully over time and set against growth in targets for core costs. With a new Labour government in place, changes in employment law may come into effect in 2025 which may need to be reviewed and NYB may need to review trts HR processes. There are still many external challenges both in term5 of the cultural landscape and recession but the leadership is confident that organisationally and artistically we are still going from strength to strength. The ambition for the next three years is to capture organisational knowledge through a body of learnin& and acquire data consistently to measure impact and evaluate the model, to ensure that with inspirational leadership NYB can continue to grow its offer nationally and build the profile that the name merits. The unexpected relocation of our summer residential required immediate prioritisation which had a longer term impact on the teani's ability to stay on course forthefjnal quarter of the year but thanks to the dedication of chief executive and creative dirertor, this was navigated gently and with compassion for our hard-working team. 26
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 Financial review National Youth Ballet is reporting asurplus of £34.056forthe yearended 31 Detember2024 {2023 £52,078 deficit, 2022 £17,507 5urplusl. At 31 December 2024, NYB had assets of £79,230 12023 £45,174, 2022 £97.252} comprising unrestricted reserves and restritted income. NYB has no debt and at 31 December 2024 had cash at bank of £34,22912023 £82,924, 2022 £123,220). The surplus is due to the unexpected income from the 2022 Theatre Tax Relief claim, without which we would have anticipated to end the year very close to our Reserves Policy. We continue to manage our budget5 very carefully year on year and trustees a satisfied that there is adequate funding already in place for 2025 to operate and safeguard NYB. Financial outcomes from 2021 to 2024 continue to vary refiecting both change5 in the NYB model, our two-year cycle and the continuing unusual climate in which arts organisations have been operating and the changes in audience behaviours post-pandemio Thesuccess of our refreshed mission has led to signrficantgrowth in demand for more attivities which in turn leads to the need to increase capacity for longer-term fundraising. The meaningful and impactful activity as Outlined in this report reflects NY8's succes5 in movlng slowly from a cycle of short-term fundraising towards a leadership that is startlng to turn the dial on the longer-term financial and operating modelthatthe currentteam is capable of delivering. The ratioof earned Income to donated income looks different in 2024: 58142% split (2023 36164% split, 57143% split in 2022). At the time of writin8, we can also report that NYB is harnessing Trmpactful reporting of 2024 activity to continue to secure funding from new trusts and foundations. and has been invited to make renewed applications from previous years, funders to continue their relationship with NYB. Trustees have conSided the possible events or conditions that might affect our ability as a charity to continue as a going concern. They have made an assessment for a period of at least one year from the date of the approval of these financial statements. In particular. trustee5 have considered the charitfs forecasts and projections and have taken account of pressure on income and cash flow. We have concluded the charity has adequate resources to continue in operational existence forthe foreseeable future, and that therefore NYB is a going concern. Reserves Poli NYB'S reseNes fall into two main categories: restrirted funds, which may be used only for the purposes specified by the donor, and unrestricted funds, which are free for any of the purposes of the charity as set out in the governing document. Unrestricted resources comprise free general reserves. We budget to deliver our charitable objectives whilst ensuring financial stability. This is achieved by aiming to keep levels of unrestricted free reserves sufficient to ensure that contraciual commitment to general overheads and any programmed works can be made with reasonable confidence. 27
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2024 The appropriateness of the reserves policy is reviewed each year in conjunction with the budget-setting proces5. Trustees have set a formal reserves policyand concluded that the overall level ofthe charit¢s unrestricted general reseNes should be maintained at minimum of £25,000, although the strategic aim remains to grow this year on year. At 31 December 2024, NYB free reserves amounted to £79.230 (2023: £25.053, 2022-. £46,226}. The Trustees, Report was prepared by the chief executive, reviewed by the chair and chair of the Finance Committee, approved by the board of trustees on .tst.September.2025... and signed on its behalf by. Patricia Castanha Lloyd Chair of the board of trustees 28
