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COMPANY NO. 03705562
Queen Mary University of London
CHARITY NO. 1085607
COMPANY LIMITED BY GUARANTEE
ANNUAL REPORT
AND FINANCIAL
STATEMENTS
IllL"
Abi
2023-24

TABLE OF
CONTENTS
oeooles
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ooojects
Queen Mary University of London
Introduction
This Year
Development, Activities, andAchievements
ProjectArtivity.' Indigenous Exchange and Climate Action
10
ProjectArtivity.' Creativity and Mental Health
13
ProjectArtivity.' Resistance and Transformation
24
Publications
26
Partners and Funders
27
People
32
Income, Cashflow and Reserves
35
Strategic Development
38
Communications
39
Structure, Governance and Management
47
Financial Statements
60
IndependentAuditor's Report

INTRODUCTION
Professor Kathryn Richardson
Head of the School of the Arts
Queen Mary University of London
The establishment of Queen Mary's new School of the Arts (STAI has provided an important opportunity
to affirm the relationship between People's Palace Projects {PPPI and the School. The School's
disciplines range from Drama to Film, from English to Comparative Literatures, from Linguistics to
Languages and from Creative Writing to Liberal Arts. PPP was founded in STA'S Department of Drama in
1997, and across the organisation, the Department of Drama and the School we share a vision of the arts
and cultural practice as a way to create meaningful change in the lives of local and global communities,
as a way to advocate for social and environmental justice, and as a means for the inclusion, visibility and
audibility of marginal identities and histories. These shared values infuse our decision-making and
behaviours and inspire colleagues in their daily work.
As a newly established school we are actively exploring new educational and research opportunities
made possible by our range of disciplines. In this regard, PPP'S long-standing commitment to
interdisciplinary research, carried out in partnership with communities and other organisations, is a
guiding light. The success of PPP'S work within Drama's REF 2021 submission provides important insight
for how STA can maximise the impact of its research. In PPP'S practice-led approach, research results in
change, and meaningful impact is embedded in its research projects from the very start. In education,
STA is looking at opportunities to draw upon PPP'S work more directly within our teaching, whether in
the use of case studies, workshops, masterclasses or lectures across our existing curricula and in
developing areas such as environmental and health humanities.
PPP'S vision continues to inspire the School, and the School is honoured to embrace PPP and affirm and
nurture our relationship as we embody creativity, research and education to change lives.

THIS YEAR
Queen Mary University of London (QMUL)
In May 2024, PPP was honoured to receive an Impact Award (Culture, Civic, Community and Policy) from
QMUL in recognition of our work in climate action and Indigenous cultural exchange. The Verbatim
Formula was also nominated for an Impact Award, as was Madison Stephen's research project about the
feasibility of using photovoice as a research method working with young people on mental health.
2023-24 was PPP'S first year of Humanities & Social Sciences {HSSI faculty support, during which we have
begun to develop our transition plan towards the development of new leadership for PPP'S two key
strands of work
arts and mental health and climate action and Indigenous culture - to support and
prepare for Paul's retirement from PPP in 2028-29.
PPP'S relationship with the School of English & Drama (SEDI continued to flourish during the year. Of the
seven years of research grant applications submitted via Worktribe, PPP has been involved with a quarter
of all those led by or partnered with SED. Moreover, we have been involved in 33 of the school's 85
successful grant awards. 2023-24 ended with the anticipation of a new academic home for PPP at QMUL,
the School of the Arts ISTAI. PPP is looking forward to working within this new School and bridging new
partners across different disciplines.
Governance
We thank Amy Casterton. who retired as PPP'S Chair of Trustees this year, for her commitment and work
steering PPP to its current position over the last several years. PPP was delighted to welcome Alison
Sutton as our new Chair this year. Alison brings a mixture of senior international NGO experience and
decades of knowledge and understanding of PPP'S work, particularly in Brazil. Over the year, Alison
helped us to plan and lead a series of strategic development discussions which will inform PPP'S new
business plan.
Arts Council England (ACE)
This is the first full year of PPP delivery under the ACE NPO agreement 2023-26, during which ACE
confirmed that there will be an extension until 2027. ACE'S steer on improving charitable governance
encouraged us to increase the size and skillset of our board, and to reimagine how we work with our
board. PPP'S current board of eight directors has begun working much more closely with the staff team
throughout the year to support strategic growth and development.
At the beginning of the year, we were delighted to have been awarded a significant consultancy by the
Art5 and Humanities Research Council IAHRC) and the Department for Culture, Media and Sport {DCMSI
to review and make recommendation5 for the future of their cultural heritage protection research
portfolio.

DEVELOPMENT, ACTIVITIES
ANDACHIEVEMENTS
PPPproducedpractice-based arts research projects with academics,
artists, care-experiencedyoung people, Indigenous communities,
teachers, people experiencing homelessness, favela residents, and people
with experience ofpsychosis.
10
countries worked in
583
artists employed, across
22
projects
2,965
153,419
27
people at an educational workshop, seminar, or talk
people reached worldwide
YouTube films uploaded
134,462
channel views
co-authored research publications.

PROJECT ACTIVITY
NDIGENOUS EXCHANGE
AND CLIMATE ACTION
PPP'S work in this strand is rooted in the Indigenous Territories of
the Brazilian Amazon region, supporting and extending
cultural exchange between Indigenous and non-lndigenous
artists, activists, and ac(7demics.
aturedprojerts include..
ultural and Monitoring Centre
the Wauja Ulupuwene Village
From theAshes
Kamukuwako VR
Vale?
COP28

In 2023-2024, PPP strategically deepened its commitment to climate justice, expanding its role in policy
and advocacy. Our focus on positioning culture as a central element in addressing the global climate
crisis resulted in PPP being invited to moderate, chair, and participate in international panels and
webinars, amplifying our voice in the climate discourse - including at COP28. We have strengthened
relationship5 With key stakeholders and funders in the US and UK, expanded our network of partners,
and reinforced PPP'S standing in national and international dialogues on climate action and cultural
heritage preservation.
Project delivery focused mainly on pre-production for the delivery and inauguration of the replica of the
Sacred Cave of Kamukuwaka, a project made p055ible by intense and detailed collaboration with the
Wauja people and with Factum Foundation and by funding from Iron Mountain Foundation and Queen
Mary University of London. We were also commissioned to undertake a review for the Arts and
Humanities Research Council and Department of Digital, Culture, Media and Sport of their funded
research portfolio in Cultural Heritage Protection and recommend a future strategy in this area.
amu
uwa
ave:
ura
an
oni
onng
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rean
The new Cultural and Monitoring Centre in the Wauja village of Ulupuwene in the Brazilian Xingu was
completed in November 2023, with PPPdoBrasil's climate coordinator supervising construction on-site
for two months. This centre, which will house the re-materialized Kamukuwaka Cave, is now fully
equipped with solar power and internet connectivity, enabling the community to monitor their territory
and preserve their cultural heritage.
The Kamukuwaka story inspired us to write a script for a new VR experience for non-lndigenous
audiences in partnership with a studio in Rio de Janeiro. PPP took the developer to work with Pirata
Waura in the Xingu Indigenous territory after he secured funding from Itau Cultural Rumos in Brazil. The
VR experience will amplify Indigenous voices about the climate emergency and hopefully connect us
non-lndigenous people- to nature.
In collaboration with Migrate Art, we raised
£176,000 through an auction at Christie's
featuring artworks created with ashes from
trees burned near Indigenous territory. Works
made with the pigments were donated by
distinguished visual artists from around the
world. The proceeds will be directed to the
Kuikuro and Wauja people, helping them build
capacity to face escalating climate threats.
reiF
The accompanying exhibition, From the Ashes,
drew over 500 visitors to a London gallery in
February 2023. amplifying awareness of our
work and the urgent significance of Amazon
forest fires driven by climate change.
'From theAshes'byAntonio Tornis.
Photo.. PPPorchive

Our documentary Vole.
(Is It Worth It?J - five ortists in the front
line against Brazil's worst environmentol crime received nine
screenings in the UK and Brazil, including in four cinema festivals in
Brazil, Canada, and the UK, and at various open events with
academic and community partners, to audiences of over 350.
In the documentary, through music, poetry and circus
performances, five Brazilian artists talk about their grief, fears, and
hopes four years after the Brumadinho dam collapsed, killing 272
people. Directed by Paul Heritage and Marcelo Barbosa, the
documentary focuses on the impact of the collapse on the artistic
and cultural heritage of this rich mining region in Brazil and asks: is it
worth it?
AMA?oN
oto.. PPP archive
A mini-tour in October 2023 included events at King's College London, in Oxford, Manchester, and
Wrexham, followed by engaging Q&A sessions. The film was exhibited in additional cities in Brazil, at Cine
SESC Sao Paulo {March 2024) and in Curitiba (May). A special screening took place at Queen Mary
University's new cinema, BLOC, for survivors and victims of another dam collapse who are facing ongoing
legal battles against mining companies. PPP and BLOC also marked the second anniversary ofjournalist
Dom Phillips, murder with a screening of Account of a War Correspondent in the Amazon, featuring a
panel with the filmmakers and The Guardian's environmental editor.
These screenings brought together artists and specialists to debate with the public on urgent themes
arising in the film, including environmental crimes, mining, arts. and cultural heritage. They strengthened
established partnerships and created new ones.
Photo.. PPPcrchive

We brought Indigenous leader Pirata Waura to Dubai as part of Queen Mary University of London's
COP28 delegation to present the Kamukuwaka project at the Resilience Hub.
Use the QR code to go to PPP'S YouTube channel and watch a video of Thiago Jesus,
Strand Lead for Indigenous Culture and ClimateAction. speaking at COP28 in Dubai.
1¢
Behind the scenes, PPP engaged with
the Brazilian Ministry of Culture and
UAE representatives, contributing to
the launch of the Group of Friends for
Culture-Based Climate Action at the
UNFCCC {GFCBCA).
Photo.. PPPorchive
In early 2024, we travelled to Belém to begin preparatory work for COP30 in the Amazon, Brazil. We aim to
build strategic relationships with local cultural stakeholders, continuing this work through 2025 and
beyond, elevating PPP'S profile on the world stage. This work will be supported by QMUL and by a new
AHRC research grant which was confirmed at the end of the financial year.
In May 2023, PPP won the inaugural Queen Mary Research & Innovation Award for Cultural, Civic,
Community and Policy Impact, voted on by an external jury. in recognition of our work in climate and
Indigenous cultural exchange. A second PPP project, PhD student Madison Stephens, Photovoice work
with favela communities, was also shortlisted in the same category.
Photos.. PPPorchive
MP
Coffjniuoity and Policy
. Indigenous Exchange
pe

PROJECT ACTIVITY
CREATIVITY AND
MENTAL HEALTH
We explore the interaction
between arts and mental
health, increasingly
recognised as important by
a huge variety of sector
stakeholders. Our research
into the impacts ofsuch
engagement allows us to
convene conversations,
share knowledge, and
develop new strategies.
Featuredprojects include..
Loneliness
OLA
Heartbeat
BRIDGES
Cultural Strategies
LA TAM Centre
PIECES
RFPI
io

Loneliness
Investigations into youth mental health continued to be the strongest focus of our arts and mental health
work, with workshops in London and Manchester in collaboration with QMUL'S Faculty of Medicine and
Dentistry's Youth Resilience Unit. Within these, PPP worked to shape creative spaces that inspired young
people to explore and articulate their experiences of loneliness in powerful ways that helped to inform
the planning of surveys and interviews by psychiatrists researching young people's experience of
loneliness.
OLA
New funding from AHRC enabled us to appoint young ambassadors {YAs) working in our partner arts
organisations in Lima, Bogota and Buenos Aires. We commissioned the YAS to create new pieces of
performance work that would support the communication of what we have learned during the OLA study
about how young people can support their own mental health. With extra funding from the QMUL Impact
Fund, we were able to plan and shoot a documentary film documentingthe work of the YAS and the three
arts outputs. We have now planned a series of screenings of the film in Argentina, Colombia, Peru and
Chile, with discussion sessions for young audiences led by the YAS.
Heartbeat
In Peru, our OLA partner, La Plaza, created a touring production of Shakespeare's La Tempestad, created
in partnership with PPP and Flute Theatre, which brought theatre games to city and rural audiences
especially designed to support playful communication and interactions between non-verbal autistic
children and theirfamilies.
Photo.. PPPorchive
li

BRIDGES
In Newham, East London, we were delighted to work in three primary schools as a result of a new
partnership with Newham Council and AHRC to pilot a series of creative exercises with Year 5 children
designed to support their emotional literacy and mental wellbeing.
Cultural Strategies and LATAM Centre
Our Cultural Strategies project involved us working in two favelas in Rio de Janeiro, developing the
mapping of the arts and cultural resources available within these local communities. We are expanding
the methodology developed originally for this project to Latin America. Paul Heritage visited Colombia,
Guatemala and Bolivia as part of the early set up stages of the LATAM Centre, NIHR'S Global Mental Health
Research Centre on Community Management of Long-term Conditions. This project has a particular focus
on working with Indigenous communities in these three countries.
Participatory Theatre for Psychosis (PIECES) and Resilient Futures
Pakistan Initiative
We continued to work in India and Pakistan on PIECES, investigating how theatre resources can support
people with experience of psychosis. We are looking forward to relations with Pakistan growing in the
coming year. The connections we made in Pakistan since 2020 have blossomed into 3 new projects of
cultural exchange between UK and Pakistani artists that will take place in 2024-25.
Photos.. PPParchive
12

PROJECT ACTIVITY
RESISTANCE AND
TRANSFORMATION
PPP'S ongoing mission is to bring ortists, activists, academics, and
audiences together forprojects that address a wide range of socialjustice
and human rights issues. We want to make changes notjust to people's
lives, but also to public policy, and to add our voice to widersocial,
political, and cultural movements that are calling for radical change and
a more equitable, inclusive andjust world.
Featuredprojerts include..
MIDEQ
Museum of Colour
Split Britches
Stages
The Verbatim Formula
13

MIDEQ: Moving Mindsets: Changing Migration Narratives in Brazil
and Beyond
Funded by UKRI and GCRF, and run by Coventry University Centre for Tnjst, Pe(7ce, andsocial Relations.
MIDEQ ('Migration for Development (7nd Equality.) works with a global network ofpartners in twelve
countries in the Globol South, orgonised into six migration 'corridors', to tronsform understanding of the
relotionships between migrotion, development, and inequolity. PPP hos been o portnersince 2021
supporting the work on the Haiti-Brazil migration corridor. In 2023-4 it receivedAHRC funding to develop a
new initiative.
In 2023-24, PPP developed a unique arts-based
programme bringing together Haitian migrants and
Afro-Brazilian artists. One of the findings from the
MIDEQ research, for which Moving Mindsets was a
follow on, was that Haitians suffered racism and
barriers to employment and education because of
their status as migrants. The intention behind
Moving Mindsets was to challenge dominant
representations of Haitians and other (Blackl
migrants as lacking the skills and capabilities to
contribute to Brazilian society and their own
futures.
Moving Mindsets established a choir of Haitians and
other migrants, as well as a dance group in order for
Black artists to explore their shared culture and
points of similarity, and showcase the richness of
Haitian culture, bringing it to audiences in Rio.
Performances were held at the Museum of
Tomorrow, the Pontal Museum, and the Bank of
Brazil Cultural Centre (CCBB).
We also produced Brazil's first Haitian Film Festival,
curated by Haitians, and staged with debates at the
CCBB in May 2024. This was the first time some of
these films had been screened in Brazil and offered
an opportunity for Brazilian audiences to watch six
productions by filmmakers from Haiti and Brazil and
learn more about the Caribbean country. It was
developed with the intention of making the public
reflect on the forgotten country and on the presence
of 161,000 Haitians in Brazil who are trying to
integrate into their new environment, in the face of
racism and discrimination. The festival was one of
the best-attended at CCBB. averaging 65%
occupancy overall compared to the typical 40%,
with more than 500 people watching the films and
hundreds more watching the dance and music
performances.
Photos.. MIDEQ 0￿h1ve
14

