Cornpany Registration Number. 04566484 Charity Registratlon Number: 1105174 CREATIVE FOLKESTONE (A COMPANY LIMITED BY GUARANTEE) ANNUAL REPORT AND FINANCIAL STATEMENTS Year ended 31 March 2022 CREATIVE FOLKESTONE StrategFC Report For the ear ended 31 March 2022 The Trustees, (who are also directors of the Charity for the purposes of the Cornpanies Act) present their annual report together wth the audited financial statements of Creakn"ve Folkestone for the year ended 31 March 2022. The Trustees confirm thatthe Annual Report and financial statements ofthe Charity comply vthh the cu￿ent statutory requirements, the requirements of the Charity's goveming document and the provisions of the Stslement of Recommended Practice ISORP}"AcLounts'rg and Rewrts'ng by Charslies. including FRS102 The Financial Reporting Standard applicable in the UK and Republic of Ireland" As Creabve Folkestone 1$ a company limited by guarantee, the report and statements also Comply with the CompanEs Act 20C6. Pages 1 to 3 comprise the Strategic ReFX)rt as Nuired by Company law, as well as prowding the infom)alion required by SORP for the Trustees. Annual Report Reference and admlnlstratlve detalls Regl8tergd company numbor Reg18terod charlty nurnbor Re918terod offico 045e6484 (England and Wales} 1105174 (Englartrj and Wales) QuartertK>use Mill Bay, Folkestone Kent CT20 1 BN Tru8tee• Sir Roger De Haan (Chairl Cathy Beare Lady Alison C* Haan Sir Stephen Deuchar CBE Paul Hudson ArKlrew Ironside Trevor M1nter 08E DL Judith Nesbitt The Earf of R*Jnc Vanessa Stone Alastair Upton Grahame Ward IApFointed 27th June 20221 (Retired 8th March 20221 Chlof Executlva Alastair Upton Deputy Chlef Executlve Fiona Kingsman Company Secretary Angela Ludlow Audltor RSM UK Audrt LLP 25 Fairingdon Street London EC4A 4AB Soli¢ltors Withers LLP 16 Old Bailey. London EC4M 7EG Bankers Nalwesl Bank Folkeslone Branch, Europa House 49 Sandgate Road Folkestone Kent CT20 1 RU Website vMw.creativefolkestone.o CREATIVE FOLKESTONE Strategic Report For the ear ended 31 Pllarch 2022 Objectives and activities Establi$hed in 2002, Creative Folkeslone is an arts charity dedicated to producing arKI enabling the very best cre2b.ve ¥tivity lo help transfom Folkestone and the surrounding area of Kent Working with the people of Folkeslone, Ouf partners and other Stakeho￿ders, we aim lo make the town a ￿tter place to live. work, play, study and visit. The Charity's objectives, as set out in the goveming document, are 'The fostering of knowledge and appreciation of art, music and lileralure," the relief of wvety by assisting indiwduals who are in n*d in particular by assisting artists to become self-supporting through their art,. the provision of facilities in the interests of social welfare for the inhabilanls of Folkeslone and the surrounding districl-, th& promotion of regeneration in area$ of social and ￿onoMiC deprNalK)n.' C￿atiVe Folkestone believes that everyone 1$ creative. and that Creativity has the F(swer lo change peopl& and places for the better. With a passion for ueativity al ils heart, the Charity will enable K￿p1&.S creativity to flourish. enriching the town and those who live in it. cf visit it. and transfom Folkestone's reputation. All our Board and staff are committed lo enabling tre best V￿r￿ to be created. We ahvays apwint skilled and ambitious curators and programmers who are empalheb'c lo art. artists, place and community. C￿¥tIVity drives the goals we Set ourselves and which continue to guide the organisalKJn.' Goal 1.. Goal 2.. Creatively engage the people of Folkeslone Creatively transform the look of Folkeslone Goal 3.. Goal 4.. Creatively change the ￿onomY of Folkeslone Goal 5.. Change the reputation of Folkeslcfie as a creattve I Create a Sustainable Creative Fofkestone A principal focus for the Charity in &hieving the8e goals is the development of the Creabve Quarter in the historic old town area of Folkeslone, through a prccess of propety acquisition, refurbishment and letting. The Charity benefits from a collab)ration wlh the Rcger De Haan Charitable Tfu$I IRDHCT}. which shares many of the Charity's goals. Typically, RDHCT trte acquisition and refurbishment costs of properties and afterthe renovation works are ¢ornplele leases them lo the Charity on a long term basis at a peppercorn rent. Creative Folkeslone then prrxeeds lo let the refvrbished proFety at affordable rates to attysls, edu¢alion providers and a wde range of creative organisations. Creative Folkeslone has a remarkable re(￿rd of success having already transfonrEd the most run down part of Folkeslone. Around ninety buildings have been ￿$tored in the Cre*ive Quarter and the area is populated by artists and creative industries. We use the Quartefhouse, our Perf￿rnance venue that we built in 2008, to stage our annual FolkeSt0￿ Book Feslival and a fvll proJramme of musi¢, Ihealre, dance and comedy. The area has teen anirnal&Y by five internationally acdaimed Folkestone Triennials when we commissioned site specific arNvorks lo be exhibited in the public realm around the town. After e￿h show we kept many of the exhibrts and added them to Folkeslone Artsvorks which have then been kept on permanent display. AS our collection has grown, so has Folkeslone's reputstion as a unique destination for those who enjoy contemporary art. In 2021 we IctyJk on the stewardship of Prospect Collage, Derek Jarman's fOrn￿r home in Dungeness. along a commilmenl to open its d¢)ors to the public through visilg and a residency programme. The Charity continues to woth wth a range of public and private sector organisalions on a number of slralegically important initiatives which are hdpirffj us to have a profound regeneralNe impact on the community. The creative Iransfomialion of Folkeslone is being achieved through a number of core projects developed and managed by Creative Folkestone.. the Creative Quarter. Quarterhouse, Folkeslone Book Festival, Folkestone Triennial. Folkeslone AthTks and Prospect Cottage-, all these initiatives are underpinned by our Leaming Engagement pr¢¢Jrarnme. CREATIVE FOLKESTONE Strategic Report For the ear ended 31 March 2022 Public benefit The Charity s Trustees have complied wlh their duties under the Charities Aet 2011 to have due regard lo ptjblic benefil guidance IP81, PB2 and P831 published by Ihe Chanty Commi$sion They are aware of the public benefit requiremenL its Implicat￿nS for chantses aDd their duty to report how they have carried out the Charity's purposes ft)rthe wblic tvbefit and take Ihe public benefit guMlarKe into account when making decis+ons. The Chanty's partr¢ular wblic benefit ¥tivities are included under Achievements and Perfomance. Our activities, and particularly our Leaming and ErKJagemenl work and co-Pf(xYuced fesbvals. are deeply embedding Creative Folkeslone in the Ictsl Community. Folkeslone Triennial, and many other aclimts'es, are free ol ¢harge to the public. The Charity continues lo contribute to the overall social and economic regeneration of deprived areas In Folkestone through the thancemenl of the arts. culture. herila98, leaming and the eslablishmenl of a Community of over 6Crf) creative individuals and bJsinesse5. Structure, governance and management The Charity is a Company limited by guarantee vthh no share capital, and a regiglered charity. The Cl)arity'g memorandum and arbcles of assrK131ion are the primary governing documents ol the Charity creats.ve Folkoslone has a SUPFQrtive Board of highly skn'lw and committed Trustees The Trustee$ during th& year were those sel out on page 1 Trustees are also members ol Ihe Chanly. The fruslees have complied with the duts'es described under the Charllies Aci 2011. and wth regard to the guldance published by the Charity Commission. The Creative Folkestone Board prO￿deS the statutory govemance and also govemance over artistrc wsion and quality The Board is supported by four Sub Committees who oversee Management. Visual Arts, Perform5ng Arts and Leafning and Engagement and Creative Quarter Regenerats'on, and raport back Ihelr re￿mMenda￿"0nS to the main Board. We actively advertise for new membefs ol sub-commrttees of the Board and applicants are Interviewed by the CEO and another trustee. They a￿ invited lo join the sub cornmillees and if appropriate can move on lo the main board. Our induction prccess indudes Tfustees beirbg given a copy of our ¢on$lilulion, audited accounts and Cop￿ of trustee meeling minutes together with the Charity Commis%on's guidelines for charity trustees. The new Trustee is also gwen a detailed Iijur of the Creative Quarter and an 1ntrodu¢lion lo all the projects being undertaken by the Charity. Although there Is no ft)mwl Iranlng pjlw in place, the Trustees are encouraged to parb'cipate in training programmes elther through their pnncipal empkjyer or thr(yJgh parbcipalton In ad hoc training courges. Key management personnel and pay pollcy The Charity considers its key rnana9e￿nt ￿rson￿￿ io be its Board of Trust￿$. the Chief Executive and the Deputy Chief Executive. The remuneration is normally set annually in accordance wrth the pay policy, wllh any changes taking effect from the 1M Awil each year The Chief Executive and the Deputy Chief Executive are the only paid key management personnel. The pay policy for the Chief Executive and the Deputy Chief Executive is the same a8 for other staff. Thls Strategic ReF)Ort was behalf 6 De￿mber 2022 provedbytheBoardofTwsteeson.............................. and signed on their Sir Roger M De Haan- Chair of Twstees CREATIVE FOLKESTONE Report of Trustees For the ear ended 31 March 2022 Achievements and perfomiance Creative Folkèstone overview The financial year stsrted wth many Covid-19 restrictions strll in pl* and perf0m￿nce spaces at Creative Folkeslone closed to audiences and the public during April and May. While we continued lo successfully deliver a creative programme digitally and outdwrs. the uncertainty of the ongoing pandemic meant that we had lo remain flexible and adapt lo changing cirojmstances for Th)st of the year. Followng the easing of restn'ctions in June 2021, our efforts focused on bringing Folkeslone, including the Creative Quarter, back to life and providing a much-needed l)cost lo the local economy. To do this we drew on our experience and leamirys from the 2020121 l¢xkdobffi$, which gave us the ¢onfidence to be both innovative and expe￿r￿ntaI with our Creab've programtre Nthi¢h was planned lo be delivered both digitally and in Ferson. We celebrated the reopening ofthe Quartethouse in June. SUP[￿ed by the Arts Council Cultural Recovery Fund, with a new hybrid summer iteration of our wstwned annual Folkeslone BcK)k Festival. With some reslriclions sts'll in place, and live audiences having lo be limited. nearly all of the programme was made available via a digital platfomi. Our summer festival gave many Folkeslone residents an opportunity to come out of isolation to join a variety of outdoor talks. debates, films and perfo￿nanCeS. The highlight of 2021 was the fifth Creative Folke$tO￿ Triennial which. wslponed for a year, look place over an extended period of 15 weeks from 22 July to 2 November 2021. The exhibits'on attracted more than 220,000 visitors, generating over £13,300,OCO for the local economy and, along with impressive national and intemational medta coverage, provided the town wth a much needed rebwt. The Triennial transfomied the town through the Installation of 23 new contemwrary ar￿rkS from 21 intemational artists and collectives- including three Tumer Prize Nmnners - placed in 45 IcKalions, making il more ubiquitous than any of its predecessors. Addib"onally, four ar￿rkS were selected from Folkestone ArNvoths to contribute lo the narratives of the exhily"tion. The newly c£trmmi$$i¢ned works were by attsls from all over the wodd including Bangladesh, Chile, Belgium. Mozambique, France, Croatia, Holland, Japan, Ghana, Gemany, Malaysia as well as the UK The community gained ￿Cess, for the firsl lime in decades, lo Ihe disused Gasworks site in Folke$lone by placing three Triennial aT￿rkS here. This was ￿hIeVed by the effective campaigning work of the Pioneering Places East Kent project. The site has now been purchased by Folkestone and Hythe District Council who have committed. in partnership w￿h Creatrve Folkeslone. to create a flagship of urt)an redevelopment. The wofk of the PerformiTrJ Arts and Leaming Team gained momentum through the year as Creative Folkestone's