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN STATEMENT OF TRusfEES' RESPONSIBIUTIES The trustees, who are also the Dirertors of The National Youth Ballet of Great Britain for the purpose of company law, are responsible for preparing the Trustee5' Report and the accounts in accordance with applicable law and United Kingdom Accounting Standards {United Kingdom Generally Accepted Accounting Prattice). Charity law requires the trustees to prepare accounts for each financial year which give a true and fair view of the State of affairs of the Charity and of the incoming resour5 and application of resources, including the income and expenditure, of the charitable company for that year. In preparing these accounts, the trustees are QuIred to: select suitable accounting policies and then apply them consistently,. observe the methods and principles in the Charities SORP: make judgements and estimate5 that are reasonable and prudent," state whether applicable UK accounting standards have been followed, subjett to any material departures disclosed and explained in the financial statements. and prepare the accounts on the goin8 concern basis unless it is inappropriate to presume that the Charity wlll continue in operation. The trustees are responsible for keeping proper accounting records that dtsclose with reasonable accuracy at any time the financial posrtion of the Charity and to enable them to ensure that thefinancial statements comply with the Charities Act 2011. They are also responsible for safeguarding the a55ets of the Charity and hence taking reasonable Steps for the prevention and detection of fraud and other irregularities. The trustees are responsible forthe maintenance and integrityof the corporate and financial information included on the Charitvs website. Legislation in the United Kingdom governing the preparation and dissemination of financial statements may differfrom legislation in otherjurisdictions. -29-
THE NATIONAL YOUTH BALLE[ OF GREAT BRITAIN INDEPENDENT EXAMINER'S REPORT TO THE TRusfEES OF THE NATIONAL YOUTH BALLET OF GREAT BRAIN I report to the trustees on my examination of the accounts of The National Youth Ballet of Great Britain for the year ended 31 Decernber 2024. Responsibllities and basls of report As the charity trustee5 of the Charity (and also its directors for the purposes of Company Law) you are responsible for the preparation of the accounts in accordance with the requirement5 of the Companies Act 2006 {'the Act'l. I report in respert of my examination of the Charit¢s accounts carried out under section 145 of the 2011 Charities Act and in carrying out my examination I have followed all the applicable Directions given by the Charity Commission under settion 145{5)Ib). Independent examiner's statement Since the charitable companvs gross income exceeded £250,IX)O yourexaminer must be a member af a body listed in section 145 of the 2011 Act. I confirm that l am qualified to undertake the examination because l am a member of the Association of Chartered Certtfied Accountants, which is one of the listed bodies. I have completed my examination. I confirm that no material matters have come to my attention in connection with the examination giving me cause to believe that in any material respect: I have no concerns and have come across no other matters in connettion with the examination to which attention should be drawn in thls report in order to enable a proper understandin8 of the accounts to be reached, accounting records were not kept in respett of the Charity as required by section 130 of the Act; or 2. the accounts do not accord with those records. or 3. the accounts do not complywiththe applicable requirements concerningthe form and content of accounts set out in the Charities (Accounts and Reports) Regulation5 2008 other than any requirement that the accounts give a true and fairview which is not a matterconsidered as part of an independent examination. I have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in thi5 report in order to enable a proper understanding of the accounts to be reached. Mr Mark Cummlns FCCA FCIE for and on behalf of TC Group The Courtyard Shoreham Road Upper Beeding Steyning West Su55ex BN44 3TN Dated: -30-
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) STATEMENT OF FINANCIAL ACTIVITIES FOR THE YEAR TO 31 DECEMBER 2024 Unrestricted funds Designated funds Restricted funds Total 2024 Total 2023 INCOME AND ENDOWMENTS: Donations and legacies Notes 179,524 179.524 136,336 Investment income 1.798 1,798 1,198 Charitable activlties 241,673 241,673 92,451 Total Income 422,995 422,995 229,985 EXPENDITURE: Raising funds 20,775 20,775 19,200 Charitable activities 368,043 121 368.164 262,863 Total expenditure 388,818 121 388.939 282,063 Net income / (expenditure) 34,177 {121) 34,056 (52,078) Transfer between funds 14 20,1)00 (20,000) Net movement In funds 54,177 (20,000) 11211 34,056 152,078) Fund balances at l January 2024 25.053 20.000 121 45.174 97,252 Fund balanS at 31 December 2024 79,230 79,230 45,174 The charity has no recognised gains or losse5 Other than the surplus for the financial year. The Notes on pages 33 to 40 form part of these financial statements. -31-