MUSEUM OF COLOUR
Museum of Colour CIC (Moc) is o heritage and
creativity sociol enterprise compony incuboted ot
People's Poloce Projects under the creative
directorship of Somenua Sesher OBE.
Moc is building o digitol museum with o joint
purpose.. to explore, celebrate Gnd build recognition
of the contributions mode by people of colour to the
nation's culture, specifically in film, television ond the
orts, 1766 - 2016,. ond to work with contemporory
creotives to respond to British heritage.
MUSEUM • COLOUR
In 2023-24, Moc completed delivery of its fifth exhibition A Very British Rhythm, with live launche5 in
Leeds and London as well as multiple participatory dance workshops, community classes with elders,
and a specially choreographed dance performance. This was supported by a grant from Foyle
Foundation, as well as funding previously secured from National Lottery Heritage Fund and Arts Council
England. The Portal Trust awarded funding towards an additional element, involving stop-motion
animation with young people, for delivery in autumn 2024. Elsewhere, Moc launched My Words Encore,
offering visitors the opportunity to view unseen portraits and content from the My Words exhibition.
Moc sought to expand and improve its virtual experience over the course of the year. They worked with
Cooperative Innovations to develop a virtual gallery of Respect Due, which was presented at both
exhibition launches and met with enthusiastic responses. Elsewhere, as part of AVBR, UX researcher
Ezinda Franklin-Houtzager was commissioned to conduct user research and provide key audience
Insights on their experiences exploring the museum. Drawing on recommendations from
communications consultant Liz North, Moc has begun developing a microsite to accompany the digital
museum and provide more infomiation about the organisation and its breadth of work.
The team expanded this year to include
project manager Emily Crouch and
communications manager Feng Ho, as
well as new CIC directors and Advisory
Board members to provide ideas,
advocacy, and governance support.
Importantly,
Moc developed
its
business plan and was awarded two
multi-year core funding grants by Paul
Hamlyn
Foundation
and Esmée
Fairbairn Foundation.
These will
contribute
enormously to
Moc's
development
organisational
structures, audience relationships, and
future sustainability.
Dancer, choreographer. teacher. and dance movement therapi5tAnu5ho SubrGmanyGm.
Portraitr Hope SGndGti
15

A Very British Rhythm
, An artform exhibition celebroting doncers. choreographers and promoters of the global
majority, ond their contributions to the londscope of British dance over250 years. Co-curated by
Sarnenua SesherOBE and Farooq Chaudhry OBE. Produced by Museum ofcolourond PPP in
collaboration with Strange Cargo, Southbank Centre, Northern School of Contemporary Dance,
ond StepneyAII Saints School. Funded by and with thanks to National Lottery Heritage Fund, Arts
Council England, Foyle Foundation, and the Portal Trust.
This year, Museum of Colour delivered its second artform exhibition, A Very British Rhythm IAVBRI, in
celebration of global dance. The exhibition comprises still and in-motion photographic portraits of 29
groundbreaking dancers of colour pivotal in UK dance, alongside donated artefacts connected to their
lives, and films and podcasts featuring discussion of their creative journeys, research into the world of
dance, and the future of dance. These were created and developed at Theatre Royal Stratford East and
the BLOC production facilities at Queen Mary University of London. Moc also commissioned illustrated
portraits of influential dancers who have passed away in recognition of their pioneering work.
66
I found it really
exhilarating, I
enjoyed myself,
and it was such
fun, so thankyou
so muchl
Photo.. Feng Ho
- porticipant, MixAnd Move (November2023)
99
Museum of Colour delivered multiple live events throughout the course of AVBR. Following the success of
the Charivari carnival, Moc and Strange Cargo held A Very British Collaboration, a conversation between
the organisations, directors on participatory arts, global heritage, and collaboration. During the winter of
2023-24, Moc worked with Southbank Centre and various dance artists to deliver three editions of Mix &
Move, a series of free participatory dance workshops, in celebration of Indian, Afrobeat, and classical
Chinese dance forms. On 10th December, the performance Agele55 premiered in Leeds, with six women
aged 50+ participating in a dance piece specially choreographed by Sharon Watson MBE to showcase the
inclusive, joyful, and timeless nature of dance. Audiences also saw a discussion with the founders of
Phoenix Dance, a flyby of the virtual gallery Respect Due, and a preview of the AVBR exhibition.
16

66
'Ageless' stands as
a testoment to the
foct thot the love
for dance knows
no bounds and
thot it truly is an
ort form
that
transcends
oge,
color, and time.
Jhanvi
Charkhowala, The
Culturevulture
Premiere of Ageless ot the Riley Theotre, Northern Contemporory Dance School.
Photo.. Feng Ho
AVBR launched at Sadler's Wells in April 2024, offering guests an in-depth exploration of the final
exhibition as well as the Respect Due virtual gallery. The evening also featured a conversation between
co-curators Samenua Sesher and Farooq Chaudhry, a presentation from researcher Debanjali Biswas,
and a screening of the Ageless film. It was attended by over 100 people, including dancers and
choreographers, arts and culture leaders and funders, and long-time advocates of Museum of Colour.
Feedback was overwhelmingly positive for the event, with guests speaking to the importance of Moc's
work in recognising such creative legacies.
99
My Words
i Artform exhibition celebroting the power ofpoetry,
spoken word, and oral history, ond the work of British
rtists of colour over the last 250years. Co-curated by
Museum of Colour, Words of Colour. ond Renoissonce
One, ond produced by Moc ond PPP in colloborotion
with Royal Albert Memorial Museum andArt Gallery,
Manchester Poetry Library, and the British Library.
Funded by ond with thonks to Notionol Lottery Heritoge
Fund, Arts Council Englond, ond Foyle Foundotion.
In September 2023, My Words Encore, the final
element of the My Words exhibition, launched to
coincide with its first anniversary. This saw the
release of previously unseen portraits and content
from My Words, including illustrated portraits of poets
who have passed on, podcasts discussing creative
processes, and items donated to the British Library by
featured poets. The release of My Words Encore
featured a social media campaign with recordings of
poets reading their own work.
Claude McKay. poet. whose collections Songs of
Jamaica ond Constab Ballads were first
published in London in 1912. Portroit.- Naki Norh.
17

SPLIT BRITCHES
Since 1980, Split Britches {Lois Weaver, PPP Associate, and Peggy Shawl has been creating an
interconnected repertoire of theatre and social engagement work, which is part of a larger, lifelong
project to facilitate intergenerational communication. wellness, and social change through performance.
Recent performances include Unexploded Ordnances (20181, a combination of performance and public
conversation on subjects of anxiety, ageing, and unexplored potential; and Last Gosp {2020}, a meditation
on demise - demise of ageing bodies, civil conversations, and a sustainable planet. Split Britches also
collaborate on projects with diverse communities of women, LGBTQ+ people, and elders, and develop
Public Address Systems that experiments with performance as a means of public engagement. These
include Long Tables, Porch Sittings, and Care Cafes.
During 2023-24, Lois and Peggy received two lifetime achievement awards. They were awarded the Ellen
Stewart Career Achievement in Professional Theatre Award by the Association for Theatre in Higher
Education {ATHE} in August 2023 and an OBIE Lifetime Achievement Award in NYC, February 2024. To
celebrate the Ellen Stewart Award, they presented a public performance of Last Gasp.. A Recalibrotion, to
an audience of 340 international delegates at ATHE Conference in Austin, Texas.
From January to June 2024, Lois collaborated with the Live Art Development Agency on a series of Long
Tables designed to address issues of post-pandemic arts recovery. These six Long Tables were held
monthly and attracted an audience of 20-60 for each event.
18

Peopling the Palaces Festival
Lois Weaver produced the annual Peopling the
Polaces Festival again this year at QMUL, for
the final time before her retirement from
teaching. This was an eight-day festival that
profiled the practice and research of academic
staff, the developing creative work of students,
and showcased the work of associated artists.
The festival also celebrated continuing
collaborations and partnerships and cultivated
new communities.
Events programmed in the festival included:
2011
Diverse Bodies, Sex ond Menopouse: a day
of events celebrating different sexual
bodies and asking questions about sex and
menopause with Lois Weaver, artist
Imogen Ashby, and sexual health
consultant Dr. Ali Mears. This also included
a Long Table on Sex and Health with Joyce
Harper (UCL) and Heather Mcmullen
{QMUL);
LX,
A Public Studio on Radicol Hope in a Time of
Crisis:
creative
problem-solving
conversation between Catherine Nash
(Geography, QMULI, Sarah Faulkner
(Drama, QMUL} and the audience,
facilitated by Lois Weaver.
The Volue of Theotre: a book launch and
discussion that argues the case for Theatre
studies, coordinated by Jen Harvie IQMUL)
and Dan Rebelatto (Royal Holloway).
Mod Hearts 2024". a two-day collaborative
conference coordinated by Drama and
PyschArts
on
the
subject
Insider/Outsider,
A Doy ond Evening of Live Artr. with artists
Martin O'Brien (video), Julia Bardsley
(performance), Aaron Williamson {site
workl, Ansuman Biswas (performance),
Shabnam Shabazi Iperformancel, Selina
Bonelli (performance), Pianka Parna
(performance),
and
Regina
Agard-
Brathwaite li nstallationl.
Various workshops on Afrofuturism, Queer
Flower Arranging, Performance Poetry, Hip
Hop Dance, and Drawing for Research.
•V
J'•
Photos.- QMUL archive
19

STAGES
Education and theatre initiative that combines an arts-based
learning methodology with collaborative research and
intergenerationc71 conversations to bring a
human rights lens to local, national and global issues.
Use this QR code to find the Stages Toolkit
Creative and participatory experiences can lead to discussions that expand the understanding of injustice
as a long process that proceeds in increments. These are'stages, that can be challenged and interrupted
if they are identified and addressed early.
The Stages Toolkit includes 100 interactive activities,
organised in easy-to-search thematic categories, which
engage users in powerful learning experiences. These
experiences can generate greater understanding of social
issues, aid earlier identification of discriminatory or
unjust behaviours, and cultivate the moral courage to act
in response to real life situations of 'othering,' like
exclusionary actions or bullying. Stages methodology
encourages participants to become more aware of how
we are all influenced by social pressures and can also
become willing to try out new behaviours that challenge
mistreatment at an early stage.
Stoges Toolkit website
Teachers, drama facilitators. and group leaders can choose a single activity to bring to their class or
event, design a workshop for their group. or create a short performance on a relevant topic for their
community.
Photos.. Stages orchive
EZ￿￿
20

Schools and Universities
Allphotos on this page.. Poulo Siqueiro
Following a successful workshop with secondary school
teachers, Stages responded to a request from Hastings and
RotherArts Education Network IHRAEN} and created a CPD
workshop for primary school teacher5 working with 8-11-
year-olds. Dominique Gerrard, a local community artist,
ran this Stages Workshop at Chantry Community Primary
School. Teachers were introduced to the Stages Toolkit
methodology using creative activities to build educational
and life skills and effectively engage students with social
issues. We launched our new Primary School Toolkit book
with over 60 exercises adapted for 8-11-year-olds.
In April, Dr. Canan Salih, Stages, theatre director. was invited to lead a workshop at an AISEC Leadership
Lab event at Eastern Mediterranean University in Northern Cyprus, guiding over 100 students through
exercises aimed at enhancing communication, leadership, and teamwork utilising exercises from the
online Stages Toolkit, to refine their leadership abilities via hands-on learning through creative exercises.
Theatre and Performance
Stages began piloting the performance section of
the Toolkit, which enables participants to create
socially engaged theatre events on a relevant
topic for their group or community. In July and
August, Canan used the Stages Toolkit for
research and devising activities within the
'Performing London. drama project. Young
women in Tower Hamlets expanded their research
and critical thinking skills by exploring online
identities and how youth use digital platforms like
social media to navigate their online and offline
'selves'.
Activism and Volunteering: Mental Health and Wellbeing
Regular collaborators Remembering Srebrenica included a dedicated section in the Education Zone on
their website, offering the Stages, primary and secondary school resources to their network of teachers
across the UK, in time for their annual Memorial events.
The Stages Toolkit was also used by volunteers
in the creation and delivery of workshops for
young people in Plovdiv, organised by Big
Brothers, Big Sisters {BBBS) Bulgaria. The
workshops were a part of BBBS - Bulgaria's
new project 'Behind the Smiles,, aimed to
support mental health education by raising
awareness on topics like stress, social media
influence, anxiety and coping strategies,
relationships, self-care and mental health
wellbeing.