regular art5 and performance prcgramme resumed in eamest. In total. Quarterhouse staged 103 performances attended by 6,903 people bringing back the fijn and enioyrrent of live performan￿. The in-person Leaming and Engagement Prcgramme retumed in the lead up lo the Triennial with a diverse and inclusive programme aimed al all ages, backgrourKls and abilits"es. In total, il offered more than 136 activities which were enjoyed by approximately 7.600 parb"apants. Free and inclusive outdoor events such as Walk with Amal, The Day of the Crowned Death and Bea¢ons proved F)opular and were attended by thousands of Folkeslone residents and vi511ors who celebrated the return of the town to teing a Fopular geaside destination buung wilh lrfe, ¢￿atIVIty and art. Artists and creatives in Folkestone continued lo use our performance spaces, even while Covid restrictions were in place. for research, development, training and rehearsals through our Open Sesame programme. Together with the offer of seed funding. this presented a lifeline for many as it allowed participants lo use the period when live Ferforynance in front of aUdIen￿S vrds restricted for rehearsals arHYor development. Hamng been hlt hard by the Covid-19 pandemtc the Creative Quarter ￿tUrned, over the summer, to a busling place frequented by visitors seeknng creativity and inspiration. Interest in new tenancies remained strong, indicating a contsnuation of the creative sector recovery. This resulted in high crfxupancy levels of over 900/0 by year end March 2022. CREATIVE FOLKESTONE Report of Trustees For the ear ended 31 March 2022 In December took on the stevRrdship of Prospect Cott4e, Derek Jannan's fomw home in Dungeness, following a SUC￿ss￿l campaign delivered by Art Fund, Creatwe F￿keSt0n& and Tate lo save the cottage and its iconic garden. Maintenance work then began on the cottage and garden, and preparatsons for commitment lo o￿n its dwrs to the public through visits and a residency programme. Activities for the EU Interreg North Sea prograrnme, CUPIDO. cOntinL￿j digltally W￿th the first in Ferson meeting finally taking place in March 2022. The project started in 2018 and brought together 16 partners from seven countries to share th￿r knth￿edge, expertise and resources for promoting the digilalisation of the cultural sector and the establishment of CreaTech industries. Funding included a contribution to Ihe cc6ts for the estsblishtrent of our dMJitsl'.glassworks hub and the integration of digital cornponenls into the Book Festival and Tri￿nIal programme. It also fina￿1allY 5UPPOrted Open Quarter 2021 gimng SMES in the Creative Quarter the opportunity to share their digital knO￿edge and lo promote their bu%nesses. Due to the Covid pandemic, the project was granted a S￿Ond six-month extension, pushing the anticipated end date bad( to Seplemter 2022. During 2021 wotks were completed in digital".glas$work$ for the Hi3 NefvKJrk, a project lunded by European Regional Development Fund IEROFI and led by Lmdon South Bank University in partnership vAth Canterbury Christ Church Universty. Creative Folkestone. ma￿$tone Studios and Screen South. The Board of Trustees would like to express their appreciation for the continued generosity of its benefactors in lems of both Committed fvnding and in-kiTrJ assistance with thework of the charity, including Art Council England IACEI, Kent County Council IKCCI, Folkestone and Hythe District Council IFHDCI, National Lottery Heritsge Fund, Historic England. ErMJland's Creats've Coast. Canterbury Christ Church University, CUPIDO and the EU Inter￿ North Sea Prc*Jramme, Hi3 Nehffjrk. Oak Foundab'on, Henry Moore Foundation, Embassy of the Nelhedands, Saga. NewsNow. Jenner, Breem Construction, Hollaway, Leas Pavilion Development Limited, Martello Building Consultancy, Neat Studios, Otterpool Park and Quinn Homes. The Board of Trustees would like to ¢￿VeY special thanks to the Trustees of RDHCT for their continued support for the work of Creative Folkestone. The Board of Trustees would also like to express tha'r app￿lation for the dedi¢alion and hard work of both the Charity's staff and its committee members who are not TnJ$tees. Their continued flexibility and willingness to adapt to still changing conditsons due lo the CoMd-19 pandemic made it sy)ssible lo deliver an ambitious and challenging arts and perfomance yogramme and to allcw the Cre*ive Quarter to recover from the unprecedented ramificabons of the Icckdowns. Craatlvè Quartar The Creative Quarter is an urban village of deS￿nerS, filmmakers, musicians, web developers and artists located in the old Iovrfn of Folkestone. 11 is made up of over ninety reslor&J buildings spanning residential flats, studios, Offi￿$, warehouses and shops. The area is populated by a community of over five hundred artists and creatr.ves and home to many businesses and indivhdualg have created hundreds of jobs that have helFed rejuvenate the Iccal economy. The Creabve Quarter reopened propedy over the summer with the easing of Covid restrictions. The visitors generated by the Book Feslwal and the Triennial helped to bring the I￿al econ(wny slowly back lo life. New enquiries for tenancies resulted in high (￿cupancY levels of over 90% by year end March 2022. The bulk of applicants were for residenb'al, ground flc(sr commercial Spa￿ and Old High Str*t shops which meant that any of these properties were swrny ￿cUpied when they became available. A number of tenants moved into larger premises after having sU￿SS￿lIY develor*d their practices or businesses and have outgrown their work spaces. This included Fourth Wall, Folkestone, and Ben's Vintage which moved into new and larger properties on the Old High Street. The summer saw the successfvl return of pop-ups as trials for pemianent premises - a m¢JYel which we intend lo replicate going forwards. CREATIVE FOLKESTONE Report of Trustees For the ear ended 31 March 2022 Handover of the new Mill Bay Cabins twk place C￿ 8 September 2021 wth tenants mowng in soon after. The buildings in Mill Bay are $triknng, modem, %hrc#Jen-claJ structures incO￿lfating a Triennial ar￿rk by Jacqueline Poncelel. Mill Bay Cabins completes the final handover of new and refijrbished spaces by the Rryer De Haan Charitable Trust lo Creative Folkeslone. Since 2002, the RDHCT has been purchasing, fesloring and leasing, at a peppercorn rent, propertie5 in the Creative Quarter to Creative Folkestone. The portfdio consist$ of 90 buildings which contain 76 residential, 52 business and 126 studio and office spaces. The properties are leased lo Creative Fdkeslone on a 125 year lem. The leases allow Creative Folkestone to gain a rentsl income to deliver their ¢harrtabie V•f)rkg. Last year saw the completion of the ￿anned extemal building redecNation in the Old High Street, Tontine Street and Mill Bay area which gave the entire quarter sn uplift. It ￿MprIsed essenb'sl repairyJ and ¢leaning for many of the buildings. including gutters and exlemal plumbing. Open Quarter returned in Septemter ￿￿th Open Studios.. a day festival in Payers Park and live slreamedlin person tslks at Quarterhouse and Glassworks vthich V•Ere well atterKled by the public and tenants alike. On 2 Novernber 2021 thè Cr&3tive Quarter byas filled with colour and swnd as the annual Christmas Ilghl switch￿n was paired with the Day or the Crcwned Death event that marked the close of the Triennial. Hidden in the arNvcrk Janus Fortress.. Folkestone by Pilar Quinleros was a Crowned Skull that was broughl down from the East Cliff, through the Creative Quarter, and on to Payers Park wh¥e the athork now resides. The FY¢xe$$ion of drummers, dancers and musicians was ￿comPanIed by more than 3,000 people, bringing visitors into the Creative Quarter. The regular Creative Quarter Christmas Concert resuffEd gi￿ng tenants. partners and Ihe local community an opportunity lo come l¢)Jether in celebration. The evenl featured ￿erf￿nanCeS of music. poetry and live art by Creative Quarter tenants. We continued to tse part of the Hi3 Network. a [￿JeCt launched in 2020 and ￿fftJnded by the European Unton with a focus on the development of moving•image, screen-based and ¢reabve technologies through innovative research and development. The aim is to estsÈ4ish a nets¥ork of industy specialists, researchers and businesses that wll bring new opwrtuniti'es and reswrces to young ffilm creators at digital hubs in Folkeslone, Canterbury and Maidslone. The Folkeslone hub is based in digital'.glas$works and Hi3 Nets•th funding sup￿ed office and studio costs for one of our partners, Screen Soul, a cultural development organisalion wth digital creativity at its heart. Last year saw the official launch of the hub and our work focussed on raising awareness for the Hi3 Netsvork and Screen South through social media and inlemal and professional netsvork communications. In addition, Creative Folkestone rais&J awareness for the proie¢t through targeted ¢ommuni¢ats'on to I￿al SME'S and professionals, usiro our existirKJ nehvorks. This included promoling the Hi3 Ne￿rk to Creative Quarter lenanls, posting informabon in FacettyJok groups and contacting organisations such as the IcKal Chamber of Commerce. Creatlve Folkestone Trionnlal 2021 Twenty￿ne artists from diverse backgrounds were inmted lo use the public realm as their inspiration to create new athork$ to refleel Folkeslone's cultural history and highlight current topics in the town and the wider worfd. Enlilled The Plot, the Triennial tcx)k visitors on various routes through Folkestone lo leam more about three historic narrats"ves.' Sl Eanswythe's watercourse. the physician Wllham Harvey's discovery of the Circulation of the blood and Folkestone's industrial road, 'The Milky Way,. In total, 23 site-specific artsvork$ were ￿ated by inlemationally acclaimed artists, including three Tumer prize wnners. in 45 pc6ilions around Folkestone. The ar￿OrkS encouraged visitors lo refl￿1 upon the gap betsveen stories and their reality, raising quesb'ons a￿ul the universal need lo distinguish myth from reality. The ¢ontribub'ng artistslartist collectNes were Assemble. Rana Begum, Sam Belinfante, Stephanie Bergman, Jyll Bradley, Patrick Corillion, Shezad DawX￿, Richard Deacon, Diane Dever, Jacqueline Donarchie, Giltert & George. Genuinefake. Tina Gv￿0￿&, Mariko Hori, Christopher Houghton Budd, Atta CREATIVE FOLKESTONE Report of Trustses For the ear ended 31 March 2022 Kwami, Morag Myerscough, J4ueline Pcfi¢ele( Pilar Quinteros, Bob Roberta Smith, Mike Stubbs, Jason Wilsher-mills, Wowgang Winter & Berthold Horbelt, Hoycheong Wong, Simon OavenpJrt & Shahed Saleem and Bill Woodrow. Approximately 220,000 visitors enjoyed the exhibition with 45°k of those visiting for the first time, doubling the proportion of prewous events, indicab'ng that our audience reach has broadened. A survey revealed that 88°h of vlsitors felt ihe Triennial helped to improve Folkestone as an attractive place to visit and 77% fell rt improved the puilic space and enwronment and brought valuable business to the area. Wth visitors spending approximately £50 per visit, we calculated Ihal the Triennial generated £11.OC(),WO of economic activity for the region, wth a further £2.300,&XI of investment from Creative Folkeslone, 11$ funders and sponsors, givin9 a totsl of £13,300,000 direct inward investment into Folkeslone. In the lead up to the exhibition. partnerships with arts organisations, Iccal community groups, charities, schools. Univers1￿.e8. and local and regional aulhonties were established. They were crucial for enriching the engagement programme, ensuring that local people were included in planning and also in building the wealth of specialist knowledge and experts'se required by some arh•K*rks. We partne￿d England's Crgalive Coast (ECC), a landmark project bett•￿en seven outstanding art organisations, lo ¢￿ale a new outdwr cultural experience along the South Coast of England. The Triennial artwork Janus FortTrss.' Folkestone produced by Pilar Quinteros was c￿mMiSsiOned lo become one of a series of Seven arhvorks unveiled ECC in May 2021 al locations be￿n the East Sussex Downs and the Thaff¢s Estuary. In addition, the partnership funded an accompanying local community programme that included the wortd's first Art Geotourwith geocaches placed around Folkestone. The offer of the G80tourwas taken up by a total of 1,4¢YJ F¢ople. The Triennial was accompanied by a comp￿henS￿e Engagement Programme en¢ompassing a Public Programme and a Learning Prc>Jramme ccmprising 245 events and a¢tiwtie$ attracting 16,798 parti¢ipants, The programme was designed for Feople of all ages and abilrties and wth a range of interests. 