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) BALANCE SHEET AS AT 31 DECEMBER 2024 2024 2023 Notes Current Assets Debtors Cash at bank and in hand io 87,675 34,229 121.904 41,660 82,924 124,584 Current Liabilitles Creditors li 142,674) (79,4101 Net Current Assets 79.230 45,174 Total Net Assets 79,230 45,174 Represented by: Restrirted funds 13 121 Designated fu nds Unrestritted funds 14 20,000 25,053 79.230 79,230 45,053 79,230 45,174 For the financial year ended 31 December 2024 the company was entitled to exemption from audit under section 477 of the Companies Act 2(K)6. The directors acknowledge their resFX)nsibllities for complying with the requirements of the Act with respect to accounting records and the preparation of financial statements. The members have not required the company to obtain an audit of its financial statements forthe year in question in accordance with section 476. These financial statements have been prepared in accordance with the provisions applicable to companies subject to the small compantes, regirne. The financial statements were approved bythe board of direttors and authorised for issue on .1gtSget*n.b?r2Q?S are signed on its behalf by: .and Patricia Castanha Lloyd Director Company Registration No. 02557811 The notes attached here form part of the financial statements. -32-
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN (LIMITED BY GUARANTEE) NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 31 DECEMBER 2024 1.0 Company information The National Youth Ballet of Great Britain (02557811) is a charty and company limited by guarantee incorporated in England and Wales. The registered office is The Courtyard, Shoreham Road, Upper Beedin& Steynin& West Sussex, BN44 3TN. 2.0 Accounting policies 2.1 Accounting basis and standards The financFal statements have been prepared in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102). The charitable company is a public benefit entity for the purposes of FR5 102 and a registered charity established as a company limited by guarantee and therefore has also prepared its financial statements in accordance with the Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standards applicable in the UK and Republic of Ireland (The FRS 102 Charities SORP). the Companies Act 2006 and Charities Act 2011. The financial statements are prepared in sterlin& which is the functional currencyof the charity. Monetary amounts in these financial statements are rounded to the nearest pound. In view of the ChariWs positive cash and reserves positions. the Charity has no material uncertainties in relation to its ability to continue operating, and as such the accounts have been prepared on a going concern basis. 2.2 Income All income is recognised when there is an entitlement to the funds, the receipt is probable and the amount can be measured reliably. Legacies are recognised following probate and once there is sufficient evidence that the receipt is probable and the amount of the legacy receivable can be measured reliably. Where entitlement to a legacy exists, but there is uncertainty as to its receipt or the amount receivable, details are disclosed as a contingent asset u ntil the criteria for income recognition are rnet. Income is deferred when the donor attaches conditions outside the charivs own control or specifies that the resources are to be used in a future accounting period. 2.3 Expenditure Expenditure is included in the Statement of Financial Artivities on an accruals basis, inclusive of any VAT which cannot be recovered. Expenditure is recognised once there is a legal or constructive obligation to transfereconomic benefrt to a third party, it is probable that a transferof economic benefit will be required in settlement and the amount of theobligation can be measured reliably. Expenditure ts analysed between Dirett and Support costs based on the nature of the expense. Governance costs comprise the cost of running the charity, including external accountancy. legal advice and constitutional and statutory compliance costs. These have been included in support costs. -33-
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 31 DECEMBER 2024 2.0 Accounting Policies (continued) 2.4 Fund Accountlng Funds held by the charity are either: Unrestrirted General Funds-these are funds which can be used in accordan with the charitable objects at the discretion of the Trustees. Designated fund5-theseare funds which have been set aside bytrustees to bespent on a specific purpose. Restricted Funds-these funds can only be used for particular restricted purposes within the objects of the charity. Restrictlons arise when the specified by the donor or when the funds are raised for particular restricted purposes. 2.5 Critical Accounting Estimates and Area of Judgement In preparing financial statements it is necessary to make certain judgements, estimates and assumptions that affect the amounts recognised In the financial statements. In the view of the Trustees in applyingthe accounting policies adopted, nojudgements were required that have a significant effect on the amounts recognised in the financial statement5 nor do any estimates or assumptlons made carry any significant risk of material adjustment on the next financial year. 2.6 Cash Flow Statement The charity has taken the exemption available in paragraph 7.18 of FRS 102 and has not prepared a cash flow statement. 2.7 Cash and cash equivalents Cash and cash equivalents include cash at bank and in hand and short term deposits with a maturtty date of three months or less. 2.8 Debtors and creditors Debtor5 and creditors receivable or payable within one year of the reporting date are carried at their transaction prio. Debtors and creditors that are receivable or payable in more than one year and not subject to market rate of interest are measured at the present value of the expected future receipts or payment discounted at a market rate of interest.