THEVERBATIM FORMULA
PartiCiPL7tory arts collective based within PPP th(7t works creatively with cohorts of
care-experiencedyoung people, engaging them (7s co-investigators within its
practice-led research activities.
Since 2015, The Verbatim Formula (TVF} has collaborated with over 200 care-experienced young people
ICEYPI in UK Local Authorities to create verbatim performance and digital art that centres young people's
voices to challenge systemic and structural issues within the British care system. Centering the voices
and creative potential of the most marginalized and disadvantaged of the UK'S young people through
participatory practice, TVF confronts a 'care-less' care system with personal experiences that lie behind
statistical evidence, placing young people and their knowledge at the forefront of national conversations.
All photos on this poge.. Paula Siqueira
TVF uses verbatim theatre techniques and
strategies to acknowledge the expertise of the
young people and to support a process of self-
narration of their paths into adult life. The
performance of verbatim testimonies leads to
caring encounters and dialogues between the
young people and adults responsible for their
care and education, including professionals from
Local Authority children's services. In our recent
work with young people, we have been exploring
new ways to blend the testimonies of CEYP with
other
performance
practices
including
movement, beatboxing, and poetry. TVF agrees
with the UN Convention on the Rights of the
Child that cultural education is a right, and a
vital tool in enabling children to express their
wishe5 and desires when they enter care.
Progress {2023-24)
In 2023, TVF was awarded a yearlong grant from QMUL'S English and Drama faculty to support
organisational development. This grant enabled us to research sustainable funding structures, develop a
business plan with a financial and fundraising strategy, and consult with CEYP and partners to assess the
potential value of strands of activity. We also drafted and submitted funding bids to trusts, foundations,
and research councils to secure resources for future phases of our work and expand its impact.
A key outcome of this grant was an evolution in our methodology to better align with TVF'S core values of
shifting power dynamics to the young people involved in our work. To achieve this, we established a
'Working Group,, comprising seven of our care-experienced young adults and giving them an active role
in shaping TVF'S activities. These young adults are now part of PPP'S staff team as a creative force.
This shift allowed TVF'S work, evaluation, and strategic direction to be be developed via our methodology
of inclusive, collective planning, evaluation and reflection sessions ('Working Groups,), in which we
discuss our work and how we determine its value in ways that matter most to CEYP associates.
22

At the end of 2023, TVF was awarded a
QMUL Impact Grant to build on the
work initiated during the Being
Human Festival in November 2022.
That year, TVF ran a series of
workshops at The Foundling Museum,
exploring the
museum's
rich
historical legacy and its connection to
contemporary issues. In January
2024, TVF returned to the Foundling
Museum with more CEYP to creatively
explore issues specific to how
information is recorded about them in
project called 'Our Files: Recording
Care, and the impact these systems
and procedures have on them.
Allphotos on this page.. Paulasiqueiro
From January to April 2024, TVF delivered a series of workshops for care-experienced young adults, where
they collaborated with creative industry professionals, such as movement artist Richard James Neale,
sound and music artist Nadine Rose Johnson and photographer Dominique Nok. Care-experienced Co-
Researchers received training to facilitate the workshops withsupport from TVF Core Team. The
workshops culminated in the 'Creative Care: Our Files, event. featuring performances in 2 sessions at The
Foundling Museum in April. The event included conversations with the audience that advocated for more
democratic and positive record keeping practices in children's care. Two workshop participants from The
Foundling Museum were invited to join the 'Working Group., which now includes nine care-experienced
youngadults.
Following the success of these workshops and events, TVF embarked on a new phase of the Creative Care
Project in April 2024, funded by a two-year grant from the Portal Trust. The TVF Core Team and Co-
Researchers began running steering groups and participating in monthly professional development and
co-design meetings. Their efforts will culrninate in an event at the Clore Learning Studio at the National
Theatre in January 2025, celebrating and advocating for accessible arts practices and learning
opportunities for all young people, regardless of their backgrounds.
TVF has also strengthened its partnerships and collaboration with the Newham Youth Empowerment
Service and Wandsworth Children in Care Council, to develop a resource to support Participation Officers
in Children in Care Councils to engage collaboratively and creatively with care-experienced young
people.
Awards
In September 2023, TVF won the TaPRA Transformative Research Award at the TaPRA annual conference
2023. It was shortlisted for The London Higher Awards in March 2024. in the category of Best Research/
Knowledge Exchange Collaboration in London. Furthermore. TVF was shortlisted for the 2024 Knowledge
Exchange Awards in the category of Innovation in Equality, Diversity and Inclusion through Knowledge
Exchange.
23

PUBLICATIONS
dlW*d Ihan |
violence among,
,,brazilian4
FR
MThE
SHES
lachan, L., Moreau, F., Heritage, P. et al. How do•s urban vlolence Imp•ct cholc•$ of cultural
partlcipatlon? Th• c•$• of th• Mar• lavel• compl•x In Rio d• Jan•iro. J Cult Econ 47, 609-641 {2023).
Available at: https:/ldoi.org/lO.1007/s10824-022-094654.
Mcllwaine, C.. Heritage, P.. Krenzinger, MA.. Ansari, MR.. Silva, ES.; Evans, Y. Gendered urbon vAolenc•
omong Brazilians.. Painful truths from Rio de Joneim ond London. Manchester U niversity Press {2024).
Available at: https://www.manchesterhive.comldisplay/978152617566319781526175663.xml#.
Migrate Art and People's Palace Projects. From the Ashes: C•t•logu•. Migrate Art (2024). Available at:
https://peoplespalaceprojects.org.uklenlpublicationslfrom-the-ashes-catalogue.
People's Palace Projects. H•artb•at Project Toolkit. People's Palace Projects 120241. Available at:
https://latecorazon.pe.
Late
Corazon
NSE
24

People's Palace Projects. Roots of Resilience: Final Report and Summary.
People's
Palace
Projects
120231.
Available
https:/lpeoplespalaceprojects.org.uk/en/publicationslroots-of-resilience-
final-report-and-summary.
CREATIVE
APPROACHES
TO
WELLBEING
People's Palace Projects. Roots of Resilience: Toolkit. People's Palace
Projects
120231.
Available
https',//peoplespalaceprojects.org.uk/en/publicationslroots-of-resilience-
toolkit.
Stephens, M.; Keiller, E.. Conneely, M.; Heritage, P.; Steffen, P. Bird, VJ. A
Systematic scoping review of Photovoice within mental health research
involving adolescents. International Journal of Adolescence ond Youth, 28: 1
GRAY AND
VMRIA TISCHLER
120231.
Available
https://www.tandfonline.comldoi/full/lO.1080102673843.2023.2244043
Valiati, L., Heritage, P. Relativ• Values and the Multidimensional Impact of
Arts Ecosystems: The Case of Contact Theatr•. In: Virani, T.E. {edsl Global
Creative Ecosystems.. Dynomics of Virtual Work. Palgrave Macmillan, Cham..
Available at: https://link.springer.com/chapter/lO.10071978-3-031-33961-5_9.
ROOTS
OF
RESI
LIEN
CE
Willson, S.; Easton, G.. Nicholson, S.. Eacott, B.; Hassan, E.. Rothstein, P..
Heritage, P. Communicating through COVID: ArtS•bas•d approach•s to
Supporting h•althcar• work•rs through * pand•mic. In: Tischler, V.; Gray,
(eds.) Creative approaches to wellbeing.. the pandemic ond beyond.
Manchester
University
Press
(2024).
Available
at:
https://manchesteruniversitypress.co.uk/97815261725941#.
•* 12
IAU81C ANtp
THE CLIAIATE
CLIMATE
SINGING
K140WLEDGE
ON DISPLAY
TAKING A RIVER
FOR A WALK
I MOOTS OF
25

PARTNERSAND FUNDERS
As always, the breadth, quality, and impact of our work this year has
been enabled and sustained by our key partnerships. The Board would
like to express its deep gratitude to those organisations that generously
support PPP'S work, and thank the funders who made it possible:
Arts and Humanities Research Council
Arts Council England
Arts without Borders
Battersea Arts Centre
Central School of Speech and Drama
Centro Cultural Banco do Brasil
Centro de Pesquisa e FormaGao
Christie's
Coletivo de Pesquisa Construindo Juntos
Cooperative Innovations
Dirty Protest
Esmee Fairbairn Foundation
Factum Foundation
Foyle Foundation
Fundaf ao Getulio Vargas
Funda[ao Oswaldo Cruz
Fundacion Crear Vale la Pena
Fundacion Nacional Batuta
Hastings and Rother Arts Education Network
Interactive Research and Development Pakistan
Iron Mountain Crozier
Islington Council
Medical Research Council
Migrate Art
Museu doAmanha
Museu do Pontsl
Museum ofTomorrow
National Institute for Health Research
National Lottery Heritage Fund
Newham Council
Newham Youth Empowerment Service
Northern School of Contemporary Dance
Paul Hamlyn Foundation
Pontificia Universidad Javeriana
Portal Trust
Redes da Maré
Queen Mary University of London
Schizophrenia Research Foundation
Southbank Centre
Strange Cargo
Teatro La Plaza
The Foundling Museum
Unit forsocial and Community Psychiatry (QMUL)
Universidad de Buenos Aires
Universidad Franz Tamayo
Universidad Peruana Cayetano Heredia
Universidad Rafael Landivar
Wandsworth Children in Care Council
Youth Resilience Unit {QMUL)
l(b
Photo." PPP
orchive
26

PEOPLE
TRUSTEES
who served for the financial year ending 31st July 2024
Shane Boyle, Trustee
Amy Casterton, Chair
Resigned27th Morch 2024
Rowena Dean, Trustee
Appointed 18th October2023
Cristiane Fontes, Trustee
Appointed 18th October2023
Penny Green, Trustee
Catrin John, Trustee
Scott McCr•ck•n, Trustee
K•rim Mijal, Trustee
Appointed 18th October2023
Alison Sutton, Chair
Appointed 18th October2023
STRATEGIC PLANNING AND
GOVERNANCE GROUP
In
27

PPP PEOPLE (UK)
*L•
Bettine Solf
Assistant Project Manager
Illcreativity and Mental Healt
Canan Salih
Theatre Director
Stages
Darcey Williamson
Research Assistant
The Verbatim Formula
VIAa
'1 IFI
David Ajibade
Project Producer
Stages
Drashti Shah
Project Manager
Creativity and Mental Health
Germma Orleans-
Thompson
Lead Facilitator
Newham Schools Project
Isabel Stuart
Fundraising Off icer
Kalina Toromanova
Project Coordinator
stages
Kristina Nilles
Research Assistant
28

PPP PEOPLE (UK)
Lizet Chavez
Project Manager
,Creativity and Mental Healt
Lucy Freedman
Fundraising Officer
Magali Hochberg
Executive Producer
The Verbotim Formula
Pedro Rothstein
Project Manager
Tr.¢reativity and Mental Health
Poppy Spowage
Research and Development
Associate
Samenua Sesher
Founder and Director
Museum of Colour
Sangavi Sugumar
Finance &Admin Officer
PPP and Museum of Colour
Shana Swi5S
Project Director
Stoges
Sioban Whitney Low
Executive Director
Museum of Colour
29

PPP PEOPLE (Brazil)
Bruna Dantas Ribeiro
Project Manager
Creotivity ond Mentol Heolth
Eduardo Ferreira
Executive Director,
PPPdoBrasil
Brenno Erick
Production Manager
Elquires Sousa
Casa Rio Manager
Jan Onoszko
Project Manager &
Interpreter, MIDEQ
Mayra Mota
Project Coordinator
Indigenous Exchange ond
Climote Action
Patricia Azevedo
Administrative Assistant
Vitoria Lobo
Communications Assistant
30

PPP PEOPLE (Associates)
Cat Fallow
Eliana Sousa Silva
Gary Stewart
Jerry Brotton
Leandro Valiati
Lois Weaver
Nathaniel Mann
Shalyce Lawrence-
Bell
Suzy Willson
Sylvan Baker
Takuma Kuikuro
Tobi Poster-su
MinA Theatre Company
stage 3 Theatre Company
31

INCOME, CASHFLOW, AND
RESERVES
INCOME AND EXPENDITURE
Total inco
resources forthe year amounted to £1,356,447 {2022123, £1,025,655}.
Total resources expended in the year amounted to £1,282,02812022123, £1,059,954).
PPP made a surplus
nrestricted funds of £54.799 in 2023124 (2022123, £17,66
Incoming and outgoing resources are explained in detail by p
which form the final part of this report.
ct in note 13 to the financial statements
The core contributions of Queen Mary Un
England IACEI INPO) were critical to PPP,
sity of London {QMULI (cash and in-kind} and Arts Council
ganisational sustainability in this year.
Revenue funding from ACE {London) has
nfirmed until 31st March 2026.
RESERVES
The charity's reSe￿e policy, reviewed annually, is to have sufficient free reserves to meet three months,
salary costs including the statutory entitlements of all permanent staff support costs set for the financial
year 202312024 at a level of £79,411 (2022123, £61,951).
The charity's unrestricted reserves at 31st July 2024 were £15
6 (31st July 2023: £102,877}. The
charity's unrestricted reserves is expected to reduce in 202412025 to the same level as 202212023 due to
increased consultancy and communications costs
g 202412025 as the charity prepares and
communicates a new business plan for the next 4 years.
The charity's restricted reserves at 31st July 2024 were £148,858 (2022123, £129,238). The restricted
reserves represent grants and donations received.
The complete financial statements forthe year ended 31st July 2024 form the final part of this report.
32

INCOME ANALYSIS
TOTAL INCOME £1,356,447
•Arts Counc# ETraland
•QMUL Donated ser41￿$
Research 6Trnts
QMUL Fund5
Th15ts & Foundatlofts
Natlonal Lottery Herltage Fund
Brit15h C￿n￿l
• Fees & Productlon Qjrtrfbutfjons
Income Category
rts Coiiiica Eiiglaiid
QTrIUL Doiiated Services
024 (total)
134,57
024(%)
234,892
17%
oiiatioIis
lli,718
e.searcli Graiits
435,279
32%
QNIUL Fiiiids
rusts aiid Fouiidatioiis
218,762
16%
147,618
11%
2ti01121 Lotteri, Hent2ge Fluid
ritisli Co￿]C11
7,856
,000
ees Aiid Productioii Coiitributioiis
6,747
33

The chart below shows the difference in income generation between 2022-23 and 2023-24. We are pleased
to note that Trust5 and Foundations income represented Il% of our income this year, compared to 4Wo
last year.
Income 2023 vs 2024
TNsts 8 Fouthfjons
aMuL Owied 5ef*
• 1023 • 2024
34

STRATEGIC DEVELOPMENT
PPP is an arts charity which undertakes practice-based research to advance the practice and
understanding of art and social justice. In particular, it uses the medium of theatre and performance to
promote social welfare and to facilitate development projects for the benefit of the public, whether
directly or in partnership with governmental organisations and others.
Our mission is to channel the power of the arts to enrich lives through cultural projects, enquiry, and
advocacy. Our work is rooted in a belief in the capacity of people to discover positive transformation
through art and is based on a strong commitment to social justice. Focusing on participants and
communities perceived as being at risk or on social peripheries, it works to strengthen opportunities for
people to lead creative and expressive lives.
The main aims adopted by PPP to achieve its charitable objects are:
To identify and respond to urgent contemporary issues via a program of activities that integrates art,
research, and debate;
to undertake and disseminate practice-based research into the ways in which the arts can support
people to develop resistance and resilience in their lives, transforming themselves and their world;
to move and inspire people living in the face of extremity and risk (including social, political, and
ecologicall.
to build capacity amongst artists, researchers, agencies, and individuals seeking to engage with
social challenges and progress social justice through the arts;
to disseminate knowledge of Brazilian culture in the UK and of British culture in Brazil. and to help
British artists, researchers. and institutions to establish creative links with Brazi l.
To realise its aims, PPP'S strategies and objectives are:
To conceive and produce collaborative, multi-faceted arts projects that stimulate discussion of
important socialjustice issues and inspire and effect individual, institutional, and community
transformation.
to create our work with artists who celebrate and strengthen lives vulnerable to extremity and risk;
to create international cultural exchanges that enrich UK and international artists, audiences, and
communities of interest grouped around the themes of our work;
to promote original researchlenquiry and disseminate new leaming about socially engaged arts
practices in the UK and abroad, through workshops, exchanges, training, performances, seminars,
lectures, forums, reports, publications, websites. advice, support, facilitation, and consultancies;
to involve young people in developing our practice and understanding of the arts;
to provide opportunities for a wide range of artists, researchers, and producers to develop their skills
nd advance their thinking.
to develop networks and structures of collaboration between individuals, institutions, and agencies
in the UK and abroad, establishing relationships and dialogues across disciplines"
to focus activities on a diversity of participants and audiences"
to be entrepreneurial in creating opportunities to advance our aims and maintain a resilient and
sustainable organisational model with regular funding support core costs.
35