11 was packed with talks, workshops, guided tours. films, Conferen￿ and more, offering audiences and participants, a vast range of opportun￿'8S to dive deeper into the Kleas, ath0￿$ and themes of the exhibition. The Leaming Pr¢>aramme reached an egb'mated 6,5(M) children and young people through 87 workshops, 24 online assemblies and other creative aclivib'es. In September, we were delighted to finally deliver an in- person event at a local primary schod attended by 220 pupils. In addition, 327 students t¢Jok part in the Higher Educats'on Projramme. 1.2 million people engaged digitally through video contenL pjdcasig and online c>)nferencesl tslks and discussions and through an interxtive s{￿la1 ￿￿dia campaign. The exhibition was widely marketed through 24 newsletters, 850 posters, 73,100 flyers, 190,000 Triennial website visits, through the IC￿al community, school assernblies and through Creative Folkestone, professional ne￿orkS of funders and partr￿$. An extensive PR campaign secured 156 editorials in print and online preg9 on Iccal. national and international platfoms, reaching a readership of over 3.4 ￿'1110n. A detailed evaluation report was sent to fvnders, partners and other stakehoklers. Folkestono Artworks Folkeslone Athorks is the largest urban outdoor exhibition of ¢ontemporary art in the UK, currently consisting of 74 arfv￿rks from 46 artists. The exhibition has grown over the years wth new work added after each Triennial. Part ofthe exhibition is owned by c￿ative Folkestone. however much of it is owned by the Rojer De Haan Charitable Trust. other exhibits are loaned by the artisL The Roger De Haan Charitable Tnjst pays for the exhibition's maintenance, its insurance and o)ntributes to the costs of its custodian. CREATIVE FOLKESTONE Report of Trustses For the ear ended 31 March 2022 After Folkestone Triennial 2021 we wtyked wth Kent County C(MJncil and Folkestone and Hythe District Council to apply for planning ￿rmiSSIon for those arN•th$ that bMII remain in plao. If successfvl, it wll bring the number of arhvorks lo 90 by 57 artists. Over the last year, maintenance work contrnued to be carried as scheduled while major repair work was completed on Richard Wcod's Hol￿aY Hom8, Sol Caiero's Cas8 AnaCa￿a, AK Dolven's Out of Tune, Mar¢ Schmitz and Dolw Ser-Od'$ &r8n. Christsan Boltanski's The whispe￿ and Pae White's Bart(ing R￿ks. Quartsrhouse The work cf Ihe Perfcming Arts and Leaffling Team gained momentum from June onwards when Covid- 19 restrictions started to ease and plans were made to implement Creats've Folkestone's regular perfcfming arts programme again. A full perfonmance wogramme of dance. music, theatre and film was in place for the autumn season that offered 103 perfomances to an audience of 6,903 FeoF4e. The community group c¢j)fidan￿ whose V￿rk with dancers wrth leaming disabilities returned lo the digilal.'glassworks st￿￿10 in May wth their professional dance company, Confico, for wee￿Y training Sessions. They perfomed at Rana 8egum'$ Triennial athrk. No. 1054 Awgio. Confico also presented the popup performance T8k8 a Dip, a dance show that celebrated creatiwty and Folkestone's colou￿1 seafront. The programm8 of dance shows ts)ntinued in November wilh Ferformances. The Jose Agudo Dance Company drew upon their unique mix of flamenco and contemporary dance and the Pagrav Dance Company, a new generab'on of British dancers of IrKlian heritage transported vweryJ to Uttarayan, the world-famous festival in Gujurat. North India. Slrangelove Time-Based Media Feslival returned to Venl￿ across Folkeslone promoting expenmental, innovative art and film over day$ in September with thoughl-provokn'n9 wodd premiere performances. In September, a sold4ouI Quarterhouse welcomed bxk the first standing music audience to the Quarterhouse since COVID-19 for a live performance from the Bnb'sh folklAmeri¢ana trio. The Staves. It was presented by the Brighton based independent music promob'ons company, Metting Vinyl, wth the group supported by the wdl-known Oklahoma native singer arKI sonwnter Samantha Crain. Melting Vinyl continued lo present several contemp)rary folk arbsts wlh ex¢eplional Song-writing skills and musicianship throughcul the wnler. This included the pioneering Scottish folk trio LAU, who won the BBC Radio 2 Folk Awards Best Group four times. In the second half of the year. Quarterhouse welconw several theatre companie5 Including the Frozen Light Theatre Group, who brought their sensory perfomiance, 2065, to the stage to tell the story of a group of rebels living outside the system in a futurists-c setting. It was an opportunity lo welcome audiences wJed 13+ wlh profound and multiple leaming diSa￿.1111e5. This strengthened our relalionships ourcommunity and Ca￿ groups acros5 Folkeslone, Hythe, Romney Marsh and Ashford. In February, of UK'S leading ¢onlemFrf)rary Circus companies, Lost in Translation, returned to Quarterhouse with their spectacular Hotel Paradiso. The show originally teen scheduled for Easter 2020 but was postponed due to the pandemic. With most of the audience having retained their ts"ckets the three shows that took part over the weekeThJ vEre perforn￿d in front of fvll auditoriums. The Doc Club start&J the new year wtrb online screenings in April and May but then retumed tc Quarterhouse in June and contr'nued to present morrthly events throwhout the autumn and winter season. Doc Club films included J8zz on a Summers Day. one of the best live MUS￿ dceumentaries filmed at the 1958 Newport Jazz Festival in Rhode Island. Beyond the Viwble.. Hilma af Klint, a screening about a recent retrospecbve al the Guggenheim Museum of the visionary and influential painter Hilma af Klint., and Cow, a portrait of the life of a dairy cow presented by Oscar-winning director Andrea Amold. Each screening was followed by a discussion be￿een the hosts and the dir￿Or oflhe film which gave audiences a unique insight into the making of films. In November we hosted the inaugural Folkestone Lkxumentary Festival intending lo bring innovative documentaries to Folkestone. The programme included the dog-lriendly screening of Stray directed by CREATIVE FOLKESTONE Report of Trustees For the ear ended 31 March 2022 Elizabeth Lo and EVeryb￿Y in the Place directed by Tumer prize wnner Jeremy Deller who was in conversation wth Alastair Upton after the screening talking ab)ul his unique approach to documentsry storytelling and the do¢urrentaries that inspire him. Open Sesame, the programnE offering free Sp￿ for rehearsals, training, research & development, recording, live streaming and ￿all rrtetings to the Creative ¢ommunity, remained in place throughout the whole year. This decision was made in response lo the high demand from artists and creatives to use the Quarterhouse auditorium and the digital."glasswork's Studio. In addits'on lo having free access lo performance spaces, arbsts were able to apply for seed funding lo research and develop new projects. By the end of March 2022, six grant$ had b￿n awarded, bringing the total number of artists. organisalions or prqects SUPFthed over the last year through Op8n Sesame to 52. In the lead up to the opening of the Folkestone Triennial, the Open Sesame programme was used to hosl workshops where residents wefe inwled lo become part of Morag Myerscough arfv￿rk, Flock of Seagulls Bag ofstolen Chips. Several schwls and communrty groups participated and came up wth the key phrases that were painted onto large panels attached to a metal construclion that echoed a gasom&ter that once stood on the former gasworks site at Ship Street. Folkestonè Book Fèstival Folkeslone Bwk Festival returned. taking its insp'ration (￿ce again from the ideas and thoughts of H.G. Wells, who was born in Kent and was a Folkeslone resident for thirteen years. Entitled The Shape of Things lo Come, writers, arkn'sls and thinkers explored issues, including race relations, the environment, technology, food, pandernics, Britain, Russia, Europe and the US. The festival was set up as a hybrid ol duilal. live. aTrJ oJtd(M)r events to ensure that not￿al Covid-19 guidelines were follow&d. The INe talks aTrd Ferfomwnces twk ￿ace in Quarterhc￿j$e to an audien￿ limited in size along wth outside venues to c¥eate Covid safe enwronments ft)r audiences. arbsts arKI staff. The 27 digital, live and oUtd￿r events were enjoyed ty a tota audience of appr0￿MatelY 4,SLbJ adults children. Participants included Polly TOYn￿e, Luke Harding. Laura Bales, Nick Bryant and Olegha ￿agba amongst many other well known speakers. The openirKJ by rnvelisl, screenwriter and film director, Hanif Kureshl, was followed by ten days of thought Provoking discussions on topics such as mental health, the financial ¢ri$e$, politics, technological innovations and stories at#)ut remarkable women. One of the headline events of the festival was an immersive mU￿lmedia experience, inspired by the secret wedding of Nobel laure*e, novelist and playwnghl Samuel Beckett in Folkestone on 25 March 196110 his long-time partner Suzanne Deschevaux-Dumesnil. To mark the eoth anniversary of Beckett's little-known appearance in Folkesli)ne, the festival audience was invtt&J - one al a time- lo follow his footsteps around the town. At each locabon, they learnt about his stay by listening to new fictional monologues, written by Helen Oyeyemi, Rupert Thomson and Eimear McBride, delivered by an all-star cast.. Jade Anouka. Russell Tovey and Dame Ha￿le1 Walter. As the audience members maje their way through Folkestone's old tcNm, they listened to biographical fact-files on Beckett'$ Another highlight of the festival We￿ tsvo performances at Sol Colero's shorefronl arNvork, Casa Ancona, that presented an evening of folk mu51c, poetry and reading$. A $tary line-up offolk singers and musicians. including Seth Lakernan, Jon B¢Jden, 8en Nicholls and Jack Rutter, staged a programme of music interspersed by readings from tesl-selling and broadcaster Chartie Connelly, novelist Rosa Rankin- Gee and actor Evlyne Oyedokun. The main live event primary schools was presented in Quarterhouse by Kent-born bestselling children's author Kathrin Rundell. Three local artists were commissioned to create online workshops using various themes of the festwal. The videos were then promoted on S￿al media and shared with primary and secondary schwls in F￿kes1one. CREATIVE FOLKESTONE Report of Trustees For the ear ended 31 March 2022 Opon Quartar 2021 After being suspended f(Kone yeardue lo Cowd-19, O￿n Quarter invited Folkestone re￿dentS and visitors lo explore the Creative Quarter and tske a Ic(sk behind the scenes. It was also intended lo raise awareness of and support for local creatwes businesses. Open Quarter stsrted wth Connecting Creatives.. a nefvthing evening of PechaKudp style tslks from creatives across the Creative Quarter lo showcase their practice and businesses. Around 40 tenants used the event allowng them to with felFoN creatives and catch-up on the lalesl digital technology, experien￿$ and $kill$. Over 1,000 [￿pIe of all ages enjoyed the pxked programme of events in Payers Park. As well as live music, audiences enjoyed fc*)d and drink from kKal cafés and bars, a live graffiti painting and skating programm8 and a senes ol workshops led by kxal creats"ves. Folkestone's skate park F51 and Neightourhc*)J Skate organised the skating programme and prowded ramps and luilion to anyone who came along with a board. The highlight of the aftemoon VRS the highquality immersive dance shN Fish Out Of Waterperfomied by Michaela Cisarikova Dance Company IMCDCI from within the The work explored Stories of migration and displacemenl.The MCDC team had worked Closely. tyer the summer, wth young migrants and would often join them in the park to under$tsrKI and leam from their experiences. Beacons 8eacons was a new outdo)r winter solsts'ce arts afvenlure desigred by Folke$t¢)ne based artist, Alison Neighbour, In partnership wlh Creative Folkestone and SparkedEchJ. for members of the l(xal community to celebrate their conne¢tDns to each other, lo the land. and lo the sea. The project centred around the story of sea goo$eberrie$ that are washed up on Britain's shores every year and explained how the community used lo wel¢ome their arrival