Curlous Minds Trustees'Allnual Report Financial Slalemenls For the year 1st April 2024 to 31st March 2025 Curious Minds. R ter•d Studio 15. Gerrard Win Crawford Street, gan Greater Manches WNI INA ffice.. ley House Curiou5 Minds is a Guarantee and a R Limited by harity Registered Company Number.. 06775402 Contents Company Information............................................................................................................................................. Chair & Chief Executive Statement................................................................................................................... Trustees Annual Report....................................................................................................................................... Review of our Achievements and Performance in 2024125................................................................... Financial Review...................................................................................................................................................31 Structure. Governance & Management........................................................................................................33 Statement of Trustees. Responsibilities.......................................................................................................35 Statement as to disclosure of information to Auditors. .36 Independent Auditor's Report to the Trustees of Curious Minds.... Statement of Financial Activities for the Year Ended 3 1, March 2025 Ilncluding income & expenditure accountl.... Balance Sheet as at 31" March 2025...........................................................................................................43 .37 ..42 Statement of Cash FLOW for the Year Ended 31st March 2025...........................................................44 Notes to the Financial Statements for the Year Ended 31, March 2025........................................45 C;ui'ious Company Information Incorporation The charitable company was incorporated on 17 December 2008 and commenced trading on I" April 2009. Curious Minds became a registered Charity on 6 August 2009. Trustees Ms. Kathy McArdle- Chair Mr. Jonathan Robinson- Vice-chair (Retired 23" October 20241 Ms. Samira Al'obaidi Mr. Mustafa Hassan IResigned Iolh June 20251 Mr. Matthew Mccallum (Appointed 22- October 20251 Ms. Janet Madden (Appointed 12" July 20241 Ms. Jennifer Mutch (Appointed 3(d September 20251 Ms. Kara Orford IAppointed 12" July 20241 Ms. Alicia Smith Ms. Abby Symonds IAppointed 12" July 20241 Mr. David Wearing (Resigned 3rd September 2025} Executive Management Team Chief Executive Officer Deputy Chief Executive Officer Chief Operating Officer Derri Burdon KelLy Allen Sue LangfeLd Statutory Auditors & Accountants Mitchell Charlesworth IAuditl Limited 3 Floor, 44 Peter Street Manchester M2 5GP Bankers Solicitors CAF Bank Limited 25 Kings Hill Avenue Kings Hill West Malling Kent MA19 4JQ CountercuLture Partnership LLP Unit 115 Ducie House Ducie Street Manchester Ml 2JW C;ui'ious Chair & Chief Executive Statement This year has brought both challenge and momentum for Curious Minds. The change of government has triggered reviews across arts and education. opening important opportunities to influence how future generations experience creativity and culture in their learning. We have stepped into these conversations with energy and optimism, sharing evidence. insight and the voices of the cultural education workforce. Our second year as an Arts CounciL England National Portfolio Organisation has seen us extend our influence across the North and nationally. We continue to support Local Cultural Education Partnerships, strengthen coLlaboration between schooLs and cuLturaL providers, and celebrate excellence through our Northern Cultural Education Awards. A major milestone was our appointment as the England Hub for the International Teaching Artists Collaborative IITACI, connecting England's teaching artist workforce with a vibrant global network and creating new opportunities for shared learning. This reflects our Long-held ommitment to Teaching Artists as vital. skilled professionals who enrich children's learning and strengthen the cultural education workforce. Financial resilience has been a clear priority. We secured new philanthropic support from the Steph Lampl Foundation, grant funding from WEAIGMCA. and entered into a partnership with Star Academies to help shape and deliver their performing arts enrichment programme. Alongside this, we have grown earned income from our courses and consultancy, strengthening our ability to invest in the field. We thank departing trustees Mustafa Hassan and Jonathan Robinson for their wisdom and long service. and warmly welcome Janet Madden. Kara Orford and Abby Symonds. whose insight and energy will guide the next chapter of Curious Minds. We are equalLy gratefuL to our dedicated team, funders and partners. whose beLief in the power of arts and culture for chiLdren and young people makes this work possible. Later this year we will move into Pier 2 at Wigan Pier,. an iconic heritage site long associated with Wigan's industriaL past and working-class resilience. Reclaiming this place for creativity is powerfully symbolic. It will give Curious Minds a permanent home and a national base, rooting us in Wigan. Greater Manchester and the North while staying close to children and families who are often furthest from opportunity. Pier 2 WILL be è place where ideas gather, partnerships are forged and the next generation of cultural educators can learn, lead and create a more equitabLe future. We are also taking our Northern Cultural Education Awards nationaL, inviting nominations and celebrating brilLiant work from across the country. This ambitious step signals our detormination to grow as a national force for arts and cultural education, championing exceLlence and equity wherever it is found. C;ui'ious MeanwhiLe, the Department for Education's plans for a new National Centre for Arts