FUNDRAISING
The development of our practice-based research projects depends on continued success with funding
applications. In 2023-24, we continued our investment in PPP'S fundraising capacity, with three new
Fundraising Assistants from QMUL Drama's doctoral programme: Souradeep Roy, Isabel Stuart and Lucy
Freedman who joined in August 2023. Both Isabel and Lucy have since been awarded their PhDs but
continue working 2 days per week alongside our part-time Research and Development Associate, Poppy
Spowage. Throughout the year, this small team supported the Executive and Artistic Directors and strand
teams in making the most of fundraising opportunities, with an increased focus on developing
interdisciplinary interdisciplinary collaborations for international research grants with partners in QMUL
and beyond that led to several larger research grant submissions to funders including Arts and
Humanities Research Council (AHRC}, Economic and Social Research Council {ESRC), and National
Institute for Health and Care Research (NIHRI together with the Youth Resilience Unit and Unit for Social
and Community Psychiatry (USCP) in QMUL'S Faculty of Medicine and Dentistry {FMD}. Alongside the
Indigenous and Climate strand's significant success in individual, trust and foundation fundraising for
international climate and Indigenous work, we also applied to Trusts and Foundations for UK work.
The PPP team continues to engage with colleagues across QMUL. as well as external academics and HEIS,
supporting a wide variety of research grant applications and programmes and sharing our expertise and
experience on impact, civil society partnerships, research management, grant writing, and practice-
based research management. From August 2023-July 2024, PPP submitted or partnered on submitting 32
applications totalling £11,857,874: an almost 100% increase from 2022-23, when 14 applications were
submitted in the same period. Since August 2023, applications totalling £7,714,664 have been successful
(some in collaboration with our partners in QMUL FMD), and we are waiting for the outcome of seven
applications totalling £5,577,012. We also have 13 applications totalling £7.500,000 in development.
This included supporting the Museum of Colour in securing grants from the Esmée Fairbairn Foundation,
Portal Trust, Arts Council England IACEI, National Lottery Heritage Fund INLHFI, Paul Hamlyn Foundation
and Foyle Foundation, totalling £553k. We worked closely with The Verbatim Formula team, supported
successful bids of £98k, and are still awaiting decisions on grants totalling £660k in this period {AHRC and
CSSD/QMUL Impact funds). Through our ongoing partnership with PPPdoBrasil, we can support the
engagement of civil society partners and individuals who would othewise be unable to participate in
research programmes. During this period, thi5 has included working with partners across QMUL, such as
the Centre for Law and Justice application1£4,707,4681, and beyond: for example our partnership with
Jos Barlow {University of Lancaster) and Joice Ferreira (Embrapa Amazonia Oriental) for the Amazon +10
initiative1£2MI. We also supported a number of large interdisciplinary research bids in collaboration with
USCP, including the NIHR Centre for Community Management of Non-communicable Diseases in Latin
America1£3,144,4191, which was secured this financial year.
The high success rate of research bids, despite an extremely uncertain funding context, is testament to
the strategic investment made, which has enabled PPP to grow steadily and to sustain twenty-three full-
and part-time staff until the year end. It also reflects the times: COP30 will be hosted in Belem (Brazil) in
November 2025, and we have embarked on a range of new programmes with partners such as Amazonia
de Pé ahead of this milestone. This included submitting two successful applications for work in this
region to AHRCIDCMS1£60kl and QMUL Impact Fund (£50k). Alongside our arts and research programme,
the fundraising team will continue to focus on more strategic grants in 2024-25 to support PPP'S
development and resilience. This year, that included an application to AHRC Mission Awards Pilot
1£2,892,4821 which was unsuccessful but highly rated with an invitation to resubmit, and opening
discussions with QMUL around an application to Research England's Development Fund, now underway.
36

INCOME GENERATION
PPP has traditionally had five different income streams: research grants, Arts Council England, other
public funds such as local councils, earned income in the shape of production fees, and trusts and
foundations. Over the last two years. PPP'S main income has derived from research grants, QMUL {in-
kind and project grants), trusts and foundations and Arts Council England.
Looking forward to 2024-25, the fundraising team are aiming to focu
securing two new multi-year
research projects led by PPP, but also increasing engagement with trusts, foundations, and corporate
funders to begin to diversify income and increase the sustainability of the larger core team. We are also
continuing to build the capacity of early career researchers in our team, as Indigenous Culture and
Climate Action Strand leader Thiago Jesus begins the fourth year of his PhD with QMULICalouste
Gulbenkian Foundation, Arts and Health Strand leader Mariana Steffen begins the third year of her PhD
with PPPIYouth Resilience Unit QMUL, and Poppy Spowage submits grant applications to buy time for
new research work.
PPP'S trustees assess our in
e generation on a quarter
sis.
PPP continues to enjoy an excellent relation
with Arts Council England.
HOW DO WE MEASURE
SUCCESS?
PPP is a reflective organisation, whether that be as part of a specific project, partnership, initiative, or as
a whole. We believe that a commitment to organisational self-reflection not only enhances and improves
our working practices across all areas, but gives our projects the strongest chance of success at every
stage, from initial conception, to s
ing funding, to administration and execution.
We use various methods to asses
r performance, i
ing external evaluation and internal
evaluation, feedback from partners and participants, and clear, effective financial management. PPP'S
Board monitors reviews performance directly against our funding agreement with Arts Council England
at each Board meeting to ensure the
standard of PPP'S delivery is maintained.
PPP'S business model is such that Arts Council England pays for 2.6 stsff members. All other staff are paid
for by project funding. Recovering core costs from project funding is a key goal for any arts charity. Being
based within a Higher Education Institution, QMUL, means that PPP is in the fortunate position of being
able to access research grants, which fund staff members. The most important measure of financial
success at PPP is the unrestricted reserve balance. The Board monitors the unrestricted balance on a
quarterly basis to ensure that PPP remains a going concern. As noted earlier in this report, PPP has an
excellent relationship with Arts Council England and has no reason to fear any cut to its core funding.
This does not, however, make us complacent, and we try to develop ways to diversify our income
streams, such as fundraising consultancy, and drama workshops using verbatim theatre techniques,
which we have used over several years with great impact.
37

COMMUNICATIONS
In 2023-2024, PPP led a series of international events in Brazil and the UK, including the celebration of
the 20th anniversary of PPP do Bra5il at Casa Rio. With growing communications demands, our team
expanded: we made our Communications Coordinator full-time to support our Communications
Manager as she led climate action and Indigenous exchange work and oversaw PPP'S internal and
external communications.
The team strengthened PPP'S communication operation, boosting our mailing list, growing our social
media audiences, securing press coverage, and promoting online and in person events. In collaboration
with project managers and editors, we supported the production of engaging new video content. This
year, we shared 20 newsletters. invitations, and project updates with our contacts.
PRESS COVERAGE
This year, PPP secured considerable media coverage in Brazil and the UK, featuring quotes from Paul
Heritage, Thiago Jesus, Yula Rocha, Eduardo Ferreira, and partners in newspapers and on TV and radio,
with major outlets such as TV Globo and BBC Radio London.
Our communications manager worked closely with external PR agencies
on major projects. For instance, at the Haitian Film Festival in Rio de
Janeiro, a R$7,000 investment led to over R$9 million in media coverage.
The MIDEQ international seminar, Haitian choir Uma So Voz, and Clamor!
dance group brought over a hundred academics, migrants, Afro-Brazilians, Clamorl promotionol video
and youth from Rio's favelas to the Museum of Tomorrow, prompting Brazilian media to cover
important conversations on racism and shifting narratives around migration in Brazil.
In London, the From theAshes exhibition drew media interest from specialized art publications and
cultural listings, highlighting PPP'S role at the intersection of climate and the arts and amplifying
Indigenous voices on the impact of climate change.
SOCIAL MEDIA GROWTH
Overthe past year, our Instagram followers neared 6,000, with continued steady growth. Collaborative
posts with partners expanded our reach, connecting PPP with new audiences. We created impactful
video content, uploading 27 new webinars, films, and documentaries from our research onto YouTube,
where we received over 135,000 views. Meanwhile, our presence on Linkedln continues to grow. Notably,
these numbers reflect entirely organic growth, as PPP has not invested in paid advertising.
38

STRUCTURE, GOVERNANCE
AND MANAGEMENT
TRUSTEES
The Directors of the charitable company (the charity) are its trustees forthe purposes of charity law and
throughout this report are collectively referred to as the trustees.
The trustees servi
ngthe year and since the
end were as follows:
Dr Shane Boyle
Amy Casterton (resigned 27th March 2024)
Rowena Dean
Cristiane Fontes
Professor Penny Green
Catrin John
Professor Scott Mccracken
Karim Mijal
Alison Sutton
Arts Council England London is sent c
s of Board p
on an occasional basis, but does not appoint a trustee.
s permitted to obsenie Board Meetings
GOVERNING DOCUMENT
People's Palace Projects, sometimes known as PPP, is a registered charity and a company limited by
guarantee. It is governed by its Memorandum & Articles of Association dated 27th January 1999,
amended on 20th August 2007 to makethe Charity a subsidiary ofQueen Mary University of London
IQMUL}' by special resolution dated 19th November 2008 to clarify procedures for appointment of
Trustees. by special resolution dated 24th November 2014 to allow directors with conflicts of interest to
remain present at meetings (without voting} if authorised by the remainder of the Trustees. and an
administrative amendment dated 12th January 2015 following consultation with the Charity Commission
to abolish the requirement for an AGM.
The sole member of the Company is Queen Mary University of London. although the Articles of
Association make provision for other Members to be admitted at the exiting Member(s)' discretion. The
members of the Board of Management, who are appointed by the Memberlsl, are also the Trustees of the
Charity. In the event of the Charity being wound up, the liability in respect of the guarantee is limited to
£1 per Trustee.
39

REFERENCE AND ADMINISTRATIVE INFORMATION
Company registration number: 03705562
Charity registration number: 1085607
Registered address and principal office: Queen Mary University of London. 327 Mile End Road,
London, E14NS
Company Secretary: the charity has opted not to appoint a Company Secretary.
Senior Staff: Paul Heritage- Artistic Director & Chief Executive
Rosalind {Rosiel Hunter- Executive Director & Deputy Chief Executive
Website:
www.peoplespalace.org.uk
PROFESSIONALADVISORS
Bankers
Barclays Bank PIC
240 Whitechapel Road
London, El IBS
CAF Bank Ltd
25 Kings Hill Avenue
Kings Hill
West Malling
Kent, NE19 4JQ
Independent auditor
BDO LLP
55 Baker Street
London, WIU 7EU
APPOINTMENT OF NEWTRUSTEES
The Trustees review their membership on an annual basis, and gaps in skills and representation are
identified. Trustees research potential new members and open recruitment is undertaken to increase
diversity. New trustees may be appointed by the Trustees of the charity or by QMUL as sole Member.
As set out in the Articles of Association, one third of the Trustees retire from office in each year. The
trustees retiring in any year are normally those who have been longest in office. Retiring Trustees may
offer themselves for immediate re-election (not exceeding in aggregate nine years from the date of
original appointment).
When considering the appointment of new trustees, the Board has regard to the charity's need for any
specialist skills, to the diversity of the Board's composition, and to its representation of the charity's
beneficiaries, including people engaged as participants.
40

TRUSTEE INDUCTION AND TRAINING
New Trustees are invited to introductory meetings with the Artistic and Executive Directors, and with the
Chair. An information pack is sent to all new Trustees, including the Charity's Memorandum & Articles of
Association, recent audited financial statements, the business plan. minutes of recent Board Meetings, a
full current list of the members of the Board. and the Charity Commission's information on
Responsibilities of Trustees.
ORGANISATIONAL STRUCTURE
The Board of Trustees sets the charity's main policies and strategic objectives. The Board normally meets
four times a year to receive reports from senior staff, review financial and other performance against
objectives, and approve future plans and annual and project budgets. Trustees delegate the day-to-day
management and operation of PPP to its paid staff, who make approaches, commitments, and decisions
on future projects in line with agreed strategic objectives.
The charity has offices in the UK, based in the Arts Research Centre at QMUL'S Mile End campus. The
offices and most of the charity's infrastructure costs are provided without charge by QMUL. The close
association with QMUL, especially its significant cash and in-kind support, is vital to the charity's ability
to operate in its current manner towards its charitable objectives, undertaking high quality practice-
based arts research and delivering public engagement and knowledge exchange outcomes.
The salary of the charity's Artistic Director and Chief Executive, Professor Paul Heritage, is paid by his
employer, QMUL; in 2019-20, Paul's teaching replacement was confirmed as a permanent post.
People's Palace Projects was founded 27 years ago, registered as a UK charity in 1999, and has been a
charitable subsidiary of Queen Mary University of London {QMUL) for 16 years, based in its Drama
Department with the status of a research centre specialising in theatre and performance practice. PPP'S
2008 Memorandum and Articles of Association has been reviewed and updated to incorporate changes to
the Companies Act, refine procedures for management of conflict of interest among Trustees (with
Charity Commission approval), and allow for digital communication methods and meeting attendance.
As PPP'S programme has expanded, since 2021 it has appointed a lead and coordinator for each of our
thematic strands, who take responsibility for detailed programme planning, capacity/resource planning
and management within their strand. Each project within each strand reports at regular weekly
meetings, attended by strand leads and Senior Management Team members, who then pick up any
issues requiring resource approval or balancing between strands, policy decisions, discussion of risks, or
stakeholder or Board engagement. The Senior Management Team consists of the Artistic Director and
strand leads for the thematic strands of PPP'S programme, with the most senior representative for each
of the organisation's three cross-cutting functions
Development, Communications, and Finance and
Administration
as well as senior practice research and arts producing expertise. Updates from each
strand are also shared and discussed at PPP'S weekly team meeting for all staff.
Quarterly Board meeting agendas include activity updates, regular discussion and review of progress
against Business Plan, organisational strategies and funder KPIS, and discussion of project evaluations,
as well as budget setting and approval, review of management accounts and year end forecast, staffing
decisions, discussion of stakeholder relationships, risk review and mitigation, and scheduled reviews of
policies. ReseNes policy is reviewed annually. The PPP Board also attends performances, workshops and
exhibitions, discussion events, evaluation and feedback sessions with participants and partner
organisations, and regular consultations with staff and PPP'S very diverse group of Associate Artists, to
ensure the broadest range of ideas and voices feeds into the development of PPP'S programme.
41