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN (LIMITED BY GUARANTEE) NOTESTO THE ACCOUNTS FOR THE YEAR ENDED 31 DECEMBER 2024 Income from donations and legacies Unrestrirted fund5 Restricted funds Total 2024 Total 2023 Public Trusts and FoLrndations Individual Gift ai(J 29,445 102.774 40,369 6.936 179.524 29.445 102.774 40,369 6,936 179,524 29,950 83,029 19,543 3,814 136,336 Income from charitable artivities Unrestrirted funds Restrlcted funds Total 2024 Total 2023 Rehearsal & Workshop Fees Theatre tax relief Other incoming resources 187,215 49,641 4,817 241.673 187,215 49.641 4.817 241,673 89,417 3,034 92,451 Expenditure Direct costs Support costs Total 2024 Total 2023 Raising funds Charitable activities 20.775 101,287 122,062 20,775 368,164 388,939 19,200 262,863 282,063 266.877 266.877 -35-
THE NATIONAL YOUTH BALLEf OF GREAT BRrrAIN (LIMITED BY GUARANTEE) NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 31 DECEMBER 2024 Expenditure (continued) Support Costs Total 2024 Total 2023 Accountancv Administrator Advertising & Marketing Fundraisin8 costs Chief Executive costs Insurance IT Software and Consumables Legal, professional & consultancy Office costs PR Rates, rent, utilities & cleaning Repairs, maintenance & computercosts Safeguarding Staff training Telephone. Snternet & website costs Travel 2,705 1,690 23,672 20.775 31,500 1.841 3,109 15.690 3,314 2,760 2,100 17,442 19,2 31,500 1,721 2,315 8,384 2,769 6,150 7,734 123 1,000 470 202 417 7,800 iio 500 631 192 733 122,062 104,287 Support costs are allocated to charttable activities, with the exception of fundraising costs which are allocated to raising funds. Support costs include governance costs of £2,646 (2023: £2,640). None of the support cost expendtture relates to restricted funds. 6 Independent examination fee Total 2024 Total 2023 Independent examination fee 2,646 2,646 2,640 2.640 -36-
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 31 DECEMBER 2024 Employee Information There were no employees during the current or prioryear. In 2024 there were 25 volunteer512023: 27) assisting and giving their time for free at the Residential Performance Company. Truste$ Remuneration and Expenses Key management personnel include the directors of the charitable company. The chlef executive Is contracted on a self-employed basis. The directors of the charitable company are trustees under charity law and received no remuneration or benefits in kind from the charty. No trustees were reimbursed expenses in the current or prior year. Taxation The Company is not liable to Corporation Tax as the income is of an exempt nature. 10 Debtors The following debtors are estimated to be received within one year: Total 2024 Total 2023 Trade debtors Accrued income Prepayments and other debtors 49,641 37,223 811 35.868 5,249 543 87,675 41,660 11 Creditors The following creditors are payable within one year: Total 2024 Total 2023 Trade creditors Other creditors Accruals Deferred income 6,036 678 21.190 14.770 42.674 28,102 173 12,750 38,385 79,410 -37-
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 31 DECEMBER 2024 12 Movement in funds Unrestricted fun& Deslgnated funds Restricted funds Total 2024 At l January 2024 Incoming resources Out8oing resources Transfers At 31 December 2024 25.053 422,995 {388,818J 20,000 79.230 20,0 121 45,174 422,995 {388,939} 1121) {20,0001 79,230 13 Restricted funds Balance at i January 2024 Incoming resources Resources expanded Balance at 31 December 2024 Pat Prime Fund 121 1121) 1121) 121 121 121 The Pat Prime Fund relates to donations received with the specific intentbon of removing barriers for dancers of Black African and Black African-caribbean descent who are under-represented. 14 Designated funds Balance at I January 2024 Incoming resources Resources expanded Transfers Balance at 31 December 2024 Allocation of legacy income 20,0(K) {20,000) 20,000 (20.000) The legacy received in 2022 was unrestricted but would not be used all in the same accounting period. The trustees elected to designated the full legacy and show transfers to the unrestricted fund as the monie5 are used to widen participation in ballet. As at 31 Dernber 2024, all of the legacy funding has been used, reducing the designated balance to £nil. -3&
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN {LIMITED BY GUARANTEE) NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 31 DECEMBER 2024 15 Analysls of net assets between funds Fund balances at 31 December 2024 are represented by- Unrestrirted Funds Designated Funds Restricted Funds Total Funds Current assets Creditors: amounts falling due within one year 121.904 (42,674) 121.904 (42,674) 79.230 79,230 Fund balances at 31 December 2023 are represented bv: Unrestricted Funds Designated Funds Restricted Funds Total Funds Current assets Creditors: amounts falling due within one year 104,463 20,000 121 124,584 (79.410) 25,053 (79,410) 45,174 20,000 121 16 Related party transactions There were no related party trdnsactions in the current or prior year that require disclosure. -3
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN (LIMITED BY GUARANTEE) NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 31 DECEMBER 2024 17 Comparative Statement of Financial Artivlties Unrestricted funds Designated funds Restrirted funds Total 2023 INCOME AND ENDOWMENTS: Donations and legacies 136336 136,336 Investment income 1.198 1,198 Charitable activities 92,451 92,451 Total income 229.985 229.985 EXPENDITURE: Raising funds 19,200 19.200 Charltable actNities 261,958 905 262,863 Total expenditure 281,158 905 282,063 Net expenditure 151.173) (905) (52.078) Transfer between funds 30,000 {30,000) Net movement in funds (21.173) <30.000) {905) (52,078) Fund balances at l January 2023 46.226 50.000 1.026 97,252 Fund balances at 31 December 2023 25.053 20,000 121 45.174