each year. It also aimed lo help parts'cipanls understand their role in the local and global e¢trsy$lem. The project was developed to engage with people vtho felt that art was not for them. Th? role of Creative Folkeslone was lo lead on the marketing of the proJ'e¢t and ctrmanaged the Communrty Engagement Programme.11 also ran school workshops through its Leaming and Engagement Programme. Central lo this complex and multi-layered project was the recruitrnenl of Icral Sg8 GcK*sebgrry Guardi8ns from Fo1keslc￿e, Hythe and Romney Marsh roles were lo raise interest and engage the community in a Quest that took place over the m¢)nth of November. In total, 169 people signed up although the total number of Quest participants far exceeded this as most people hunted with friends and family. The more treasures the Quest participants fwnd and logged on the project's website, the more it was likely they received a Sea Goosebeny. A lotsl of 136 luminescent Sea Gc¥)seberries. made from resin, were given to Quest participants, chosen members of the communities and participating schools. They were asked to bring them lo the grand finale- The Gathenng- that took pl￿ on Sunny Sands on 18 December. The Gathering presented an immersive sound show perf0m￿d by Fxofessional singers in fvturistic yell¢)W oil Suits who navigated their way through Ihe crowds on the beach while their sounds and Singing we amplified through megaphones, giving the event a surreal touch. Despite the cdd weather, and the increasing threat posed by Covid-79 variant Ornicron. around 8CQ people came to enjoy the magi¢al event with 90°h ol the Sea Goos8berries participating. Pioneering Places Pioneering Places Ea51 Kent was launched as part of the national Great Place Scheme and was an ambitious proie¢t to make East Kent a better plxe to live, work and visit by exploring heritage, developing civic pride and connecting artists and communities. Four projects in East Kent were seen as a priorty with Creative Folkestone taking the overall lead as ProJ￿t Directors. The Folkestone part of the project aimed to revive the abandoned and disused Ship Street Gasworks site. Over three years, the four siles in Canterbury, Ramsgate, Dover and Folkeslone form&J a close partnership working together with 30 schools, three FE colleges, 11 universits.es and more th￿ 740 pathers, stakeholders. local communty groups and national sector organisations. 10- CREATIVE FOLKESTONE Roport of Trustees For the ear ended 31 March 2022 At the Ship Street Gasworks site in Folkeslone, three public arknrks were ￿MmISsiOned and installed as part of Folkeslone Triennial 2021, fully opening the site to the public for the first lime in decades and attracting over 17,500 visitors in less than eight weeks, raising aw¥eness and increasing visibility of the sites through the power of a Through collaborats've work the comunrty. professiMal$ and Folicy makers, inspiring and credible proposals for the future use of the sile were devised. unlocking an estimated development value of £18 million. The sile was reclaimed by the local cwimunity and purchased by Folke5tone and Hythe District Council in early 2021, The Council have invited proposals trbm develoFers for a mixed-use developrrtnl of the site.wth a strong focus on design, sustainability and art in public Spa￿S." The Call for Prop)sals specifies the Council's intention for develo￿(5 lo continue wort(iry in partnership wth Creab"ve Folkestone and the IcKal community lo create a flagship mojel of urban redevelopment thal wll benefit the community for many years to come. Although the funded period for Proneering Plxes officially Caff￿ to a close on 30 Seplemtrer 2021, agreement wa$ reached ￿th ils ftjnders to parts"cipale in an end-of-project event for policymakers and stskeh01de￿ that look place on 26 OctO￿r 2021 cfi the Terrace Pavilion at the House of Commons. The event was Sponsored by Damian Collins MP and f￿USed L8velling up cOmmunit￿S through cutturaland heritage-led reg8n8rntion. The event was attended by over 100 people including DCMS Minister for Hentage and Tourism, Nigel Huddleston MP and DCMS Minister for theArts, Lord Parkinson. KeYr￿te speakers includ&J Alastair Upton. Damian Collins MP as well as Darren Henley, Ros Kerslake and Duncan Wilson, CEOS of Arts Council England, Nab'onal Lottery Hentage FuThJ and Historic England. resFectivety. Laarnlng and Engagement The year started wth a focus on wr Tnennial Leaming and Engagement programme. Leading up to the Triennial launch in July. 24 online presentations were made at assemblies to an estimated 4,500 pupils in primary and secondary schjols in the district. Each lasted around 15 minutes and included the introduction of a selection of the newly commissioned arNvorks. 11 was also an opportunity lo draw attention to the online ￿oUrCes, created for children and young people, and available on Creative Folkeslone's website. Two printed learning resources were prc#Juced - a Family Guide, aimed al primary xhool children, and a Young People's Guide, designed for older children. 4,500 guides were given out to families and schools throughout the exhibition. A$ an online learning resource, a padbt page was created wrth infomialion and ideas for families to use ile taking a Trlennial lour. The link to the padlet, together a digital version of the guides. was sent to sch¢)ols to SUPFQrt teachers and inspire children and young people. The Triennial Leaming Programme delivered 43 worksl)ops and Iwrs and was attended by 1,C67 people of different age ranges and abilrties. Five weekly acttwties were offered - kn school workshops, a community workshop and a family dfopin worksl)op every weekend. In addition, a guided tour of the athrks was offered lo schools every Friday. Local artists were invited to deliver the workshops which were all created and inspired either by the nevAy commigsioned arfftths or based on themes from The Plot. Every artist was asked to choose the arhvork they fell most inspired by or that resonated most wth them in their own practice. Over the summer holidays. a program￿ of activities was offered to children and young people to boost confidence, make friends, and develop creative s￿119. This included workshops to experiment with sounds, music, and production and. as part of the Neon SchLX)I seties, session5 to explore rrK)vement and digital immersive technologies. The popular Young Animators Club was back in b.me for the October half tern wth workshops for children to use their creab've skills to transform ar￿￿ into a digital game that could be played on computers, 11 CREATIVE FOLKESTONE Report of Trustees For the ear ended 31 March 2022 tablets, and phones. The brand•new animated game was played and projected onto the Quarterhouse w￿1 during Christmas celebrats'ons. Both the Young Animators Club and Neon Sch￿1 contr.nued in January offeriThJ weekly sessions for chiklren and young people interested in w$ual and perfoming art. Our regular programme of family and ￿h(m)I workshops also resumed in January. During the first three months of2022 a total ofeighl sessions look place that were attended by 244 children and parents. Themes included making lampshades, creating a new en￿ron￿nt through sojlpture, and ¢Thling installations inspired by sounds, rhythms and migrats.ng birds. Prospect Cottage ProsFect Cottage, on the DUngen￿ estate, was the home of British film director Derek Jarman. He lived there from 1986 until his death in 1994. Jarman turned the cottage into a work of art and C￿ltivated a garden in the surrounding shingle where he 9rew hardy plants mixed sculptures made from drIf￿d and other flotsam. In 2020, the Art Fund led a campargn dong, Tale and Creative Folkestone, that rai9ed over £3,600,000 lo purchase Prospect Cottage create an annual hjnd lo support it in the hjture so that il could be saved for the nation and become a Centre for creative ackn'wty. Creative Folkeslone has become the ¢u$lodian of this iconic cottage and gardens. The charity signed a 12S year lease for the cottage with the Art Fund on 2 Decemter 2021. As part of the lease il receives funds l) cover all the maintenance and basic management costs. The ￿lationShiP wll be reviewed over trme and the lease has a break daus& that hopefvlly will never be used after ten years. After we Signed a lease with the Art Fund, an initial threfryear plan set tyjl the framwork for a ￿SearCh and development period lo define the requirements necessary to ￿$tOre the cottage and garden and to establish the principles of regular care and conservation. The plan also wllineg govemance, slaffing and 8n activity plan for the roll out of the residency programme and other xtivibes. Creative Folkestone was successful in securing a Project Grant of £30,000 from Arts Council Engpand to pilot a residency programme in 2022123. This grant, along wrth a donation of £10,000 from Rockefeller Philanthropy, enabled Creative Folkestone to sel up a programme for 12 months. The residency programme will give artist5, academics. Yfflters, gardeners. filmmakers, and others interested in JarrrHn an opportunity lo be inspi￿d by his woth and the garden. The first residencies wll take place in August 2022. A nevAy formed Prospect Cottage projecl team at Creative Folkestone was given the responsibility of delivering the plan and rt wll be supported and advised by a newly established Pro$pe¢l Cottage Adwsory Sub-commrttee. Inits'ally the team dealt with urgent requirements lo make the eotlage safe and ensure that il was watertight. An extensive survey identified further, more ¢omplex, essential rna1ntenan￿ issues and a Folkestone based construction company was Contracted lo undertake the work. The garden was maintained and plans were dra*￿ up lo build new herb planters that Derek Jannan wanted lo have when he was alive. The wwden s¢ulplures and assemblages were inspected and repaired there the Ness, harsh weather conditions had left their marks over the years. Plans were also made lo restore the ar￿rk The Sun Rising, on the side wall of the cottage, that depicts the words of John Donne's poem. The Tale, our partners on the cottage. tcok the most fragile objects into their archives lo protect this artistic legacy for future generations. This archive wll be available lo researchers and the public. An inventory was completed of the remaining arN•ths, bcoks, assemblages and other documents that were retained in the cottage and garden. Pholographswere taken lo document the cottage's original interior design and contents and lo Create a reference for potential future re￿￿ish￿￿ts. Dlver¥ity Diversity and equality a￿ embedded in all Creative Folkestone activities that wll give everyone in the community, independent understanding of their tsual and s(Kial background and ability, the chan* to 12- CREATIVE FOLKESTONE Report of Trustees For the ear ended 31 March 2022 have a full cultural and creative life. There is an understandir¥J in ojr0rg￿lsab.0n thatthe more we embrace diversity, the richer the results wll be. Our airn is to reFYesent the diversity of Britain in our creative programme, on our stsges and in our exhibitions. To represent the diversity of our ￿Mmunity in our team. governan￿. staff, volunteers, tenants and audiences. Environment Creative Folkestone is ccffjmitted lo reducing its envircnmental impact year on year with the aims and objectives sel out in our Environmental and Sustainability Policy and Plan, drafted initially in 2018 and reviewed annually. Our plan centred around measuring the reduction of energy, water and waste of our performance venue Quarterhouse. The achievements were measured through the online monitoring system. Green Crealwe Tcols, develoFed by the chanty Julie's BiGycle for the arts and Cultu￿ industy. In addition, the system was used to calculate the carbon ftrjtprinl of audiences, travelling to Quarterhouse. The default setbrg was developed by the Charity based on average audien￿ travel dats in the UK. So far, we achieved the expected reduction in all areas measured. however, for the year 202012021 was skewed by the shutdown ot Quarterhouse. Creative Folkstone's overall environmental impxL ￿￿aSUred in carton dioxide equivalent IC02el, was 97 lonnes reduced from 176 tonnes C02e in 2018119 which is when started lo measure our cart￿n footprint. Of this, energy was 39 lonnes reduced from 64 tonnes, water and sewage was 275kg reduced from 1 tonne, wa$le was 13 tonnes reduced from 34 