DLJring the main part of the year reported on, the charity had three full-time employees (Executive
Director, Communications Manager and Finance and Administration Officer) and twenty part-time
employees (General Manager, three Project Managers, a Research and Development Associate, two
Project Directors, two Project Coordinators, three Fundraising Assistants, one Executive Producer, and
seven co-researchersl. It employed key freelancers and short-term staff, such as research assistants,
consultants, and ad hoc support, as required.
Reflecting its commitment to social justice and QMUL'S status as a leading researcher into and
ambassador for the Living Wage, the charity meets the requirements of a Living Wage Employer and has
regard to the wage differential between its highest and lowest paid employees, a figure which is reported
regularly to the Board and made available to stakeholders for transparency. Occasionally, short-term
(under eight weeks} volunteering opportunities on projects are offered unpaid. There were no voluntary
positions in 2023124.
RELATED PARTIES
PPP is a charitable subsidiary of QMUL, which is an Exempt Charity and the sole Member of People's
Palace Projects; Professor Penny Green is the representative of QMUL at General Meetings. The charity's
Artistic Director/Chief Executive and three trustees (Professor Penny Green, Professor Scott Mccracken,
and Dr Shane Boyle) are employees of QMUL. The parent charity provides PPP with essential support via
the in-kind provision of office and administrative facilities, services, accounting support and audit costs.
It also gives financial support to PPP at various times through a number of funds. No financial remissions
are made by PPP to QMUL other than reimbursements for expenditure incurred by QMUL on PPP'S behalf
(e.g. reimbursements for catering supplies, printing, event portering and so on}.
The practice-based research undertaken at PPP was submitted for quality assessment in the Research
Excellence Framework 2021 as part of QMUL'S institutional submission. Results of the REF are discussed
above, Maggie Inchley submitted The Verbatim Formula research project for REF Impact assessment.
Paul Heritage submitted all of PPP'S research work for REF Impact assessment. Paul Heritage {CEOI is an
Advisory Board member of the QMUL Global Policy Institute and an Associate Professor at the Institute of
Population Health Sciences, and during the year served as Director of QMUL'S Resilient Futures Pakistan
Initiative. Rosie Hunter {Deputy CEO) is a member of QMUL'S Centre for Creative Collaboration Strategy
Steering Group and of the BLOC Media Studio Steering Group. Both have been invited to serve on the
Faculty of Humanities & Social Sciences, Centre for Digital Collections Project Board.
People's Palace Projects is recognised by QMUL'S Centre for Public Engagement as a flagship for
engagement activities within the College, and received both the Influence Award {for The Verbatim
Formula} and the Lucy Hawking Award for Developed Understanding of Public Engagement at the 2017
QMUL Public Engagement and Enterprise Awards. Furthermore, PPP was selected for the Alliance Award
for Impact in 2021 for their work with the Kuikuro Indigenous Association of the Upper Xingu (Brazil),
raising urgently needed funds to provide infrastructure, food and vital medical support to the Kuikuro
people affected by COVID-19. In May 2024, PPP received the award Impact: Culture, Civic, Community and
Policy by the Queen Mary University of London in recognition of our work in climate and Indigenous
cultural exchange.
Paul Heritage is Executive Director of People's Palace Projects do Brasil (PPP do Brasill, a separate NGO
established in Brazil. PPP do Brasil has no constitutional link to People's Palace Projects and is not a
related party but has similar aims and objectives. A bilingual Partnership Agreement signed in 2012 sets a
framework for the two organisations to carry out joint actions aimed at promoting exchange between
Brazil and the UK and developing joint cultural projects, such as With One Voice/Uma So Voz and the
Kamukuwaka Cave project.
42

Paul Heritage is a member of AHRC'S Strategic ODA Peer Review College" a member of AHRC GCRF
Strategic Advisory Group; an advisory board member on Inquiry into the Civic Role of Arts, Gulbenkian
UK Foundation. Associate Producer at the Barbican, London; and International Associate at the Young Vic
Theatre, London.
During the year reported on, Rosie Hunter, Executive Director, was a Trustee of Invisible Palace, a local
charitable arts organisation in South London, and Director of Museum of Colour CIC, along with Samenua
Sesher (Founder and Director). Germma Orleans-Thompson. Deborah Sawyerr, Saif Chaudhry, and
Shveta Shah.
The Charity's Memorandum & Articles of Association permit it to engage Trustees for work which needs
to be carried out, and at no more than a normal market rate. not more than half of the Trustees may be
engaged in this way, and no Trustee may vote on any matter connected with their engagement or
remuneration. No Trustee was paid for work carried out for the Charity during this year {2022123: £01.
TRUSTEES, OTHER INTERESTS
Dr Shane Boyle (none)
Amy Casterton {nonel
Rowena Dean (none)
Cristiane Fontes {nonel
Professor Penny Green {none)
Catrin John - trustee, Daedalus Theatre Company
Professor Scott Mccracken (none)
Karim Mijal (none)
Alison Sutton: Proteknon Foundation for Innovation and Learning {PFIL), registered in Canada
Arts Council England London is sent copies of Board papers, and is permitted to obseNe Board Meetings
on an occasional basis, but does not appoint a trustee.
43

RISK MANAGEMENT
The Trustees review the major risks to which the charity at least annually as part of the following year's
budgeting process. Risks of a changing nature, or pertinent to specific projects, are reported and
discussed quarterly at Board meetings. Trustees agree actions, systems and procedures to mitigate these
risks, and monitor the staff's progress on agreed actions.
The main risk for 2023124 continued to be the pressures on the fundraising climate, meaning that the risk
level around sustaining the PPP team at its current size has been higher. To mitigate this, we have
recruited a small team of three part-time Fundraising Assistants to wod( with PPP'S Research Associate
on submitting funding bids and developing a fundraising strategy to diversify PPP'S income streams.
Another important risk for the Charity to manage is Paul Heritage's planned retirement in 2028. PPP'S
Trustees and senior management team have started work on a five-year strategic plan to carry us
through this transition period with confidence and a clear path to future success.
Arts Council England NPO funding has been confirmed until the end of March 2026 and the Arts Council
has announced its intention to issue a one-year extension to funded organisations until March 2027.
Changing government policy on both research and arts funding always represents a potential key risk to
PPP. By diversifying our interdisciplinary research profile since 2017, clearly demonstrating the social
impact of our work for the UK community as well as its Overseas Development Aid impacts, and by
expanding our research funders to include the Medical Research Council, Engineering & Physical Sciences
Research Council, and the National Institute for Health Research and Wellcome Trust, we have
significantly mitigated this risk. We have also strengthened our relationships with the Arts & Humanities
and Economic & Social Research Councils through co-convening their strategic group for Indigenous
Research Methods and participating in a new AHRC-DCMS international network on cultural heritage and
climate change, in which PPP represents the only project focusing on arts methodologies in the funded
portfolio.
The decision in 2020 to expand PPP'S core staff beyond the level affordable within our Arts Council NPO
funding enabled a 50 % expansion in turnover and social media engagement with our work, but has also
brought risk that our project core cost recovery will not be sufficient to sustain the new posts. To mitigate
this risk, a core cost recovery target has been set for all new funded projects and budgets are approved by
SMT prior to applications being submitted. Staff ing commitments are carefully monitored, short-term
contracts reviewed regularly and contingencies for any redundancy entitlements are set aside within
project budgets.
We commissioned a consultant in 2019 to advise on PPP'S fundraising strategy in relation to core costs
and UK Project work, and since that time have made significant new relationships with UK Trusts and
Foundations. These include Esmée Fairbairn Foundation, Paul Hamlyn Foundation and Foyle
Foundation, who have funded Museum of Colour through PPP, but have also indicated they are open to
future approaches from PPP for other projects.we will work with a development consultant in 2024125 to
review our fundraising potential and clarify our fundraising ask.
International currency exchange rates represent a risk within international grant-funded projects and are
managed via two mechanisms: a minimum Forex contingency of 200h applied to all projects budgeted in
other currencies, and regular review by the senior management Governance Group of project budgets
and future commitments, with activity contingencies set in all projects. While we always plan to manage
our resources for maximum impact, research grants allow the option to reduce activity delivery if
necessary.

STATEMENT OF TRUSTEES, RESPONSIBILITIES
The Trustees {who are also Directors of People's Palace Projects, a company limited by guarantee for the
purposes of company law) are responsible for preparing the Trustees, Annual Report and the financial
statements in accordance with applicable law and United Kingdom Accounting Standards (United
Kingdom Generally Accepted Accounting Practice) including FRS 102 "The Financial Reporting Standard
applicable in the UK and Ireland"
Company law requires the Trustees to prepare financial statements for each financial year which give a
true and fair view of the state of affairs of the charitable company and of the incoming resources and
application of resources. including the income and expenditure, of the charitable company for that
period. In preparing these financial statements, the Trustees are required to:
Select suitable accounting policies and then apply them consistently;
observe the methods and principles in the Charities SORP;
make judgments and estimates that are reasonable and prudent;
state whether applicable UK Accounting Standards have been followed. and
prepare the financial statements on the going concern basis unless it is inappropriate to presume
that the charitable company will continue in business.
The Trustees are responsible for keeping proper accounting records that disclose with reasonable
accuracy at any time the financial position of the charitable company and enable them to ensure that the
financial statements comply with the Companies Act 2006. They are also responsible for safeguarding the
assets of the charitable company and hence for taking reasonable steps for the prevention and detection
of fraud and other i rregularities.
In so far as the Trustees are aware:
There is no relevant audit information of which the charitable company's auditor is unaware; and
the Trustees have taken all steps that they ought to have taken to make themselves aware of any
relevant audit information and to establish that the auditor is aware of that information.
The Trustees are responsible for the maintenance and integrity of the corporate and financial
information included on the charitable company's website. Legislation in the United Kingdom governing
the preparation and dissemination of financial statements may differ from legislation in other
jurisdictions.
GOING CONCERN STATEMENT
After making appropriate enquiries, the Trustees have a reasonable expectation that the charity has
adequate resources to continue in operational existence for the foreseeable future. For this reason, they
continue to adopt a going concern basis.
45

## **INDEPENDENT AUDITOR** 

A resolution will be proposed at a meeting of the board of directors that BDO LLP, Statutory Auditor, be re-appointed as auditor for the Charity for the ensuing year. 

Approved/authorised for issue by the board of directors on 10th February 2025 and signed on behalf of the directors by 

(Alison Sutton) Trustee 

(Shane Boyle) Trustee 

46 



## **People’s Palace Projects Financial Statements** 

## **Statement of Financial Activities (including income and expenditure account)** 

## **for the year ended 31 July 2024** 

|**Note**<br>**Income and endowments from :**<br>Grants, donations and legacies<br>**2**<br>Charitable activities<br>**4**<br>**Total**<br>**Expenditure on:**<br>Charitable activities<br>**6**<br>Raising funds<br>**6**<br>**Total**<br>**Net income/(deficit)**<br>**Transfers between funds**<br>**13**<br>**Net movement in funds**<br>**Reconciliation of funds:**<br>**13**<br>Total funds brought forward<br>**Total funds carried forward**|**Restricted**<br>**Unrestricted**<br>**Total**<br>**funds**<br>**funds**<br>**2024**<br>**£**<br>**£**<br>**£**<br>1,967<br>486,218<br>**488,185**<br>864,515<br>3,747<br>**868,262**<br>866,482<br>489,965<br>**1,356,447**<br>846,862<br>188,999<br>**1,035,861**<br>-<br>246,167<br>**246,167**<br>846,862<br>435,166<br>**1,282,028**<br>19,620<br>54,799<br>**74,419**<br>-<br>-<br>**-**<br>19,620<br>54,799<br>**74,419**<br>129,238<br>102,877<br>**232,115**<br>148,858<br>157,676<br>**306,534**<br>**Year ended 31 July 2024**|Restricted<br>Unrestricted<br>Total<br>funds<br>funds<br>2023<br>£<br>£<br>£<br>88,481<br>346,569<br>435,050<br>555,697<br>34,908<br>590,605<br>644,178<br>381,477<br>1,025,655<br>696,137<br>253,558<br>949,695<br>-<br>110,259<br>110,259<br>696,137<br>363,817<br>1,059,954<br>(51,959)<br>17,660<br>(34,299)<br>-<br>-<br>-<br>(51,959)<br>17,660<br>(34,299)<br>181,197<br>85,217<br>266,414<br>129,238<br>102,877<br>232,115<br>Year ended 31 July 2023|
|---|---|---|



All the above results are derived from continuing activities. 

All gains and losses recognised in the year are included in the Statement of Financial Activities. There is no material difference between the net incoming and net outgoing resources for the financial years stated above and their historical cost equivalents. Notes 1 to 16 form part of these financial statements 

47 



## **People’s Palace Projects Financial Statements** 

## **Balance Sheet as at 31 July 2024** 

|||**Year ended 31 July 2024**||
|---|---|---|---|
||**Note**|**Restricted**<br>**Unrestricted**<br>**Total Funds**<br>**Funds**<br>**Funds**<br>**2024**<br>**£**<br>**£**<br>**£**|Total Funds<br>2023<br>£|
|**Current assets:**||||
|Debtors|**11**|145,438<br>77,273<br>**222,711**|127,739|
|Cash at bank and in hand||16,964<br>89,702<br>**106,666**|158,629|
|**Total Current Assets**||162,402<br>166,975<br>**329,377**|286,368|
|**Current liabilities:**||||
|Creditors: amounts falling due within one year|**12**|(13,544)<br>(9,299)<br>**(22,843)**|(54,253)|
|**Net Current Assets**||148,858<br>157,676<br>**306,534**|232,115|
|||||
|**Total assets less current liabilities**||148,858<br>157,676<br>**306,534**|232,115|
|||||
|**Total net assets**||148,858<br>157,676<br>**306,534**|232,115|
|**The Funds of the Charity**||||
|Restricted income funds|**13**|148,858<br>-<br>**148,858**|181,197|
|Unrestricted funds|**13**|-<br>157,676<br>**157,676**|85,217|
|**Total Charity Funds**||148,858<br>157,676<br>**306,534**|266,414|



Notes 1 to 16 form part of these financial statements. 

The financial statements of People's Palace Projects, company number 03705562 and registered charity number 1085607, were approved by the Board of Trustees on 10th February 2025 and signed on its behalf by: 

Alison Sutton Trustee 

Shane Boyle Trustee 

48 



## **People’s Palace Projects Financial Statements** 

## **Notes to the financial statements for the year ended 31 July 2024** 

## **1   Principal accounting policies** 

People's Palace Projects, a public benefit entity, is incorporated in England and Wales as a company limited by guarantee not having a share capital. There are currently 9 Trustees who are also the directors of the company. Each director has undertaken to contribute to the assets in the event of winding up a sum not exceeding £1. The charity is a registered charity. The registered office is Queen Mary University of London, 327, Mile End Road, London, E1 4NS. 

The Charity’s results are consolidated in the group financial statements of Queen Mary University of London which is a Russell Group university incorporated by Royal Charter. Whilst Queen Mary University of London does not have an equity holding in Peoples’ Palace Projects, it is treated as a subsidiary in the University’s consolidated financial statements on the basis that the University as sole member of the charity can appoint trustees and by virtue of this relationship, Queen Mary University of London is able to govern the financial and operating policies of the charity and obtain benefits from its activities. 

## **1.1 Basis of preparation of the financial statements** 

The financial statements are prepared under the historical cost convention, in accordance with the Statement of Recommended Practice "Accounting and Reporting by Charities (SORP 2019)" applicable to charities preparing their financial statements in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102), effective 1 January 2015; and the Companies Act 2006. The results of People's Palace Projects are consolidated into the financial statements of Queen Mary University of London, the ultimate parent undertaking, and which as sole member of the charity exercises control of the charity via the right to appoint and remove trustees. Exemptions have been taken in these separate charitable company financial statements in relation to the presentation of a cash flow statement. 

## **1.2 Income** 

Income derived from fees, production contributions, sales, donations and grants is recognised when received or when it is probable that it will be received. All donated services are provided by Queen Mary University of London. All valuations are based on actual costs incurred during the year. 

## **1.3 Expenditure** 

Expenditure is included on an accruals basis. 

Production costs are represented by costs directly incurred in relation to a project or production. Support costs consist of administrative staff salaries, office and premises costs, and administrative and development costs for the charity. Support costs have been allocated to charitable activities and fundraising in proportion to the direct staff costs. Other costs include those incurred in the governance of the charity and its assets and are primarily associated with constitutional and statutory requirements. The nature of the costs allocated to this category are audit fees and staff expenses. Staff costs/services donated by Queen Mary University of London are allocated based on time spent on PPP activities. 

## **1.4 Going Concern** 

The charity continues to receive the support of Queen Mary, University of London towards its office and services costs, being based in the School of the Arts. The University recognises in extensive publicity material the contribution made by PPP to its 2030 Strategy including via the results of the Research Excellence Framework, Public Engagement, the Civic University strategy, Arts and Culture strategy, and to its reputation for high-quality research partnerships. PPP is a National Portfolio Organisation funded by Arts Council England until March 2027 which provides a guarantee of funding for core costs. PPP received excellent annual review feedback and the NPO funding for 2023-26 was confirmed by Arts Council England 4 November 2022. A further extension year from Arts Council England with funding until end of March 2028 will be confirmed in 2025. 