and Music Education are taking shape. As the culturaL education landscape ÈvoLves. we are working carefully to define our role and ensure that the voices and needs of educators, Teaching Artists and young people shape what comes nexL We are also conscious of the changing sociaL climate. Across society wè are seoing rising division. fear and intolerance. with young people increasingly exposed to influences that promote polarisation and mistrust Our work will adapt to meet this challenge, redoubLing our commitmentto use arts. culture and creativity as a force for empathy, understanding and hope. Through all this change, OLJr purpose holds steady.. to champion every chiLd's entitlement to brilliant arts and cultural learning and to support the people and partnerships who make it possible. We look to the future with hope and determination to help create an education landscape where curiosity, creativity and culture belong to every chiLd. The future remains curiousl Kathy McArdle Chair of the Board of Trustees Derri Burdon Chief Executive Officer C;ui'ious Trustees, Annual Report Our Purpose and Activities The purposes of the charity are to advance for the public benefit the education of children and young people within England to enable them to participate in society as mature and responsible individuals. in particular by.. supporting them to become successful learners and responsible citizens by working with others to extend the range. amoun( qualty and scope offormal and informal learning opportunities in the areas of creativity. arts. media. culture. heritage, humanities and science., supporting teachers, practitioners, carers, performers and artists in developing the necessary skills and knowledge to assist them in enabling children and young people both inside and outside formal education to develop and apply their skills and talents and to open up to them culturaL and creative activity., developing programmes, where appropriate. in partnership with others to deliver positive learning OLJtcomes and encourage the recognition. enjoyment and use of culture, medi3 and heritage., empowering them to be involved in the promotion of cultural and Learning activities and enhancing their skills, capacities and capabilities- and encouraging them to visiL experience. participate in, initiate and engage in cultural activities, places and performances. Curious Minds aims to improve the lives of children and young people in the North of England through facilitating access to arts and cuLture for all. It promotes cultLJral education and enables creative innovation and collaboration between the cuLtural, educational and youth sectors. In shaping OLJr objectives for the year and planning our artivities, the Trustees have considered the Charity Commission's guidance on public benefit, including the guidance 'public benefit.. running a charity IPB21'. Our main beneficiaries are schools. local authorities, cultural organisations and creative practitioners and we are mindfuL that they aLI continue to work within a chalLenging social, financial and pobcy cLimate. Our Vision and Mission Our Vision is for a future where being creative and experiencing briLLiant culture is a regular partofeve chiLd's life and learning. Powered by curiosity, we work to tackLe unequaL access to creativity and cuLture for children and young people who are often excluded by sociaL and economic inequalities. C;ui'ious Our Values - The 7 Cs The 7C's are seven words beginning with the Letter C by which we hoLd ourselves to account and invite others to do the same. They continue to guide our planning. recruitment and seLf-evaLuation. and provide a framework for performance management. We are CURIOUS We are hopeful for a fairer future. We explore new possibilities and seek out best and next practice, listening and responding to the opinions and ideas of others, especially children and voung people. We COLLABORATE Partnerships and collaboration are fundamentslto how we work. In these times of change and uncertainty we understand the importance of Listening to build meaning and grow collective impact. We are COURAGEOUS We are relentless in OLJr pursuit of fair access to creativity and cuLture for all, and work to disrupt the status quo. We accept and deLiver challenge, especiaLlv concerning diversity, inclusion, quality and relevance. We are CREDIBLE We are evidence driven and always learning. We draw expertise from across education and culture to skilfully navigate and connect both worlds. We seek out and buiLd alliances with experts in their field. We are CONSCIENTIOUS We take our leadership role seriously and never tske for granted the privilege of being trusted by OLJr funders and partners to do the right thing with the resources we hold. We prartise Host Leadership, knowing when to step forward and when to step back. We CARE We care deeply about children and young people, the adults who support thern and the places where they live and learn. We embrace. celebrate ar)d champion diversity in all its forms. We CELEBRA TE We celebrate and champion creative and cultural education, the diverse professionaLs championing and delivering It. and the chiLdren and young people it is for. C;ui'ious Our Commitmentto Equality, Inclusion and Diversity We want all children and young people to enjoy and contribute to the cuLturaL Life of society. We are ferociously committed to identifying and removing barriers to engagement for children and young people from marginalised backgrounds. We recognise this can only be achieved by a more diverse. resilient. and better-connected workForce. We commit to playing our partto bring about these changes- starting with ourseLves. We are a ReaL Living Wage employer. Our Commitmentto Quality We believe that quality and equality go hand-in-hand. Raising the quality of the creative and cuItLJral learning experiences alL chiLdren and young people have access to, at school and in the community, is fundamental to'levelling up opportunity. DeveLoping the workforce is key. Overcoming preconceptions