tonne$. ard audien￿ travel was 44 tonne5 reduced from 176 tonne$ in 2018119. Cowd Ic¢kdown$, over the last years. mean that the C02e data has dramatically reduced Sin￿ we $tsrted ¢ollecling it in 2018119. We exFect, thefefore, that 2022123 dats will show an increase in carbon footprint on this year, so future dats musl be read wlhin this context. In the last year our new policy has teen drafted. It cOnfiM￿ our contsnued commrtment to reduce the car￿￿ footprint created by Quarterhou$e adivibes bul extends Creab've Folkeslone's reswnsibilities, for the first time, to the C￿aliVe Quarter wlh dats being ¢olle¢ted from our tenants and all of our properties. Future Plans In Autumn 2022. Crealwe Folkestone will celebrale its 20th annNersary and we will use thls as an opportunity lo highlight the charity's impact as the UK'S leading plac£making organisalion. There are plans in development to Celebrate the achievements of the last 20 years thilst at the same b'me looking forward to t￿ next phase of Creative Folkestone's work as YE $tsrt to roll out an ambitious fiv year business plan. Although the Creative Quarter has T￿0Ver&I well from the Cowd-19 lockd(rwns, we will ¢ontinue lo prowde support and advice to our commercial tenants lo help them build on the strength and resilien¢e they demonstrated throughout the pandemic. The Creative Quarter Team will conts.nue to strve towards maintaining fvll ctcupancy levels with a focus on filling the remaining empty premises in digital glawi)rks and the nevAy launched propett'es in Mill Bay. The Creative Quarter continues to grow and develcp Ydth the recruitrnent of new tenants from an increasingly high-quality pool of applicants. As a partner of the European nemrsrk project Hi3 wewill cxjntinue lo disseminate info￿na￿'0n about training, skill enhancement and ne￿•￿￿n9 opwrtunrties delivered by our partner Screen South to local film and video creatives. With the new Triennial curator in pla￿ this year we will see the start of planning for the 2024 exhibiticfi. It is expected that a concept will be developed, artists selected, and some arts￿rkS commissioned. Some of the Triennial 2021 ar￿￿rkS will be added to the Folkeslone Arbvorks eyhibition as soon as planning perniissions from the councils are granted. The PerformirvJ Arts team wll strengthen their relationship with the local creative community and will increase its investment in local creabve talent perfomiing as part of our arts and perfomiance programme alongside high-quality national touring theatre, dance, music. comedy, film and family shows. 13- CREATIVE FOLKESTONE Report of Trustees For the ear ended 31 March 2022 We will continue to offer space and seed fvnding creatives to research, develop and rehearse new work through our Open Sesame programme. The OPFt)rtunity will be an open call a partrcular empha$i$ on encouraging artists who are currenlly under-represented in our prc•3ramme. Three successful festivals, SALT Festival ofthe Sea & EnvTronmenL Folkeslone Documentary Festival and Take Up Space wll take pl&e again in 2022 wth established and new partners. In addition the Fests'vals Fund will continue lo offer opportunities to ktal curators to devdop their own festsvals with the support of the Performing Arts team. For 2022, the Book Fesb"val wll retum lo rts historical slot in November to renav live contact with loyal audiences. A digital and perfomptive element will remain as part of the programme with a continued emphasis on the fijture and future-thinking which will allow us lo present a broad arc of vniters and subje¢ts including the climate emergency, diversity and lechnolc9y. The Learning and Engagement Programme will continue lo consdidale relationships with schools across Folkestone, Hythe & Romney Marsh and to devejop the family offer through an increasingly diverse range of free and open access workshops including the regular Neon School series and YC￿ng Animator$ Club. Having outgrown its premous leaming space on Tontine Street, 81￿k 67 moved into lager premises in di9ilal glassworks which will allow us to extend our adult education prryramrne and ir￿reaSe the number of outreach workshops offered to ¢ommunity groups such as MIND, Surestart and KFiAN lo ensure our creab've offer ￿¥¢heS all sections of the community. At Prospect Cottage the planned maintenance work wll be completed. and the focus will shift to the launch of its ￿SIdencY programme along wlh public wsrts in surn￿￿r 2022. Relationships wll be established and strengthened with partner organisalions and the ktal ￿MmunIty, and the cotlage wll be used ag resource for the Book Fests'val and the Leaming and Engagement Pr(>Jramme. In summary, V•P will continue to strive IoKdrds a full recovery from the Covid-19 pandemic. Creative Folkeslone will build on last year's ¥h￿VeMentS and deliver a full programme of activities reflecting our vision lo make Folkeslone a better place to live, work. play and visit through creats.vity and regeneration for Financlal revl•w The financial p)silion of the Charity is as set out in the ffinancral ststements lor the year. During the financial year ended 31 March 2022, the Charity achieved a sU￿lUS of £1,018,68512021'. suwus, £1,388,811) of which £1,647,500 12021. £1,150,000) relates lo the value of proFerty donated by the Roger De Haan Charitable Trust IRDHCTI durirvj the year. The Charity has faced considerable challenges followng the CoMd-19 outbreak with restrictions placed on its charitable activities, staff movement and tenants, premises. In response, the Charity reduced its ¢osts wherever possible including using the govemment's fvrtough scheme, adapted ils operations and provided support lo ils staff and tenants. Helpfully, the Charity had been taking steps lo buikl up its cash reserves which improved its resilience during recent mnths. The Charity held long leasehold [￿pertieS at 31 March 2022 with a balance sheet value of £14.6 million These properties are owned by the Roger De Haan Charitable Trust and leased to Creative Folkestone at a peppercom rent for 125 years. These Prope￿.e$ provide a rental income for the Charity which il uses to Satlsfy its ¢haritable objectives. However, these propeities may only be for creative and ed￿￿tional purposes, the capitsl value may never reali$ed by the Charity. The high level of ￿$tricted funds shNn in the balance sheet as at 31 March 2022 relates principally to the Charity'$ properties in the Creative Quarter rather than available cash resour￿. 14- CREATIVE FOLKESTONE Report of Trustees For the ear ended 31 March 2022 The organisation is managed in a qualitative Wdy. It has an agreed set of delivery objectives wth the Arts Council and therefore fwuses its performance to ensure the achievement of these outcomes. In addition, it has in place a limited number of high level financial KPI'S and ensures through its reporting and governance structures that these objectives are scfutinised. Reserves pollcy Since the estsblishment in 2002 of Creative Folkestone. the Charity had been in the development phase of addre&5ing ils charitable objectives. During this peti&J. the Chanty had not sought to build its reserves, aside from those repfesented as propety assets. More r￿ntlY the Charity has sought to build a cash reserve in addrtion to its property assets. It aims to maintain FK)sibve cash reserves over the next 10-year period. A ri$k&$ed assessment of need has set a largel range of be￿een £250,000 aTrJ £400,000 tor its free reseNes. The figure has a ceiling raised temporarily in anticipatson of a diffi¢ult ecornmic environment. Current non- designated resew are £507.OC(J, and given current uncertainty considered to be acceptable. The reseNes are set out in Note 21 to the financial Ststeryents. Restricted fiJnds are subject to specific terms and ¢onditr'ons declared by the don(Y(sl are only used for the purFoses for vthich they are given. Deslgnated funds In preparation for the Folkestone Triennial the Board will seek lo designate reseNes to ffiJlure Triennials in the years tetsveen exhibitions. The cost of a Triennial is arca £2.100.OCQ. The Trugtee8 have designated a totsl of £475,8751£83.000 to Triennial 2021, £100,000 to the cost of living reserve, £50.000 (£7,125 of which was spenl during 20221 to the Charity's 20th anniversary events and £250,000 lo Triennial 20241. Invostmont pollcy The Charty's surplus funds are presently held on cash deFQ8it. Prlncipal rlsks and uncortalntlos The Trustees have a duty to identify and review the risks lo which the Charity is exwsed and to ensure appropriate controls a￿ in place to provide reasonable assurance against fraud and error. Regular formal Iruslee and management meetings are held to rewew pr¢>Jress towards achiewng the Charity's objectives and to promote strategic direction within the operation. The Senior Management Team regularly addresses the full risk schedule identified by the Truslees and puts in plxe procedures arKI controls so as lo ensure those risks are adequately managed. The principal risks are al economic downtum and Covid related uncertainty, bl loss of key Board members and staff and c} failure to hil eamed income and fundraising targets. The mitigating actions are identified in the business plan, including ensuring necessary reserves, good propety management, succession planning and investment in the fundraising team. The Charity had in place a contingency plan which proved its worth durirKJ Covid-19 restrictions, vnth operations transitioning smoothly lo a home working environment for all staff. Equal opportunities and dlverslty poIIcy The Trustees reo)gnise that ensuring equal opp)rtunities for all is an integral part of gocAJ practice wlhin the wOrkpl￿e and Creative Folkestone remains committed to its comprehensive Equality and Diversty Policy. The charity ensures that the buildings it occup￿$ comply fully wth ihe ststutory regulations in place in relation to disabled access. 15- CREATIVE FOLKESTONE Report of Trustees For the ear ended 31 March 2022 Auditor RSM UK Audit LLP was apwnted audit￿ to Creattve Folke81one in •c￿rdance with seth.on 485 of the Companies Act 2006 and has indicated its willironess to conb.nue in office. Stratsgic report The matter5 ¥thich the Trust￿ deern to be of strategic imwrtance have teen included within the ReP￿t of Trustees on pages I to 3 in accordan￿ ￿￿th seCt￿n 414cl111 of the Companies Act 2006. This Report was ap by: by the Board of Trustees on 6 December 2022 and suned on their behalf, Sir Roger M De Haan- Ch Trustees 16- CREATIVE FOLKESTONE STATEMENT OF TRUSTEES, RESPONSIBILITIES The Trustees (who are also directors of CreatJve Folkestone for the purwses of company lawl are responsible for preparing the Strategic Report, Report of the Trustees and the financial slalements in accordance with applicable law and United Kj'ngdom Ac￿Unts.ng Standards {Uniled Kingdom Generally Accepted Accounting Practice). Company law requires the Trustees to prepare financial statements for each financial year which gNe a true and fair view of the state of affairs of the charitable company and of the incoming resour￿$ and application of resources, including the incOff￿ and expenditure. of the charitable company for that period. In preparing those financial statements. the Trustees are required to.. select suitable a¢￿untIng wlicies and then apply them consistently., obseNe the methtsjs and princi￿e$ in the Charities SORP., make judgerrÈnts and acccvnting estimates that are reasonable arKI prudent,. slate whether applicable UK Accounting Standards have been followed, 5ubje¢t lo any material departure$ disclosed and explained in the financial state[￿ntS and", prepare the financial ststements on the going concem basis unless it 1$ inappropriate lo presume that the charitsble Company will ￿ntinLIe in trw$ir*ss. The Trustees are responsible fc* keeping proper actounb'ng rewrds that disclose with rea80nable accuracy al any lime the financk31 p)silion of the charitable company and enable them to ensure that the financial slalements comply with the CompaniesAct20C6. They are also responsible for safeguarding the assets of the charitsble company and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities. The Trustees are responsible for Ihe rnanlena￿e and integrity of the corpjrate and financial information included on the charitsble company's ￿e￿Ite. Legislation in the United Kingdom governing the preparation and disseminatson ol financial statements may differ from legislation in other jurisdictions. 