After making appropriate enquiries, and based on financial plan forecasts covering  at least 12 months from the signing of the accounts, the Trustees have a reasonable expectation that the charity has adequate resources to continue in operational existence for the foreseeable future and that current projects will continue to receive support from funders. For these reasons, they continue to adopt a going concern basis. 

## **1.5 Funds structure** 

Funds held by the charity are either: 

**Restricted funds** : these are funds which can only be used for the purpose or purposes stipulated by their donor or which are raised specifically for a particular restricted purpose. 

**Unrestricted income funds** : these are funds which can be used in accordance with the objects of the charity at the discretion of the Trustees. **Designated funds** : these are unrestricted funds which have been designated by the Trustees for a specific purpose. 

Further explanation of the funds held by the charity at the end of the year can be found in note 13. 

## **1.6 Taxation** 

The company is a registered charity and is considered to pass the tests set out in Paragraph 1 Schedule 6 Finance Act 2010 and therefore meets the definition of a charity for corporation tax purposes. Accordingly, the company is potentially exempt from taxation in respect of income or capital gains received within categories covered by Section 287 of CTA 2009 and sections 471 and 478-488 CTA 2010 or Section 256 of the Taxation of Chargeable Gains Act 1992 to the extent that such income orgains are applied to exclusively charitable purposes. The Trustees do not believe that the company is liable for corporation tax on any of its activities during the year. The company is not registered for Value Added Tax (VAT) as it does not make taxable supplies. 

## **1.7 Financial instruments** 

The charitable company only has financial assets and financial liabilities of a kind that qualify as basic financial instruments. Basic financial instruments are initially recognised at transaction price and are subsequently measured at their settlement value. 

## **1.8 Cash** 

Cash includes all cash in hand and deposits repayable on demand. 

## **1.9 Trade debtors and other receivables** 

Short term trade debtors and other receivables are measured at transaction price, less any impairment 

49 



## **People’s Palace Projects Financial Statements** 

## **Notes to the financial statements for the year ended 31 July 2024 (Continued)** 

## **1   Principal accounting policies (continued)** 

## **1.10 Creditors and provisions** 

Creditors and provisions are recognised where the charity has a present obligation resulting from a past event that will probably result in the transfer of funds to a third party and the amount due to settle the obligation can be measured or estimated reliably. Creditors and provisions  are normally recognised at their settlement amount after allowing for any trade discounts due. 

## **1.11 Pensions** 

The charity set up a defined contribution scheme with NEST on 1 April 2017. All employees are automatically enrolled if they are eligible workers unless they have exercised their right to opt out of scheme membership. The employer's contributions made to the scheme in the year to 31 July 2024 were £6,569 (2023: £5,336) with an employer's contribution rate of 3% of pensionable pay and an employee's contribution of 5% of pensionable pay. Outstanding contributions payable as at 31 July 2024 were £NIL (2023: £NIL). 

## **1.12 Critical accounting judgements and key sources of estimation uncertainty** 

In the application of theaccounting policies, which are described above, the Trustees are required to make judgements, estimates and assumptions  about the carrying amounts of assets and liabilities that are not readily apparent from other sources. The estimates and associated assumptions are  based on historical experience and other factors that are considered to be relevant. Actual results may differ from these estimates. 

**(i) Key sources of estimation uncertainty:** The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised if the revision affects only that period, or in the period of the revision and future periods if the revision affects both  current and future periods. The Trustees do not consider there are any sources of estimation uncertainty requiring disclosure. 

**(ii) Critical accounting judgements:** The Trustees do not consider there to be any critical judgements requiring disclosure. 

50 



## **People’s Palace Projects Financial Statements** 

## **Notes to the financial statements for the year ended 31 July 2024 (Continued)** 

## **2. Grants, donations and legacies** 

|**Note**<br>Arts Council England (as a Regularly Funded/National<br>Portfolio Organisation)<br>Queen Mary University of London<br>London Borough of Newham<br>Donated services (Queen Mary University of London) -<br>support in kind<br>3<br>Donations received (restricted)<br>5<br>**Total**|**Restricted**<br>**funds**<br>**£**<br>**-**<br>**-**<br>**-**<br>**-**<br>**1,967**<br>**1,967**<br>**Ye**|**Unrestricted**<br>**funds**<br>**£**<br>**134,575**<br>**113,751**<br>**3,000**<br>**234,892**<br>**-**<br>**486,218**<br>**ar ended 31 July 20**|**Total**<br>**2024**<br>**£**<br>**134,575**<br>**113,751**<br>**3,000**<br>**234,892**<br>**1,967**<br>**488,185**<br>**24**|Restricted<br>funds<br>£<br>-<br>-<br>-<br>-<br>88,481<br>88,481<br>Ye|Unrestricted<br>funds<br>£<br>134,575<br>4,000<br>4,000<br>207,994<br>-<br>350,569<br>ar ended 31 July 2|Total<br>2023<br>£<br>134,575<br>4,000<br>4,000<br>207,994<br>88,481<br>439,050<br>023|
|---|---|---|---|---|---|---|



Arts Council England made grants to People's Palace Projects as a National Portfolio Organisation which covered the year from 1 August 2023 to 31 July 2024.  £134,576 (2023: £134,576) was received for the year and was fully expended in the year. 

## **3.  Donated Services from Queen Mary University of London** 

|Statutory audit Fee<br>Staff Salaries<br>Office Costs|**2024**<br>**£**<br>**20,670**<br>**138,841**<br>**75,381**<br>**234,892**|2023<br>£<br>19,842<br>117,305<br>70,847<br>207,994|
|---|---|---|



All donated services income is unrestricted 

## **4.  Income from Charitable Activities** 

|**Note**<br>Fees and production contributions<br>Restricted income<br>5<br>**Total**|**Restricted**<br>**funds**<br>**£**<br>**-**<br>**864,515**<br>**864,515**<br>**Ye**|**Unrestricted**<br>**funds**<br>**£**<br>**3,747**<br>**-**<br>**3,747**<br>**ar ended 31 July 20**|**Total**<br>**2024**<br>**£**<br>**3,747**<br>**864,515**<br>**868,262**<br>**24**|Restricted<br>funds<br>£<br>-<br>555,697<br>555,697<br>Ye|Unrestricted<br>funds<br>£<br>34,908<br>-<br>34,908<br>ar ended 31 July 2|Total<br>2023<br>£<br>34,908<br>555,697<br>590,605<br>023|
|---|---|---|---|---|---|---|



51 



## **People’s Palace Projects Financial Statements** 

## **Notes to the financial statements for the year ended 31 July 2024 (Continued) 5.  Restricted income** 

|**Project**<br>**Principal funder**<br>Arts and Culture<br>QMUL<br>Arts and Health Festival<br>QMUL<br>Building Inclusive Recovery Through Theatre (BIRTh) AHRC<br>Catalyse: FAPESP<br>QMUL<br>Creative Care<br>Portal Trust<br>Cultural Heritage and Climate Change Consultation<br>AHRC<br>Culture, Community, Civic and Policy Award<br>QMUL<br>Follow on: Communicating through Covid in General<br>Practice<br>AHRC<br>HSS Cradle of Learning<br>QMUL<br>Indigenous Exchange & Climate Action<br>Individual donations<br>IRD Pakistan Youth Resilience Toolkit<br>QMUL<br>Kamukuwaká Caves<br>QMUL<br>Lois Weaver: Public Engagement Fellowship<br>Wellcome Trust<br>Manguinhos: Cultural Strategies<br>QMUL<br>Monitoring and evaluation framework for social<br>prescribing for young people with mental health<br>difficulties<br>QMUL<br>Moving mindsets: changing migration narratives in<br>Brazil<br>AHRC<br>Museum of Colour<br>Paul Hamlyn Foundation<br>Museum of Colour: A Very British Rhythm<br>ACE/Foyle Foundation<br>Museum of Colour: A Very British Rhythm (NLHF)<br>NLHF<br>Museum of Colour: core funds<br>Esmée Fairbairn Foundation<br>Museum of Colour: My Words (NLHF)<br>NLHF<br>Museum of Colour: Respect Due (Part 1)<br>Paul Hamlyn Foundation<br>Museum of Colour: These Things Matter<br>Paul Hamlyn Foundation<br>Newham Schools: Creative tools for building<br>emotional literacy and resilience amongst children<br>AHRC<br>NIHR Global Mental Health: Community<br>Management of Long-term Conditions<br>NIHR<br>Oca Red: ECHOES<br>Various funders<br>OLA - Building Resilience: Young Ambassador Film<br>QMUL<br>OLA: Building Resilience<br>MRC/GCRF<br>OLA: Building Resilience (Follow on Fund)<br>AHRC<br>Pakistan Audio Drama<br>QMUL<br>PIECEs<br>NIHR<br>Stages<br>Peace Development Fund<br>The Loneliness Project<br>MRC<br>Towards COP30: develop cultural heritage strategies<br>to strengthen climate related resilience in Brazil<br>QMUL<br>TVF Business Plan (SED)<br>QMUL<br>TVF: Impact Fund<br>QMUL<br>FUEL<br>ACE (via Fuel Theatre Company)<br>Roots of Resilience<br>AHRC / GCRF / DCMS<br>Roots of Resilience 2023<br>AHRC<br>Roots of Resilience Follow on Fund<br>AHRC<br>SED Impact 2023<br>QMUL<br>VAWG: Dignity<br>Kings College London<br>The Verbatim Formula<br>AHRC<br>**Total**|2024<br>Donations and<br>Legacies<br>**£**<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>1,967<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>1,967|2024<br>Charitable<br>Activities<br>**£**<br>17,646<br>-<br>71,147<br>19,927<br>16,964<br>51,923<br>6,000<br>4,425<br>53,526<br>-<br>15,000<br>83,918<br>7,000<br>7,000<br>19,760<br>88,212<br>31,694<br>8,994<br>55,508<br>-<br>2,348<br>-<br>1,416<br>17,891<br>11,911<br>1,876<br>49,921<br>80,748<br>61,996<br>20,000<br>7,544<br>6,626<br>28,612<br>14,982<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>864,515|**2024**<br>**£**<br>**17,646**<br>**-**<br>**71,147**<br>**19,927**<br>**16,964**<br>**51,923**<br>**6,000**<br>**4,425**<br>**53,526**<br>**1,967**<br>**15,000**<br>**83,918**<br>**7,000**<br>**7,000**<br>**19,760**<br>**88,212**<br>**31,694**<br>**8,994**<br>**55,508**<br>**-**<br>**2,348**<br>**-**<br>**1,416**<br>**17,891**<br>**11,911**<br>**1,876**<br>**49,921**<br>**80,748**<br>**61,996**<br>**20,000**<br>**7,544**<br>**6,626**<br>**28,612**<br>**14,982**<br>**-**<br>**-**<br>**-**<br>**-**<br>**-**<br>**-**<br>**-**<br>**-**<br>**-**<br>**866,482**|2023<br>£<br>25,321<br>5,000<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>80,506<br>-<br>7,000<br>-<br>-<br>-<br>-<br>4,914<br>5,500<br>12,118<br>-<br>36,492<br>-<br>-<br>42,298<br>-<br>41,611<br>5,564<br>-<br>12,427<br>32,255<br>4,592<br>-<br>20,450<br>3,441<br>630<br>61,377<br>82,110<br>53,794<br>50,000<br>20,905<br>35,873<br>644,178|
|---|---|---|---|---|



52 



## **People’s Palace Projects Financial Statements** 

## **Notes to the financial statements for the year ended 31 July 2024 (Continued)** 

## **5.  Restricted income (continued)** 

|**Within the above are grants received from the following**<br>**government or government related bodies:**<br>Arts Council England (ACE)<br>Arts and Humanities Research Council (AHRC)<br>Economic and Social Research Council (ESRC)<br>Heritage Lottery Fund (NHLF)<br>Medical Research Council (MRC)<br>National Institute for Health and Care Research (NIHR)<br>UK Research and Innovation Fund (UKRI)<br>Medical Research Council (MRC) with support from Global Challenges Research Fund (GCRF)<br>Arts and Humanities Research Council (AHRC) with support from Dept for Digital Cultire, Media<br>and Sport (DCMS) and Global Challenges Research Fund (GCRF)|**2024**<br>**£**<br>**8,994**<br>**295,594**<br>**-**<br>**57,856**<br>**28,612**<br>**19,455**<br>**-**<br>**80,748**<br>**-**|2023<br>£<br>630<br>177,341<br>-<br>17,032<br>4,592<br>12,427<br>-<br>41,611<br>61,377|
|---|---|---|



In each case the grants are received/receivable subject to the performance of conditions stated in the respective agreements. The research council grants are made directly to Queen Mary University of London (QMUL) from whom PPP draws down the funding. 

## **6. Analysis of expenditure** 

|Direct staff costs<br>Donated Staff Services<br>Fees, including production Fees<br>Grants to institutions<br>Grants to individuals<br>Other grants given<br>Travel, accommodation and subsistence<br>Production and technical<br>Website costs<br>Support and governance costs<br>**Total**<br>Unrestricted expenditure<br>Restricted expenditure|**Charitable**<br>**Activities**<br>**£**<br>243,207<br>32,888<br>78,713<br>-<br>-<br>-<br>75,614<br>421,604<br>-<br>183,835<br>**1,035,861**<br>188,999<br>846,862<br>**1,035,861**|**Raising**<br>**Funds**<br>**£**<br>150,135<br>96,032<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>**246,167**<br>246,167<br>-<br>**246,167**|**Total**<br>**2024**<br>**£**<br>**393,342**<br>**128,920**<br>**78,713**<br>**-**<br>**-**<br>**-**<br>**75,614**<br>**421,604**<br>**-**<br>**183,835**<br>**1,282,028**<br>**435,166**<br>**846,862**<br>**1,282,028**|Charitable<br>Activities<br>**£**<br>249,391<br>90,436<br>70,907<br>-<br>-<br>-<br>58,203<br>310,425<br>4,639<br>165,694<br>949,695<br>253,558<br>696,137<br>949,695|Raising<br>Funds<br>**£**<br>83,629<br>4,412<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>22,218<br>110,259<br>110,259<br>-<br>110,259|Total<br>2023<br>£<br>333,020<br>94,848<br>70,907<br>-<br>-<br>-<br>58,203<br>310,425<br>4,639<br>187,912<br>1,059,954<br>363,817<br>696,137<br>1,059,954|
|---|---|---|---|---|---|---|



Support and governance costs includes auditor's remuneration of £20,670 (2023: £19,842) All expenditure on raising funds is unrestricted. 

## **7.  Analysis of support and governance costs** 

|**7.  Analysis of support and governance costs**<br>**Basis of**<br>**Apportionment**<br>**Activity**<br>Direct staff costs<br>Staff time<br>Donated staff services<br>Staff time<br>Office and administration<br>100% Support<br>Donated staff services - Accountancy<br>100% Governance<br>Legal and professional fees<br>100% Governance<br>Statutory audit fee<br>100% Governance<br>**Total support and governance costs**|**Support**<br>**activities**<br>**2024**<br>**£**<br>48,047<br>-<br>97,697<br>-<br>-<br>-<br>**145,744**|**Governance**<br>**2024**<br>**£**<br>6,306<br>2,631<br>-<br>7,682<br>802<br>20,670<br>**38,091**|**Total**<br>**2024**<br>**£**<br>**54,353**<br>**2,631**<br>**97,697**<br>**7,682**<br>**802**<br>**20,670**<br>**183,835**|Total<br>2023<br>£<br>55,371<br>15,440<br>88,474<br>8,785<br>-<br>19,842<br>187,912|
|---|---|---|---|---|



53 



**People’s Palace Projects Financial Statements** 

## **Notes to the financial statements for the year ended 31 July 2024 (Continued)** 

## **management personnel** 

|Wages and salaries<br>Social security costs<br>Pension Costs<br>**Total emoluments to staff**|**2024**<br>**£**<br>**406,200**<br>**34,926**<br>**6,569**<br>**447,695**|2023<br>£<br>351,387<br>31,668<br>5,336<br>388,391|
|---|---|---|



No employees had employee benefits in excess of £60,000: nil (2023: nil). 

The charity's directors (trustees) were not paid and did not received any other benefits from employment with People's Palace Projects in the year (2023: £nil) neither were they reimbursed expenses during the year (2023: £nil). No charity trustee received payment for professional or other services supplied to the charity (2023: £nil). 

The key management personnel of People's Palace Projects, comprise the trustees and the Strategic Planning and Governance Group 

The cost of the key management personnel to the Charity was £291,283 (2023: £264,040). However this includes an amount of £131,550 (2023: £110,288) donated by QMUL in respect of staff employed and paid by the University. The cost of employee benefits to People's Palace Projects of directly employed key management personnel excluding donated services is £159,733 (2023:£153,752) 

## **9. Staff numbers** 

|**2024**<br>2023<br>**Full time**<br>**Part time**<br>**Total**<br>Full time<br>Part time<br>Total<br>Average monthly headcount of employees<br>3<br>20<br>23<br>3<br>11<br>14|
|---|
|Full time is defined as any member of staff working more than 25 hours per week|



## **10. Net income is stated after charging:** 

|**10. Net income is stated after charging:**<br>Statutory audit fee<br>**11. Debtors:**amounts falling due within one year<br>Trade debtors<br>Amounts owed by Queen Mary University of London<br>Other Debtors<br>Prepayments and accrued income<br>PPP do Brasil<br>**Total**|**2024**<br>**£**<br>**20,670**<br>**2024**<br>**Total**<br>**£**<br>**2,000**<br>**120,633**<br>**908**<br>**99,170**<br>**-**<br>**222,711**|2023<br>£<br>19,842<br>2023<br>Total<br>£<br>1,799<br>78,554<br>-<br>47,386<br>-<br>127,739|
|---|---|---|



The amount due to Queen Mary University of London is a trading balance payable under standard credit terms. 

## **12. Creditors:** amounts falling due within one year 

|Taxation and social security<br>Pension<br>Other Creditors<br>Accruals<br>Deferred income<br>**Total**<br>Brought forward at 1 August<br>Released in the year<br>Deferred in the year<br>Carried forward at 31 July|**2024**<br>**£**<br>**-**<br>**-**<br>**2,026**<br>**20,817**<br>**-**<br>**22,843**<br>**2024**<br>**£**<br>30,211<br>(45,653)<br>-<br>**(15,442)**|2023<br>£<br>7,069<br>-<br>1,094<br>15,879<br>30,211<br>54,253<br>2023<br>£<br>45,653<br>(45,653)<br>30,211<br>**30,211**|
|---|---|---|



Deferred income consists of grant income received with performance conditions attached, where the performance conditions have not yet been met. Income received in advance of performance conditions being met is recognised as deferred income and released to income as the conditions are met. 

54 



## **People’s Palace Projects Financial Statements** 

## **Notes to the financial statements for the year ended 31 July 2024 (Continued)** 

## **13. Movement of funds** 

|**Current year**<br>**Unrestricted funds**<br>Undesignated<br>**Total unrestricted**<br>**Restricted funds**<br>**Funder**<br>Arts and Culture<br>QMUL<br>Arts and Health Festival<br>QMUL<br>Building Inclusive Recovery Through Theatre (BIRTh)<br>AHRC<br>Catalyse: FAPESP<br>QMUL<br>Creative Care<br>Portal Trust<br>Cultural Heritage and Climate Change Consultation<br>AHRC<br>Culture, Community, Civic and Policy Award<br>QMUL<br>Follow on: Communicating through Covid in General<br>Practice<br>AHRC<br>HSS Cradle of Learning<br>QMUL<br>Indigenous Exchange & Climate Action<br>Individual donations<br>IRD Pakistan Youth Resilience Toolkit<br>QMUL<br>Kamukuwaká Caves<br>QMUL<br>Lois Weaver: Public Engagement Fellowship<br>Wellcome Trust<br>Manguinhos: Cultural Strategies<br>QMUL<br>Monitoring and evaluation framework for social<br>prescribing for young people with mental health<br>difficulties<br>QMUL<br>Moving mindsets: changing migration narratives in<br>Brazil<br>AHRC<br>Museum of Colour<br>Paul Hamlyn Foundation<br>Museum of Colour: A Very British Rhythm<br>ACE/Foyle Foundation<br>Museum of Colour: A Very British Rhythm (NLHF)<br>NLHF<br>Museum of Colour: core funds<br>Esmée Fairbairn Foundation<br>Museum of Colour: My Words (NLHF)<br>NLHF<br>Museum of Colour: Respect Due (Part 1)<br>Paul Hamlyn Foundation<br>Museum of Colour: These Things Matter<br>Paul Hamlyn Foundation<br>Newham Schools: Creative tools for building<br>emotional literacy and resilience amongst children<br>AHRC<br>NIHR Global Mental Health: Community Management<br>of Long-term Conditions<br>NIHR<br>Oca Red: ECHOES<br>Various funders<br>OLA - Building Resilience: Young Ambassador Film<br>QMUL<br>OLA: Building Resilience<br>MRC/GCRF<br>OLA: Building Resilience (Follow on Fund)<br>AHRC<br>Pakistan Audio Drama<br>QMUL<br>PIECEs<br>NIHR<br>Stages<br>Peace Development Fund<br>The Loneliness Project<br>MRC<br>Towards COP30: develop cultural heritage strategies<br>to strengthen climate related resilience in Brazil<br>QMUL<br>TVF Business Plan (SED)<br>QMUL<br>TVF: Impact Fund<br>QMUL<br>Verbatim Law<br>Kings College London<br>**Total restricted**<br>**All funds**|**Balance**<br>**01 Aug 2023**<br>**£**<br>102,877<br>102,877<br>25,321<br>5,000<br>-<br>-<br>-<br>-<br>-<br>-<br>2,164<br>-<br>-<br>16,101<br>27,226<br>-<br>-<br>-<br>-<br>-<br>-<br>4,193<br>-<br>1,200<br>-<br>-<br>-<br>5,800<br>-<br>5,915<br>-<br>-<br>-<br>-<br>-<br>-<br>9,404<br>11,603<br>15,311<br>129,238<br>**232,115**|**Income**<br>**£**<br>489,965<br>489,965<br>17,646<br>-<br>71,147<br>19,927<br>16,964<br>51,923<br>6,000<br>4,425<br>53,525<br>1,968<br>15,000<br>83,918<br>7,000<br>7,000<br>19,760<br>88,212<br>31,694<br>8,994<br>55,508<br>-<br>2,348<br>-<br>1,416<br>17,891<br>11,911<br>1,876<br>49,921<br>80,748<br>61,996<br>20,000<br>7,544<br>6,626<br>28,612<br>14,982<br>-<br>-<br>-<br>866,482<br>**1,356,447**|**Expenditure**<br>**£**<br>(435,166)<br>(435,166)<br>(31,244)<br>(5,000)<br>(71,147)<br>(19,927)<br>-<br>(51,923)<br>-<br>(4,425)<br>(41,215)<br>(1,957)<br>(15,000)<br>(93,453)<br>(9,435)<br>-<br>(10,687)<br>(88,212)<br>(31,694)<br>(8,994)<br>(55,508)<br>(4,193)<br>(2,348)<br>(1,200)<br>(1,416)<br>(17,891)<br>(9,681)<br>(7,676)<br>(49,921)<br>(85,247)<br>(61,996)<br>(517)<br>(7,544)<br>(5,725)<br>(24,913)<br>(14,952)<br>(9,404)<br>(2,417)<br>-<br>(846,862)<br>**(1,282,028)**|**Transfers**<br>**£**<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>**-**|**Balance**<br>**31 Jul 2024**<br>**£**<br>**157,676**<br>**157,676**<br>**11,723**<br>**-**<br>**-**<br>**-**<br>**16,964**<br>**-**<br>**6,000**<br>**-**<br>**14,474**<br>**11**<br>**-**<br>**6,566**<br>**24,791**<br>**7,000**<br>**9,073**<br>**-**<br>**-**<br>**-**<br>**-**<br>**-**<br>**-**<br>**-**<br>**-**<br>**-**<br>**2,230**<br>**-**<br>**-**<br>**1,416**<br>**-**<br>**19,483**<br>**-**<br>**901**<br>**3,699**<br>**30**<br>**-**<br>**9,186**<br>**15,311**<br>**148,858**<br>**306,534**|
|---|---|---|---|---|---|



Transfers from restricted to unrestricted funds represent residual surpluses on restricted projects where the funders have agreed that the surplus may be used against core costs.  Transfer between restricted funds represents residual costs or surpluses being transferred to follow on projects with the same funder. 

55 



## **People’s Palace Projects Financial Statements** 

## **Notes to the financial statements for the year ended 31 July 2024 (Continued)** 

## **13. Movement of funds (continued)** 

## **Description, nature and purposes of restricted funds having significant activity in year** 

## **Heartbeat FOF (AHRC follow on to Heartbeat Creating Recovery)** 

Creating Recovery post-pandemic with and for young people with Autism in Peru. 

Partnership between Theatre La Plaza (Peru), Flute Theatre (UK) and PPP develop to deliver an inclusive, participatory, and interactive Spanish language, in-person production of The Tempest (La Tempestad).The production opened at La Plaza (Lima) in October 2023 and toured rural communities across Peru in November December. In addition to the performances, the company of five performers also ran arts workshops with young people with autism and their carers. 

## **Kamukuwaká (Iron Mountain: Living Legacy)** 

Returning replica of Kamukuwaká cave, following criminal destruction of original sacred site in 2018 

$80,000 grant (£64,446) from Iron Mountain enabled PPP to complete construction of a Cultural Centre at Ulupuene village in Xingu Indigenous territory, and plan for return of the replica to be housed in this centre. Inauguration planned for October 2024. 

## **Loneliness Project (Medical Research Council)** 

MRC-funded project measuring experience of loneliness in young people. Collaboration between 

PPP, QMUL, and the University of Manchester, working with young people based in London and Manchester. PPP granted total of £67,560. £28,612 received in current year. 

## **Museum of Colour: core costs (Paul Hamlyn Foundation)** 

Museum of Colour CIC (MoC): arts and heritage enterprise incubated at PPP, building digital museum to explore the contributions of people of colour to British culture. Team has grown to include Project Manager and Finance and Administration Officer, and is recruiting for General Manager. 

Paul Hamlyn Foundation offered 4-year funding for core costs to enable MoC to become more independent and financially sustainable. 

Total grant awarded for 4 years: £240,000. £31,695 awarded in this financial year, and fully spent out of core MoC staff salaries. 

## **Museum of Colour: A Very British Rhythm (National Lottery Heritage Fund, Arts Council England, Foyle Foundation)** 

Artform exhibition developed by MoC to celebrate British dancers and choreographers of colour, including portraits, podcasts, donations, and films. This financial year saw free participatory dance workshops and two live launches in London and Leeds. 

National Lottery Heritage Fund granted £55,508, Arts Council England granted £7,494 and Foyle Foundation funded £1,500. 

Total expended on this project in 2023-24 was £64,502, predominantly on core MoC staff salaries. 

## **OLA: Building Resilience (Medical Research Council)** 

Long-term project on mental health, resilience and recovery among young people in Latin America. 

This year saw final phase of work in collaboration with 3 Latin American arts partners, including original art created by young people based in Latin America. Further funds from OLA Follow on Fund and QMUL funded a film made with the young ambassadors showing the arts projects created as part of this project. OLA MRC grant income was £78,747, OLA FOF (AHRC) grant income was £61,996 and QMUL granted £49,921 towards the film. £197,164 was expended on this project during 2023-24 

## **MIDEQ Follow on Fund (AHRC)** 

In 2023-24, PPP developed a special arts-based programme bringing together Haitian immigrants and afrobrazilian artists. 

This programme - funded by AHRC and delivered in partnership with Instituto Maria e João Aleixo, Brazil - established a community choir and dance group which performed at the Museum of Tomorrow, the Museum of Pontal and the Cultural Centre of the Bank of Brazil. We also produced Brazil’s first Haitian Film Festival - curated by Haitians - and staged with debates at the Cultural Centre of the Bank of Brazil. AHRC granted £88,213 to PPP for this project. PPP expended £88,213 on this project this year. 

56 



**People’s Palace Projects Financial Statements** 

## **Notes to the financial statements for the year ended 31 July 2024 (Continued)** 

## **13. Movement of funds (continued)** 

## **Description, nature and purposes of restricted funds having significant activity in year (continued** 

## **The Verbatim Formula: Creative Care (Queen Mary University of London)** 

Using verbatim theatre techniques, storytelling, photography and spoken word poetry, care-experienced young people reflected on the challenges that files cause individuals in care. Through innovative practices, Creative Care explored strategies and approaches to preserving, honouring and challenging care records, while amplifying the voices and narratives of those in care.  This work culminated in two performances at London's Foundling Museum in April 2024. QMUL granted £53,525 towards this project. 

## **PPP AHRC-DCMS: Tender for Cultural Heritage and Climate Change Portfolio Consultation** 

PPP was awarded £51,923 to carry out research consultancy for DCMS-AHRC . The overall aim of this research consultancy was to provide AHRC and DCMS with recommendations about how the current/expanded portfolio can increase the value and impact of research on cultural heritage within climate planning for the future, by identifying emerging research areas to inform future strategy and advise on the potential shape and structure of future funding opportunities. PPP led one day of a 2-day meeting in September 2023 to reflect on achievements and potential future directions of the strategic funding programme. 

PPP spent £51,923 on this research work. 