17- INDEPENDENT AUDITOR'S REPORT TO THE MEMBERS OF CREATIVE FOLKESTONE Opinion on financlal Ststements We have audited the financial statefflents of Creative Folkestone {the'charitable company I for the year ended 31 March 2022 which comprise the Statement of Financial Adivities (including the Income and Expenditure Account), the Balance Sheet, the Cash Flow Staternent and notes to the financial slalements, including significant accounting policies. The financial reporting framework that has been appl￿ed in their preparation is appluble law and United Kingdom Actounling Standards, including FRS 102 'The Financial Rewrting Standard applicable in the UK and Republic of Ireland. (United Kingdom Generally Accepted Accounting P￿tseeI. In our O￿nIOn the financial $talements-. give a true and fair view of the stale of Ihe charitable company's affairs as al 31 March 2022 and of ils incoming resources and applicati￿ of resources. including its income and exFendilure, for the year then ended", have been propedy prepared in accordance Unrted lfjngdom Generally Accepted Accounting Practice,. and have been prepared in accordan* the rè]uirements of the CompanE$ Act 2008. Ba818 for oplnlon We conducted our audit in accordance wth Intemats'onal Standards on Audits'ng {UKI IISAS IUKI) and applicable law. Our re$p)nsibilities under those standards are fvrther described in the Auditor's responsibilities for the audil of the financial statements of our reF¢rt. We are independent of the charitable company in accordance the elhtal requirements that are relevant lo our audit of the financial statements in the UK, including the FRC'S Ethical Stsndard and we have fulfilled our other ethical responsibilits'es in accordance with these requ1￿mentS. We believe Ihal the audit evidence we have obtsined is sufficient and apwowale lo pr￿Ide a t>asis for our opinion. Conclu$lon$ rnlatlng to golng ¢on¢om In audibng the finanoal statements, we have concluded that the trustees, use ofthè going concem basis of a¢¢ounling in the prepath.on of the fina￿la1 slatements 1$ appropriate. Based on the work we have perfNmed, V+E have not identiffied any material un¢ertaintie8 relating to events or conditions that, indimdually or collectively, may cast significant doubl on the charitable company's ability to continue as a going con¢em for a pen(*J of at least tsvefve months from when the financial statements are authorised for i$$ue. Our ￿sp(￿81b1I1IieS and the responsibilities of the t￿￿tee8 viith resF*ct to going oY*cem are desCri￿d In the relevant sections of this report. Other Inforniatlon The other information comprises the infofrnaticn irKluded in the Report of Trustees other than the financial statements and our auditorfs report thereon. The trustees are responsible for the other information Contained wthin the Report of Trustees. Our opinion on the financial statements does not cover the other information and, except lo the extent othewse expliciuy staled in our report, we do not express any fom of assurance conclusK)n thereon. Our respjnsibility is to read the other infomia1i￿ and. in doing so. consider whether the other information is materially inconsistent wtth the financial statements or our knowledge obtained in the course of the audit or otherwse appears to be materially misstated. If we idenb'fy such material inconsistencies or apparent material misstatements, we are required to detemine whether this gives rise to a material misstatement in the finanaal State￿￿nIS themselves. If, based on the work we have perfomied, we conclude that the￿ is a material misstatement of this other infomiation, we are required lo report that fact. We have nothing to report in this regard. 18- INDEPENDENT AUDITOR'S REPORT TO THE MEMBERS OF CREATIVE FOLKESTONE Opinion8 on other mattèrs prescribed by thg Companies Act 2006 In our opinion, based on the work undertaken in the course of the audit.. the information given in the Report of Trustees, which indudes 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 wth the finartial stalement5,' and the Directors, ReFx)rt and the Strategic ReFX)rt included within the Report ofTruslees have been prepared in accordance wth applicable legal requirements. Mattern on whSch ￿ are requlred to r¢port by ex¢eptlon In the light of the knowledge and understanding ofthe charitable ￿rnpanY and its environment ctstained in the course of the audit, we have not idenb.fied material misslatements in the Directors. Report or the Strategic Report included within the ReFQrt of Trustees. We have nothing to report in re5￿t of the folknmng matters vthere the Companie$ A¢t 2006 ￿quireS us to report lo you if, In our opinion.. adequate accounting records have nol been kept, or retums adequate for our audit have not been received from bra￿he5 not visrted by us., or the financial statements are not in agreement with the accounbng recL)rds and relums., or certain disclosu￿$ of trustees. remunerats'on specified by law are not made., or we have not received all the infomiation and explanatDns we require for our aLuJiL Re8pon81bllftlo8 of tru8tee8 As explained more fully in the Statement of TnJ$tees' resp￿S1￿.111ieS set Trjl on page 17, the trustees Iwho are also the directors of the ¢harilable ￿rnpanY for the purpjses of company lawl are responsible for the preparation of the financial state￿nts and for being sab"sfied that they give a true and fair wew, and for such inlemal control as the Ifuslees delemine is ne¢e$sary to enable the preparation offinancial Statements that are free from matenal misstatemenL whether due to fraud or error. In preparing the financial Statements, the trustees are responsible for assessing the charitable company's ability lo conb'nue as a going concem, disclosing. as applicable, matters related to going concern and using the going ￿ncern basis of xcounting unless the Iruslees either intend lo liquidale the charitable company cff lo cease OF*rations. or have no realistic altemative but lo do x). AudltoV8 rn8pon8ibllltle8 for tho aud5t of the Ilnanclal 8tatement8 Our objectives are to obtain reasonable assurance abjul whether the financial statements as a whole are free from material misstatement. whether due lo fraud or error, and to issue an auditorfs 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 IUKI wll a￿VayS detect a material misstaternenl when it exists. Misstatements can arise from fraud or error and are considered rnalerial 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. The extent to whlch the audlt was consldgrod capable of detectlng Irregularltle8, Includlng fraud Irregularities are instances of non-coMpl￿nCe wth laws and regulaticfis. The objectives of our audit are lo obtain sufficient appropriate audit evid￿ regarding Complian￿ with laws and regulab'ons that have a direct effect on the delemiination of material amounts and disclosures in the financial ststements. to perform audit pr(￿lureS to help identify instances of non-compliance wth other laws and regulations that may have a material effect on the finanaal statements, and to respond appropriately to identified or suspected non-compliance with laws and regulations identrfied during the audit. 19- INDEPENDENT AUDITOR'S REPORT TO THE MEMBERS OF CREATIVE FOLKESTONE In relation to fraud, the objecb.ves of ouraudil are to identsfy and assess the risk of material misslalement of the financial st*ements due to fraud, to obtain suffiuent appropn'ate audit evidence regarding the assessed risks of material misstatement due lo fraud through designing and implementing appropriate responses and to resKh)nd appropriately to fraud or SUs￿ed fraud identified during the audit. However, it is the primary responsibilty of managenknt, with the oversight of those charged wth governance, to ensure that the entity's OFerations are cLJnducted in ac¢ordance wth the provisions of laws and regulations and for the prevents'on and detection of fraud. In identifying and assessing risks of material misstateff*nt in respect of irregularities. including fraud. the audit engagement team.. obtained an understandiThJ of the nature of the sector, including the legal and regulatory framework that the charitable company ¢)perates in and how the charitable company is complying with the legal and regulatory frame%%Drk", irquired of managemenL and those Charged wth govemanee, about their own identification and assessment of the risks of irregularibes, including any known actual, Suspected or alleged InStan￿S of fraud., discussed matters about non-compliance laws and regulations and how fraud might occur including assessment of how and where the financial slalernenls may be susceptible to fraud. As a resum of these KYCredu￿S we con$Kler the most significant laws and regulations that have a direct impact on the financial stslements a￿ FRS 102. Charities SORP IFRS 1021, Companies Act 2008, Charities Act 2011 and the charitsble ￿nPanY'S goveming document. We perfomed audit prC￿edureS lo delect non-compliances which may have a material impact on the financial $latements which included reviewng the financial statements Ind￿￿1ng the Report of Twslees and remaining alert to new or unusual Iransadions which may Th?t be in accordance with the goveming documents. The most significant laws and regulations that have an indirect impact on the financial stalemenlg are those in relation lo health and safety and tenancy laws. We perfomed audit procedures lo inquire of management and those Charged wth governan￿ whelherthe Charitable company is in Complian￿ with these law and regulations. The audit en9agemenl team identified the nsk of management ovem'de of controls and as the area where the financial statements were most Sus￿ptil￿e to material misstatement due lo fraud. Audit procedures perfom*d included but were not limited lo testing manual journal entries and other adjustments, evalu*ing the business rabonale in rel*"tY) lo signifi¢anl, unusual transactions and transactions entefed into outside the normal course of business and challenging jL¥Jgments and estimates. A further description of our iesponsibilities for the ajdit of the finanaal statements 1$ located on the Financial Reporting Council's website al h kj udito forms part of our audito¢s report. s. This des¢riplion Use of our report This ￿POrt is made solety to the charitable company's ￿rnber8, as a body, in accordan￿ with Chapter 3 of Part 16 of the Companies Act 20C6. Our audit work has been undertaken so that we might stale to the charitable company's members those matters we are required lo stale lo them in an audilorfs reFX)rt and for no other purpose. To the fijllest extent ￿rni￿ed by law. we do not accept or assume responsibility to anyone other than the ¢harilable company and the charitable ccfnpany's members a$ body, for our audit work, for this reporL or for the opinions we have fom*d. ￿l-- 4Ak LLP Nicholas Sladden Isenior Ststulory Auditor) For and on behalf of RSM UKAUDIT LLP Statutory Auditor, Chartered Accountants 25 Farringdon Street London. EC4A 4AB 09112122 -20- CREATIVE FOLKESTONE Statement of Financial Activities Ilncluding Income and Expenditure Account) For the year ended 31 March 2022 2022 Tolal Fund8 2021 Total Funds Notss Unrnstri¢tsd Restrlcted Funds Fund8 Ineomo from". Donations and legacies 11.165 1,713,500 1,724,665 1,197.305 Charitable activities 2.415.720 725,297 3,141,017 2,379.013 Other trading activities 66.381 66,381 7,540 Investments 618 618 1,940 Other income 75,451 Total income 2,493,884 2,438.797 4,932,681 3,661,249 Expondlture on: Charitable activities 2.842,299 1.039.854 3,882,153 2,272,339 Other trading a¢liMtie$ 11 31,843 31,843 Total expenditure 2.874,142 1,039.854 3,913,996 2,272,438 Net lexpendlturaylncomè and net movomant In fund8 1380,2581 1,398.943 1,018.685 1,388.811 Totsl fund8 at 1 Aprll 1,631.368 18,159.885 19.791,253 18,402,442 Total funds al 31 March 1,251,110 19,558.828 20.809.938 19,791,253 21 CREATIVE FOLKESTONE Balance Sheet At 31 March 2022 Com istration Number.. 04566484 Notes 2022 2021 Flxed assets Tangible assets Heritage assets Investments 15 16 17 19.784,751 53,400 18,385,808 53,400 19.838,152 18,439,209 Current Debtors Cash at bank and in hand 18 290.386 1,096,468 447.917 1.525.049 1,386.854 1.972,966 Cftdltorn: lmounts falllng dua wlthln on• year 19 {415.