57 



## **People’s Palace Projects Financial Statements** 

## **Notes to the financial statements for the year ended 31 July 2024 (Continued)** 

**13. Movement of funds (continued) Prior year to 31 July 2023** 

|**Balance**<br>**01 Aug 22**<br>**£**<br>**Unrestricted funds**<br>Undesignated<br>85,217<br>**Total**<br>85,217<br>**Restricted income funds**<br>**Funder**<br>Arts and Culture<br>QMUL<br>-<br>Arts and Health Festival<br>QMUL<br>-<br>Cultural Evaluation<br>QMUL<br>9,816<br>Far Apart Latin America<br>AHRC<br>6,765<br>FUEL<br>ACE (via Fuel Theatre Compa<br>-<br>HSS Cradle of Learning<br>QMUL<br>2,164<br>Kamukuwaká Caves<br>Iron Mountain<br>-<br>Lois Weaver: Public Engagement Fellowship<br>Wellcome Trust<br>35,537<br>Manguinhos: Cultural Strategies<br>QMUL<br>-<br>Museum of Colour: A Very British Rhythm (NLHF)<br>NLHF<br>-<br>Museum of Colour: core funds<br>Esmée Fairbairn Foundation<br>50,322<br>Museum of Colour: My Words<br>Foyle Foundation<br>10,000<br>Museum of Colour: My Words (NLHF)<br>NLHF<br>-<br>Museum of Colour: Respect Due (Part 2)<br>NLHF<br>647<br>Museum of Colour: Respect Due (Part 1)<br>Paul Hamlyn Foundation<br>1,200<br>Museum of Colour: These Things Matter<br>Paul Hamlyn Foundation<br>-<br>Oca Red: ECHOES<br>Various funders<br>4,197<br>OLA: Building Resilience<br>MRC/GCRF<br>10,185<br>OLA: Building Resilience (Follow on Fund)<br>AHRC<br>-<br>PIECEs<br>NIHR<br>4,000<br>Roots of Resilience<br>AHRC / GCRF / DCMS<br>-<br>Roots of Resilience 2023<br>AHRC<br>-<br>Roots of Resilience Follow on Fund<br>AHRC<br>-<br>SED Impact 2023<br>QMUL<br>-<br>Stages<br>Peace Development Fund<br>9,036<br>The Agency<br>Battersea Arts Centre<br>4,388<br>The Loneliness Project<br>MRC<br>-<br>The Verbatim Formula<br>AHRC<br>-<br>TVF Business Plan (SED)<br>QMUL<br>-<br>TVF: Impact Fund<br>QMUL<br>11,603<br>VAWG: Dignity<br>Kings College London<br>6,026<br>Verbatim Law<br>Kings College London<br>15,311<br>**Total**<br>181,197<br>**All funds**<br>**266,414**|**Income**<br>**£**<br>381,477<br>381,477<br>25,321<br>5,000<br>-<br>-<br>630<br>-<br>80,506<br>-<br>7,000<br>4,914<br>5,500<br>-<br>12,118<br>-<br>-<br>36,492<br>42,298<br>41,611<br>5,564<br>12,427<br>61,377<br>82,110<br>53,794<br>50,000<br>32,255<br>-<br>4,592<br>35,873<br>20,450<br>3,441<br>20,905<br>-<br>644,178<br>**1,025,655**|**Expenditure**<br>**£**<br>(363,817)<br>(363,817)<br>-<br>-<br>(9,816)<br>(6,765)<br>(630)<br>-<br>(64,405)<br>(8,311)<br>(7,000)<br>(4,914)<br>(51,629)<br>(10,000)<br>(12,118)<br>(647)<br>-<br>(36,492)<br>(40,695)<br>(45,881)<br>(5,564)<br>(16,427)<br>(61,377)<br>(82,110)<br>(53,794)<br>(50,000)<br>(41,291)<br>(4,388)<br>(4,592)<br>(35,873)<br>(11,046)<br>(3,441)<br>(26,931)<br>-<br>(696,137)<br>**(1,059,954)**|**Transfers**<br>**£**<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>-<br>**-**|**Balance**<br>**31 Jul 23**<br>**£**<br>**102,877**<br>**102,877**<br>**25,321**<br>**5,000**<br>**-**<br>**-**<br>**-**<br>**2,164**<br>**16,101**<br>**27,226**<br>**-**<br>**-**<br>**4,193**<br>**-**<br>**-**<br>**-**<br>**1,200**<br>**-**<br>**5,800**<br>**5,915**<br>**-**<br>**-**<br>**-**<br>**-**<br>**-**<br>**-**<br>**-**<br>**-**<br>**-**<br>**-**<br>**9,404**<br>**11,603**<br>**-**<br>**15,311**<br>**129,238**<br>**232,115**|
|---|---|---|---|---|



Transfers from restricted to unrestricted funds represent residual surpluses on restricted projects where the funders have agreed that the surplus may be used against core costs. 

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**People’s Palace Projects Financial Statements** 

## **Notes to the financial statements for the year ended 31 July 2024 (Continued)** 

## **14. Related Party Transactions** 

Transactions between members of the PPP board and PPP or other institutions in which they have an interest are given below: 

|**Year ended 31 July 2024**<br>**Name**<br>**Role, Related party**<br>Paul Heritage<br>Executive Director, PPP Do Brasil<br>Rosie Hunter<br>Director, Museum of Colour<br>**Year ended 31 July 2023**<br>**Name**<br>**Role, Related party**<br>Paul Heritage<br>Executive Director, PPP Do Brasil<br>Rosie Hunter<br>Director, Museum of Colour|**Income**<br>**in year**<br>**£**|**Expenditure**<br>**in year**<br>**£**|**Debtor**<br>**Balance**<br>**at 31 July**<br>**£**|**Creditor Balance**<br>**at 31 July**<br>**£**|
|---|---|---|---|---|
||1,357<br>99,960<br>-<br>53,522|197,334<br>105,353<br>144,549<br>16,028|-<br>-<br>-<br>-|-<br>-<br>-<br>-|



Paul Heritage is Executive Director of People’s Palace Projects do Brasil, a separate NGO established in Brazil. People’s Palace Projects do Brasil has no constitutional link to People’s Palace Projects, but has similar aims and objectives; a bilingual Partnership Agreement signed in 2012 sets a framework for the two organisations to carry out joint actions. Income and expenditure relates to co-production costs incurred by PPP and PPP do Brasil respectively and recharged as appropriate. 

Rosie Hunter is a Director of the Museum of Colour.  The Museum of Colour is a Community Interest Company that People's Palace Projects is incubating through the support of various funders including Esmee Fairburn Foundation, Paul Hamlyn Foundation,National Lottery Heritage, Foyle Foundation 

and Arts Council England. All expenditure on Museuem of Colour and its related projects is fully funded by third parties. 

## **15. Ultimate Parent Undertaking** 

The Charity’s results are consolidated in the group financial statements of Queen Mary University of London which is the ultimate parent undertaking. Queen Mary is a university incorporated by Royal Charter. The University is the largest and smallest group into which the  charity is consolidated. 

Whilst Queen Mary University of London does not have an equity holding in Peoples’ Palace Projects, it is treated as a subsidiary in the University’s consolidated financial statements on the basis that the University as sole member of the charity can appoint trustees and by virtue of this relationship, Queen Mary University of London is able to govern the financial and operating policies of the charity and obtain benefits from its activities. 

The consolidated financial statements of the University are available from the Director of Finance,  Queen Mary University of London, Mile End Road, London E1 4NS (the registered office). 

## **16. Post Balance Sheet Events** 

There are no post balance sheet events. 

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## **INDEPENDENT AUDITOR’S REPORT TO THE MEMBERS OF PEOPLE’S PALACE PROJECTS LIMITED** 

## **Opinion on the financial statements** 

In our opinion, the financial statements: 

- give a true and fair view of the state of the Charitable Company’s affairs as at 31 July 2024 and of its incoming resources and application of resources for the year then ended; 

- have been properly prepared in accordance with United Kingdom Generally Accepted Accounting Practice; and 

- have been prepared in accordance with the requirements of the Companies Act 2006. 

We have audited the financial statements of People’s Palace Projects Limited for the year ended 31 July 2024 which comprise the statement of financial activities, balance sheet and notes to the financial statements, including a summary of significant accounting policies. The financial reporting framework that has been applied in their preparation is applicable law and United Kingdom Accounting Standards, including Financial Reporting Standard 102 _The Financial Reporting Standard applicable in the UK and Republic of Ireland_ (United Kingdom Generally Accepted Accounting Practice). 

## **Basis for opinion** 

We conducted our audit in accordance with International Standards on Auditing (UK) (ISAs (UK)) and applicable law. Our responsibilities under those standards are further described in the Auditor’s responsibilities for the audit of the financial statements section of our report. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion. 

## _Independence_ 

We remain independent of the Charitable Company in accordance with the ethical requirements that are relevant to our audit of the financial statements in the UK, including the FRC’s Ethical Standard, and we have fulfilled our other ethical responsibilities in accordance with these requirements. 

## **Conclusions related to going concern** 

In auditing the financial statements, we have concluded that the Trustees’ use of the going concern basis of accounting in the preparation of the financial statements is appropriate. 

Based on the work we have performed, we have not identified any material uncertainties relating to events or conditions that, individually or collectively, may cast significant doubt on the Charitable Company's ability to continue as a going concern for a period of at least twelve months from when the financial statements are authorised for issue. 

Our responsibilities and the responsibilities of the Trustees with respect to going concern are described in the relevant sections of this report. 

## **Other information** 

The Trustees are responsible for the other information. The other information comprises the information included in the Annual Report, other than the financial statements and our auditor’s report thereon. Our opinion on the financial statements does not cover the other information and, except to the extent otherwise explicitly stated in our report, we do not express any form of assurance conclusion thereon. Our responsibility is to read the other information and, in 

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doing so, consider whether the other information is materially inconsistent with the financial statements or our knowledge obtained in the course of the audit, or otherwise appears to be materially misstated. If we identify such material inconsistencies or apparent material misstatements, we are required to determine whether this gives rise to a material misstatement in the financial statements themselves. If, based on the work we have performed, we conclude that there is a material misstatement of this other information, we are required to report that fact. 

We have nothing to report in this regard. 

## **Other Companies Act 2006 reporting** 

In our opinion, based on the work undertaken in the course of the audit: 

- the information given in the Trustees’ Report, which includes the Directors’ Report and the Strategic report prepared for the purposes of Company Law, for the financial year for which the financial statements are prepared is consistent with the financial statements; and 

- the Strategic report and the Directors’ Report, which are included in the Trustees’ Report, have been prepared in accordance with applicable legal requirements. 

In the light of the knowledge and understanding of the Charitable Company and its environment obtained in the course of the audit, we have not identified material misstatement in the Strategic report or the Trustees’ report. 

We have nothing to report in respect of the following matters in relation to which the Companies Act 2006 requires us to report to you if, in our opinion: 

- adequate accounting records have not been kept or returns adequate for our audit have not been received from branches not visited by us; or 

- the financial statements are not in agreement with the accounting records and returns; or 

- certain disclosures of Directors’ remuneration specified by law are not made; or 

- we have not received all the information and explanations we require for our audit. 

## **Responsibilities of Trustees** 

As explained more fully in the Statement of Trustees’ Responsibilities, the Trustees (who are also the directors of the charitable company for the purposes of company law) are responsible for the preparation of the financial statements and for being satisfied that they give a true and fair view, and for such internal control as the Trustees determine is necessary to enable the preparation of financial statements that are free from material misstatement, whether due to fraud or error. 

In preparing the financial statements, the Trustees are responsible for assessing the Charitable Company’s ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless the Trustees either intend to liquidate the Charitable Company or to cease operations, or have no realistic alternative but to do so. 

## **Auditor’s responsibilities for the audit of the financial statements** 

We have been appointed as auditor under the Companies Act 2006 and report in accordance with the Act and relevant regulations made or having effect thereunder. 

Our objectives are to obtain reasonable assurance about whether the financial statements as a whole are free from material misstatement, whether due to fraud or error, and to issue an 

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auditor’s report that includes our opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an audit conducted in accordance with ISAs (UK) will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of these financial statements. 

## _Extent to which the audit was capable of detecting irregularities, including fraud_ 

Irregularities, including fraud, are instances of non-compliance with laws and regulations. We design procedures in line with our responsibilities, outlined above, to detect material misstatements in respect of irregularities, including fraud. The extent to which our procedures are capable of detecting irregularities, including fraud is detailed below: 

## _Non-compliance with laws and regulations_ 

Based on: 

- Our understanding of the Charitable Company and the sector in which it operates; 

- Discussion with management and those charged with governance; and 

- Obtaining and understanding of the Charitable Company’s policies and procedures regarding compliance with laws and regulations 

we considered the significant laws and regulations to be the applicable accounting framework 

The Charitable Company is also subject to laws and regulations where the consequence of non-compliance could have a material effect on the amount or disclosures in the financial statements, for example through the imposition of fines or litigations. We identified such laws and regulations to be employment law, health and safety laws and data protection legislation. 

Our procedures in respect of the above included: 

- Review of minutes of meeting of those charged with governance for any instances of non-compliance with laws and regulations; 

- Review of correspondence with regulatory and tax authorities for any instances of non-compliance with laws and regulations; and 

- Review of financial statement disclosures and agreeing to supporting documentation; 

- Review of legal expenditure accounts to understand the nature of expenditure incurred. 

## _Fraud_ 

We assessed the susceptibility of the financial statements to material misstatement, including fraud. Our risk assessment procedures included: 

- Enquiry with management and those charged with governance regarding any known or suspected instances of fraud; 

- Obtaining an understanding of the Charitable Company’s policies and procedures relating to: 

   - Detecting and responding to the risks of fraud; and 

   - Internal controls established to mitigate risks related to fraud. 

- Review of minutes of meeting of those charged with governance for any known or suspected instances of fraud; 

- Discussion amongst the engagement team as to how and where fraud might occur in the financial statements; 

- Performing analytical procedures to identify any unusual or unexpected relationships that may indicate risks of material misstatement due to fraud; and 

- Considering any associated risks with monies sent to overseas entities for charitable activities. 

Based on our risk assessment, we considered the areas most susceptible to fraud to be revenue recognition and management override. 

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Our procedures in respect of the above included: 

- Testing a sample of journal entries throughout the year, which met a defined risk criteria, by agreeing to supporting documentation; 

- In addressing the risk of fraud through management override of controls, we tested the appropriateness of journal entries and other adjustments, in particular any journal entries posted from staff members with privilege access rights, journals posted by key management; 

- assessed whether the judgements made in making accounting estimates are indicative of a potential bias; considered completeness of related party transactions; and evaluated the business rationale of any significant transactions that are unusual or outside the normal course of business; and 

- We reviewed the entities significant estimates and judgements and challenged assumptions made by management. 

We also communicated relevant identified laws and regulations and potential fraud risks to all engagement team members and remained alert to any indications of fraud or non-compliance with laws and regulations throughout the audit. 

Our audit procedures were designed to respond to risks of material misstatement in the financial statements, recognising that the risk of not detecting a material misstatement due to fraud is higher than the risk of not detecting one resulting from error, as fraud may involve deliberate concealment by, for example, forgery, misrepresentations or through collusion. There are inherent limitations in the audit procedures performed and the further removed noncompliance with laws and regulations is from the events and transactions reflected in the financial statements, the less likely we are to become aware of it. 

A further description of our responsibilities for the audit of the financial statements is located at the Financial Reporting Council’s (“FRC’s”) website at: https://www.frc.org.uk/auditorsresponsibilities. This description forms part of our auditor’s report. 

## **Use of our report** 

This report is made solely to the Charitable Company’s members, as a body, in accordance with Chapter 3 of Part 16 of the Companies Act 2006. Our audit work has been undertaken so that we might state to the Charitable Company’s members those matters we are required to state to them in an auditor’s report and for no other purpose. To the fullest extent permitted by law, we do not accept or assume responsibility to anyone other than the Charitable Company and the Charitable Company’s members as a body, for our audit work, for this report, or for the opinions we have formed. 

James Aston MBE (Senior Statutory Auditor) For and on behalf of BDO LLP, statutory auditor Gatwick, UK Date 14 February 2025 BDO LLP is a limited liability partnership registered in England and Wales (with registered number OC305127). 

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