￿8) 1620,922) Net ¢urrnnt assets 971,788 1,352,044 Net assets 20,809,938 19,791,253 Funds Unreslricled funds Restricted funds 22 22 1.251.110 19,558.828 1,631,368 18,159,885 Totsl fund¥ 20.809.938 19.791.253 The financial statements on pages 21 to 37 were approved by the toard and authorised fcr ¢ssue on 6 December 2022 . and signed on its behalf by: Sir Roger M De Haan- Chair of Trustees -22- CREATIVE FOLKESTONE Statement of Cash Flows For the year ended 31 March 2022 2022 2021 Cash loutflowlllnflow from oporatlng actlvltla8'. Net cash lused}Igenerated by operating activibes Interest weived 1429,199} 618 296.086 Nat Idecreaselllncroa80 In cash and ¢ash oqulvalents 1428.5811 298.026 Cash and cash equivalents 1 Awil 1.525,049 1,227,023 Cash and cash equNalents 31 March 1,0￿,468 1,525,049 Relallng to: Cash at bank and in hand 1,096,468 1,525,049 -23- CREATIVE FOLKESTONE Notes to the Financial Statements For the year ended 31 March 2022 1 A¢¢ounting poli¢ios L•gal $tstu$ The Charity is a Company limited by guarantee. The mernbets of the ¢ompany are the Trustees. In the event of the Charty being wound up, the liability in respect of the guarantee is limited lo £1 per member of the Charity. The Charity's objectNes and aim$ are disclosed in the Report of Trustees. A¢¢ountlng convontlon These financial slalemenls have b*n prepared in accordance wth FRS 102 'The Financial Reporting Standard applicable in the UK and Republic of Ireland", the requirements of the Companies Act 2006 and under the historical cost convention, mc*Jified to include certain fixed assets al fair value. The financial slatements have also been prepared in accordan￿ ¥Mlh the accounting policies set out in more detail below. lo comply with the Charity's governing document, the Charities Act 2011 and Accounting and ReFQrting by Chanties.. Statement of Recommended PraCts￿ applicable lo charities preparing their accounts in ¥(x)rdarce wth The Financial Reporting Stsndard appli¢able in the UK and Republic of l￿tsnd published in October 2019 {the FRS 102 Charities SORP 20191. The financial statements are pppared in sterling, wh￿h is the ffijncts'onal currency of the charrtable company. Monetary amounts in these financial stslements are rounded to the nearest £1. The Chanty constitutes a public benefil entity as defined by FRS 102. Golng concern The Trustees confirm thal at the time of approving the financial stslements, there is a rea8(￿able exFeclation that the Charity has adequate resources lo continue in operational existence for the foreseeable future. In arriving at this condusion, the Trustees have taken account of current and anlicipaled financial perlormance in the current ecor￿MiC conditions, and the Charity's reserves positson. The Trustees have revIev￿d in delail the Chanty's Fositson and the aFpropriate basis on which to prepare the financial statements. The Trustees anlicipale that there Y￿11 be spnificanl thrse impacts on many income streams due lo the cosl-of-living crisis. The full impact cannot presently be ests'maled wth total certainty, but the stress testing of the Charity's financial F(>silion has sab'sfied the Trustees that it has adequat8 reserves and mib'gats'on strategies available to deal the issue as il unfolds. The cash posits'on is strong. the charity has no debt, the rental income has so far held up well. It is anticipated that funding from the Arts Council wll be secured forthe next three years. The Trustees ￿OgnISe that 202212023 will be another challenging year and have structured the budgel accofdingly while assessing what further actions can be taken if needs be and they have concluded that it remains appropriate to prepare the financial statements of Ihe Charity on Ihe g￿ng Con￿M basis. Consolidation The financial stslements present infomiation about the Charity as an indmdual undertaking and not about its group. The Charity has taken advantage of s¥b'on 402 of the Companies Act 2006 not to prepare ￿nSOl1dated financial statements as the directors Consider that the Charity's subsidiary may e excluded from ¢onsolidats'c￿ as rt is immaterial for the purpx)se of a true and fair view. Income Income is remnised when the Charity has ents"Uement to the funds, any perfman¢e conditions attached to the rtemls} of income have teen met. itls probable that the income will be re￿1V￿J, and the armunt can be measured reliably. Donated facilities and gifts in kind are included at the value to the ChaTity where this can be quantified, and a third party is bearing the cost No amwnts are included in the financial statements for Serv￿e5 donated by volunteers. -24- CREATIVE FOLKESTONE Notes to the Financial Statements (continued) For the year ended 31 March 2022 1 Accounting pollcle8 Icontlnugd) Income from govemment and other grants. whether,Ca￿tal, grants relakn'ng to tangible fixed assets or 'revenue' grants, is re(wnised bthen the Charity has entittemenl to the funds, any performan condrtions attached to the grants have been rreL il is probable that the income wll be received and the arnounl can be measured reliabty and is not deferred. Expenditure Expenditure is accounted for on an accruals basis and has teen classified under headings that aggregate all cost related lo the category. W)ere costs cannot be directly attributed to particular headings, they have been allccaed to actsV￿e$ cffl a ba$1$ ¢c￿SIstent wth the use of resources. Govemance costs include those costs incurred in the govwnanek of the Charity and a￿ pdmarily associated with consts'llrtional and ststutory requireffents. Support costs represent finance, administration and other indirect central costs. The supwrt ￿$ts have been allocated in propJrtion to the direct costs in¢urr&J in re$￿t of each xts'vity. Fund accountlng General funds are unrestricted funds which are Wdilable for use at the discreti¢)n of the Trustees in furtheran¢e of the general objectives of the Charity and vthich have not been designated for other purposes. Designated funds comprise Un￿strIcted fvnds that have been set aside by the Trustees for particular purposes. The aim and use of each designated fund is set out in the notes to the financial stalemenls. Re8tn'cted funds a￿ funds which are to be used in xcordance specific restn'ctions imposed by donors or which have been raised by the Charity for particular purFoses. The cost of raising and administering such funds is charged against the sFecific fund. The aim and use of each restricted fund is sel out in the notes to the finan¢ial stslements. Herltsgo a88ets Metropole.. This comprises arNvorks that were ¢olle¢led through the Metrowle Arts Centre that are owned by the Charity. This athork is recognised as a heritsge asset for the purposes of these financial statements, in accordance with the Charities SORP Se¢b'on 18, Since it is held and maintained principally for ils contribution lo kn￿edge and ¢ulbJre. The Trustees valued this al￿ork at £53,400 based upon valuations for various parts of the ¢olle¢tion. The Trustees do not believe that the value of the arhw)rk has changed. Art Buff.. The Charity owns the Banksy artwork known as'Art Buff. This arNvork is recognised as a heritage asset for the purposes of these financial stslements, in accordance with the Charities SORP Section 18, since il is held and maintained prinrypally for its contribution lo knoYAedge and culture. 11 is included al zero nel trthk value since inforrnalion on its value is not available and a reliable estimate ¢annol be made of the asset's fair value. Furthermore, it is considered that the asset has no monetary value to the Charity, because the Charlty considers that it would not be appropriate to sell the asset. Taxatlon Creatr've Folkestone is a registered Charity and as such its irKome and gains falling within Sections 47110 489 of the Corporation Tax Act 2010 or secb.on 256 of the Taxation of Chargeable Gains Act 1992 are exempl from co[wrat￿n tax to the extent that they are applied lo ils charitable objectives. -25- CREATIVE FOLKESTONE Notes to the Financial Statements Icontinued) For the year ended 31 March 2022 1 Ac¢ountlng policies Icontlnuedl Tangible flxod assets Tangible fixed assets are stated at eosl less depreciation and impairment losses. Depreciation is provided at the followng annual rates in order to write off each asset over ils estsmated useful life.. Freehold property Long leasehold Leasehold improvements Plant and ma¢hinery Computer equipment Fixtures and fitts'ngs 50 years straight line straight line over life of lease slraighl line over life of lease 15- 33% on cost straight line 33¥0 on cost straight line 15% cffl cost straight line A full year of depreaakn'on is charged in the year of purchase and rK) depreciation is charged in the year of diswsal. At each reporting end dale, the Trustees wew the Carrying am)unts of its freehold and leasehold assets to determine whether there is any indication that those assets have suffered an Impalm￿nI loss. If any such indication exists, the recoverable arn￿nt of the asset is estimated in order to determine the extent of the impairment It)ss lif any). Cash and cash 6qulvalonts Cash and cash equivalents include cash in hand. dep)srts held al call wth banks, with original maturities ol three mnths or less, aTrd bank overdrafts. Flnanclal In8tNments The charitable company applies the prow8￿$ of Se¢ts'on 11 '8asic Financial Instruments. of FRS 102 to all of ils financial instruments. Financial inslnjments are re¢ognis•Y when the charitable company becomes paty lo the contractual pn)vision$ of the instrument. Financial assets and financial liabilrties are recojnised when the charita￿• company becom8s a party lo the conlraclual provisions of the instnjment and are offset only when the charitable company currently has a legally enforceable right lo set off the rewgnised amwnl$ and intends either to sellle on a nel basis, or to realise the asset and settle the liability simultaneously. 8asic financial assets, including trade arKJ other reCe￿a￿e$ (including accrued income) which are receivable wthin one year and which do not constitute a financing transaction are initially measured al transaction price and Subsequently measured al am0￿sed cost, being the transaction price less amounts settled and any Impair￿n1 losses. Basic financial liabilities, including trade and other payables a￿ initially rwnised al transaction price unless the arrangement conslilules a ffinan¢ing transact50n, where the debt instrument is measured at the present value of the fLrture payments di5￿￿nted al a market rale of interest Debt instruments are sUbseqUen￿Y carried at amortised cost, using the effective interest rale method. Penslon ¢o$ts and other post4etirement bgngftts The charitable company operates a defined contribution pension scheme. Contribub'ons payable lo the charitable company's pension scherrE are tharged to the Statement of Financial Activities in the period lo which they relate. -26- CREATIVE FOLKESTONE Notes to the Financial Statements (continued) For the year ended 31 March 2022 1 Accountlng polleleg {¢ontinuedl Agency Arrangements The charity acts as an agent in the administen.ng of the Great Place Scheme Pioneering Places.. East Kent Fund for the National Lottery Heritage Fund. Related payments received from the National Lottery Heritage Fund and subsequent disbursements to other partners within the scheme are excluded from the statement of finan¢ial ath"vib"es to the extent that the charity does r￿1 have beneficial interest in the individual Iransa¢lion$. Payments received bthich relate to the Charity'$ Share ofthe Great Place Scheme Pioneering Places are recognised in the statement of financial activities. Government Grants Govemment grants are reCojn￿ed al the fair value of the asset received or re￿1vable v4hen there is reasonable assurance that the grant conditions will be mel and the grants will be re￿ived. A grant that specifies performance condttions is recognised in income when the perfomance condition5 are rnet. ￿ere a grant dces not specify Ferfomiance conditions il is recognised in In¢ome then the p￿CeedS are received or re￿1Vable. A grant recerved ￿fOre the recognition criteria are sats"sfied is rewnised as a liats'lity. 2 A¢countlng ¢8tlmates and area8 of ludgment In application of the Charity's accounting policies, the Trustees are required to make judgments, eslimales and assumptions alx)ut the carying aff￿Unt of assets and liabilities that afe not readily apparent from other $our¢e$. The ests"males and associated assumptions are based on historical experience and other factors that are considered to be relevant. hLtual results may differ from these estimates. The eslimales and undedying assumptions are revIev￿1 on an ongoing basis. Revisions trj accounting eslimales are recognised in the period in which the esb.mate is revised where the revision affects only that period, or in the period of the revision and future periods where the revision affects both current and fijlure penods. Crftl¢al judgments Horltage a88ets The carrying value of the heritage assets, as valued by the trustees, 1$ consHJered to be a key area of eslimalion. 3 Donatlon8 and legacle8 2022 2021 Re8trfcted Roger De Haan Charitable TrusL Transfer of leasehold properties Folkeslone Festivals Fund 1.647,500 66,000 1.150,000 14,000 Total restrl¢ted 1,713,5C(J 1,164,000 Unrestrlcted McAlpine donation Eurotunnel donation Other 40,000 6,000 5,165 {6.6951 Total unrestrleted 11,165 33,305 Totsl donations and legacles 1.724,665 1,197,305 -27- CREATIVE FOLKESTONE Notes to the Financial Ststements (continued) For the year ended 31 March 2022 Charltable o¢tivities Rentsl In¢ome Grants Other sourcos of Incomo Total C￿aliVe Quarter Folkestone Triennial Folkestone Artsvorks Quarterhouse Arts Prcgramme Festivals and events Learning & Engagement Great Place Scheme Development 1.419.9 1,419,996 604,710 142,189 206,583 6,744 12,602 89,222 6S8,971 604,710 142,189 70,990 6,744 12,602 7,593 128.OIKJ 89.222 264.360 394.611 2022 Total actlvlfj08 1.427.589 481.582 1.231,846 3,141,017 2021 Totsl actfvltles (a8 restated) 1,2TI,181 761.447 340,385 2,379.013 Of the £3,141,017 income re¢eNed in the peri¢JJ to 31 March 2022, £725.297 w8$ attributable to restricted funds and £2.415,720 was attn'butable to unrestricted funds. Of the £2,379,013 income re¢eived in the Fell¢JJ to 31 m￿ch 2021, £93,382 was attributsble to restricted funds and £2,285,631 was attributable lo unrestricted funds. The 2021 comparatNes have been ￿tated lo reallocate £214,590 of income from other Sources of incow¢ lo rental income as it is considered to ￿tter reflect the nature of the income. 5 Other tradlng actlvltle8 Unrn8tr1ctad 2022 2021 8ar income Other sundry income 32,390 33,991 285 7.255 66,381 7.540 6 Inve3tments Unro8tri¢tod 2022 2021 Deposit ￿coUnt Inte￿$t e18 1,940 Other Incom• Unre8trlcted 2022 2021 Govemment grants Grants recewed in the prior year represent amounts receNed in re5￿t of contributions t(Mards staff salary costs under the coronavirus job retention scheme. -28- CREATIVE FOLKESTONE Notes to the Financial Ststsments (continued) For the ear ended 31 March 2022 8 Charitable activitle6 Dlre¢t Costs GAnts payablg Support costs Totsl c￿atiVe Quarter Arts programme festivals and events Folkeslcne Triennial Folkeslone Ar￿Tk$ Quarterhouse Learning & Engagement Great pla￿ Scheme Development 1.094.098 74.257 153,500 12.122 1,247,598 152,379 1,381.560 176,371 629,585 81,701 103,787 109,172 86,000 1.187.674 151,619 455,314 70,235 89,222 109,172 193.886 24.752 174.271 11,466 14,565 2022 Total actSvltla8 3,231,591 66,00) 584,562 3,882,1S3 2021 Total actlvltlo8 1,743,820 14.000 514,519 2,272,339 Ofthe £3,882,153 Charitat￿e adivf(ies expenditu￿ in the period to 31 March 2022, £1,039,854 was attributable to restricted funds and £2,842,299 was attributable to unrestricted fvnds. Of the £2,272,339 charitable xtivities exFenditure in the pericAI to 31 March 2021. £346,759 was attributable to restricted fijnds and £1,925,580 was attributable lo unrestricted funds. 9 Grants payabl• Unre8tr1cted 2022 2021 Arts projramme festivals aTrd events 10 Support C08ts Support costs represent finance, administryalion, and other indirect central costs. The support costs have been all￿ated in prOp)rtI￿ to the direct costs incurred in respect of each activity excluding depreuabcfi and gifts in kind. 11 Other tradlng actlvltles Unrestrlctod 2022 2021 Bar expenditure 31.843 99 31,843 99 -29- CREATIVE FOLKESTONE Notes to the Financial Ststements (continued) For the year ended 31 March 2022 2022 2021 12 Audiloe8 rernuneratlon Audit services- statutory audit of trE charity Other services.. Audilorfs non-audit seN¢es 21.500 18,500 5,500 2,500 27,000 21,000 13 Not Income 2022 2021 This is stated after chargin￿(￿ed1￿ngl'. Govemment grants Depreciation (75,4511 240,416 248,557 14 Staff co8ts and remunor•tlon of koy rnanagement per•onn¢l 2022 2021 Wages and salaries Social security costg Other Fension costs 845,086 69.712 65.872 627,688 56,815 59,839 980,470 744,342 The average monthly number of employees during the year was as follows.. 2022 no. 2021 no. CTrative Quarter Arts programme festivals and events Developmerrt Marketing Leaming and engagement Management and administratfran Quarterhouse Triennial Visitor Experience 32 20 The number of employees whoge effK>luments ts the year fell wthin the following bands was: £70,001 - £80,000 £80,001- £90,000 All employees eaming more than £60.000 in the current and previous year partiupaled in the nsion scheme. Conknbutions for the year lotalled £11,30812021.. £11,086) -30- CREATIVE FOLKESTONE Notes to the Financial Statements Icontinued) For the year ended 31 March 2022 14 Staff costs and romunerntion of key management personnel {￿ntInued) The Chief Executive Officer. Mr A Uplon. was also a member of the Board of Trustees during the year and received remuneralN)n and benefits for his services in that office, through an employment contract wth the Charity, of £80,01512021.' £78,1C61 and Fension contribub'ons for the s*riod of £11,308 12021.. £11,086). Mr A Upton was also reimburwj expenses in his role as Chief Executive Officer. The Deputy Chief Executive offi￿r, Mrs F lth"ngsman received remuneration and benefits for her services in that office. through an employment contract ¥Mth the Charity, of £51,000 12021.. £50,000} and Fension contributions for the peri¢)d of £5,1 CvJ12021.. £5,CQOI. The Charity considers tts Board of Trustees, T￿ludIng the Chief Executive and deputy Chief Executive Officer, as their key management personrtl. No other members of the key management personnel received remuneral￿n during the cur￿n1 peric>J or previous year. 31 TJ CREATIVE FOLKESTONE Notes to the Financial Statements (continued) For the year ended 31 March 2022 Total 16 Herltage assets Market value Al 1 April 2021 and 31 March 2022 53,400 Net book value Al 1 April 2021 and 31 March 2022 17 Fixed a88Ot Invostmonts Share8 In group undertakin98 Market value Al 1 April 2021 and 31 March 2022 Not book value At 1 April 2021 and 31 March 2022 The Charity's investment al the batance sheet date was held in the followng company.. Rogl8tered Class of % held Office share Dlreclty Indlrectly Nature of buslne88 The C￿tiVe Foundation (Tfadingi Limited QUartert￿uSe. Mill Bay, Folkeslone, Kent CT20 1 BN Ordinary A 100% Dormant 18 Oebtorn: amounts f•lllng due wlthln one year 2022 2021 Trade debtors Other debtors VAT Prepayments and accrued Inco￿ 40,002 42,962 57,251 37,642 12,415 340,609 207,422 290,386 447,917 CREATIVE FOLKESTONE Notes to the Financial Statements (continued) For the year ended 31 March 2022 19 Credltorn: amounts falling due *lthln one year 2022 2021 Trade creditors Amounts owed lo grwp undertakings Social security and other taxes Other creditors Accruals Deferred income (note 19a) 95,936 647 9,878 139,322 70,020 99.265 182.266 647 139,135 42,003 256,871 415.C68 620,922 19a Deferred income 2022 2021 Deferred irKome as at 1 April Income received requiring defem)ent Release of income during the year 256,871 99.265 1256,8711 63,365 256,871 163,3651 Deferred inccffle as at 31 March 99,265 256,871 D&ferred income 01 £41.69512021: £69,7%} represents income received in advance for propety rentals, £57,57012021.' £187.0751 represents incorre ￿e1Ved in advance in ￿lab.On to grants. 20 Pon8lon The Charity operates a defined contritrwtion ￿heMe. The assets of the scheme a￿ held separately from those of the Charity in an indepeThYenVy &Jminislered fund. The Fenslon cost charge represents contributions payable by the Charity to the fund and amounted lo £65,672 12021.. £59,839>. The total contributions outstsndiry at the year4nd We￿ £nil {2021.' £6,368). CREATIVE FOLKESTONE Notes to the Financial Ststements (continued) For the year ended 31 March 2022 21 Analysis of not assets betbwen funds- 31 March 2022 Unre8trlcted Re8tr1cted funds funds Totsl Fund8 2022 Total funds 2021 Fixvj assets Investments Current assets 279,323 19.558,828 19.838,151 18,439,208 1.386,854 (415,0681 1.386.854 {415,C681 1,972, 1620.9221 Current liabilities 1.251.110 19.558,828 20,809.938 19,791,253 Analysls of nel a88at8 bgtween funds- 31 Ma￿h 2021 Unra8trlctod fund8 Restrlctsd lund$ Total Fund$ 2021 Totsl fvnds 2020 Fixed assets 279,323 18.159.885 18.439,208 17.529,624 Investments Current assets 1,972,ge6 (620,9221 1,972,966 1620,922} 1,807,716 {734,8991 Current liabilities 1,631.368 18,159,885 19,791,253 18,402.442 22 MoYern8nt In fund8 At31 March 2021 N&t mov&ment In fund8 At31 March 2022 Unrestrlcted funds General fund Designated funds Freehold property 515,885 895,000 220,483 44,306 1419,1251 15.4391 560.191 475.875 215,044 1,631,368 1380,2581 1,251,110 Re8trfcted fund8 Freehold and leasel)old prO￿nIeS Leasehold properties 4,384.705 13,775,180 1119,8571 1,518,800 4,264,848 15,293,980 18,159.885 1,398,943 19,558,828 Total funds 19 791253 1018685 20 809 938 The Trustees have designated a total of £475,875 {£83,0(JJ lo Triennial 2021, £100.000 to the cost of living reserve, £50,000 {£7,125 of which was spent during 20221 to the Charity's 20th anniversary events and £250,000 to Triennial 2024). CREATIVE FOLKESTONE Notes to the Financial Ststements {continued) For the year ended 31 March 2022 22 Movement In funds (continued Net movement in funds, ifKluded in the ab)ve, are as folluws.. Income Expendfture Transfer Movement in funds Unrestrictod fund8 General fvnd Designated funds Freehold propety 2.493.884 12,081,518) 1787,1851 I368.￿0) 368,060 44,306 {419,1251 2.493.884 12,874.142) 1380,2581 Re8trlctsd funds Folkestone Triennial Folkestone A(￿rkS Quarterhouse Freehold Propety Leasehold Properties Arts Programme FestNals & Events 601,500 98,797 25.OCh) 1601,5001 {98,7971 {25,0001 {119,857) {128.700) 166,OCVJI 1119,8571 1,518,800 1.647,500 2,438,797 {1,039,8YI 1.398,943 Total lund• 4.932.681 (3,913,996) 1,018,685 Delai18 on funds are as follows.. Folkestone Trtennlal 3 yeady public Ixnlemporary art8 exhibition held in Folke$lo￿. Folkestone Artwork• Maintenance of contemFrfxary artsvork In silu after the Folkestone Tn&nnial. Quarterhou80 The ownership and operab'on of the Quarterhouse Perfomiing Arts Centre. Freehold Property Represents grants received by the Charity for capital project$. These are depreciated over the eslimaled useful e￿nC￿niC lrfe ot the asset the grant was used lo purchase. Leasehold properti8s Re￿ye￿t$ the transfer of leasehold propert1è5 from the Roger De Haan Charilable Trust lo the Chanty. Art8 Programme Festfvals & Events Fests'val ticket and fundrai$8d income. DesIgnat￿ funds The Trusteeg have designated a total of £475,875. full details are disclosed on page 35. CREATIVE FOLKESTONE Notes to the Financial Statements (continued) For the year ended 31 March 2022 23 Rglated party dlsclosure8 The Roger De Haan Charrtable Trust IRDHCT), a Charty whth Sir Rcger De Haan is a Trustee, donated leasehold properties valued at £1,647.500 {2021'. £1,150,000). made a payment of £98.79712021: £39,18211o the Folkeslone Arhvorks and a grant of £311,000 {2021.. £ nil) for the Folkestone Triennial. Al the year end, the Chanty owed £64712021: £647} to its subsKliary. The Creative Foundation ITradingl Limited. Details of trustees, remuneration and terth Can be found in note 14. 24 Net ca8h flow from operatlon8 2022 2021 Net surplus for the year Depreciation Interest received tlecreasellincreasel in debtors Decrease in creditors Oonated assets 1,018,685 248.557 16181 157.531 {205,8541 {1,647,5CIII 1,388.811 240,416 11.9401 167,2241 1113,9771 11.150.000} Net cash louffiowllinflow from operab'ng activib'es 1429,1991 296,088 25 Agency arrangom&nts The charity administefs the disbursement of the grants due lo the partners of The Great Place Scheme Pioneering Pla¢e$.' East Kent. on behalfof National Lottery Heritsge Fund. In the year, amounts were ￿￿1Ved lotalling £505,214 {2021. £267.5321. At the year end, a balance of £nil 12021.. £91,359) was held by the charity. The scheme ended in Novemter 2021 and did not generate any further arrarKJements. -37-