and barriers to engage with previously excluded children and young peopLe is highly skilled work, yet most practitioners learn on the job with Little support. We commit to creating new and clearer pathways that lead to the professionalisation of the Cultural Education workforce. Our Commitmentto Climate Change The global pandemic which struck in 2020 led to a year in which Curious Minds, and the wider world, changed. Our Action Plan and supporting Policy have been developed as we emerge from the pandemic and seize the opportunity to build on these changes to develop our environmental prartices for the better. We commit to redoubling our efforts to reduce the carbon footprint of our day-to-dav operations and be more environmentally responsible. We seek to influence, educate, and advocate for a post carbon future through our day-to-day work and programmes,. including doing whatever we can to ensure children and young people see themseLves as global citizens and develop the creative skills they will need to access opportunities arising from the transition to a low carbon economy. Charging Considerations Our main beneficiarieslstakeholders are schools. local authorities, cultural organisations and creative practitioners. aLI of whom are working in a chaLlenging financial and policy cLimate. Affordability and access to our programmes is important to us and remains a key consideration when we are pLanning our activity. Wherever possible. we provide places on our events and training programmes at low or no costto participants using the grants we receive as subsidy. The decision whether to provide a service, place on training or at an event or conference is carefully balanced to ensure cost does not act as a barrier. but aLso taking into account our experience of drop-off when offering places for free le.g., people register but don't turn upl. We cost aLI our traded offers on a full cost recovery basis. C;ui'ious Review of our Achievements and Performance in 2024/25 CLJrious Minds continues to punch above its weight to achieve significant irnpart with limited resources. We choose to supportthe sertor rather than directly working with young people and it is this strategic approach that enables us to have substantial regional, and more recently, nationol and international reach and influence as honest brokers and advocates for cultural and creative education. We tsrget our work to benefit children and young people living and learning in some of the most socio-economically disadvantaged areas of England. We continue to support the cultural and education sectors to collaborate so that these children and young people can enjoy larger. richer cultural lives. We are proLJd to be part of Arts Council England's NationaL PortfoLio. acting as a field catalyst for arts and cultural education.. "We are 'field builders. for cult(Jral education.. creating the conditions and catalysing action to bring about organisational and systemic change- one teacher. one youth worker. one creative practitioner at a time. In 2020 we worked with Social Value Lab to uncover a distinct methodology, which continues to inform how we work and who we work with to achieve our charitsble objectives.. Methodology These oryani5ations In turn Influenc• other or8anlsatl¢Jns and statutory agencles they work wlth. We work dlrectly wlth creative practltloners. teachers and youth workers. These Indlvlduals 80 on to chan8• helr colleagues and the schools and or8anlsatlons they work irt. Leading to Ions" term systernic change In soclety. C;ui'ious Evaluating Our Long Term Impact Acting as a field buiLding catalysL Curious Minds aims to create lasting. positive change across the field of cultural and creative education. Whilst we work dirertly with individuals and organisations. our goal is a cumulative effect. catalysing Long-term systems-change. In the I l years of Arts Council England s Bridge programme. which concluded in March 2023. Curious Minds built relationships with over 60% of the North West region's schools. and over 96% of National Portfolio Organisations in the North West alongside freelance artists, grassroots arts organisations and non-NPO heritage organisations. In our first year as an NPO12023- 20241, we continued to supportthe growth of the sector. delivering 84 events, with 1724 attendances. In 2019-20 we worked with Socialvalue Lab to better understand our impact.. thev explained the challenges of evidencing lasting systems-change. Since then we have used Theory of Change to understsnd progress towards long-term goals. We remain committed to evidence and evaluation. and in 24-25 we triaLied Rick Davies Most Significant Change IMSCI methodology. The pilot of MSC has provided powerful. narrative-based evidence of Curious Minds, long- term impact. By collecting personal stories. some spanning nearly a decade, the evaluation revealed the difference we are making with sustained effort over time. Teachers. cultural Leaders and institutions described how Curious Minds supported their development into advocates and leaders. often sparking youth-led initiatives, shifts in whole- school culture and embedded arts practices. The MSC stories highLighted recurring themes.. networks. leadership. sustainable practice. youth voice. and the ripple effects of an ongoing relationship with Curious Minds. Museums and schools credited Curious Minds with accelerating organisational change, embedding cultural education. co-creats'on, inclusive policies. and youth engagement far earlier in the organisations, developmental journey than might have happened otherwise. The evaluation validated Curious Minds. role as a 'field cataLyst'. stimulating ambition, scaffolding curiosity, and embedding lasting change. Crucially, it affirmed the value of the organisation's relational approach.. narrators consistently cited the personal support and continuity offered by staff as transformats"ve. 66 Il'e ilent furthei. in a much.shorler amounl or Lime. ,4nd Ilial's l)ecn drii'cn b). Ji'orking ii'illi an organi,sJlion Mith bcaiitifiil Lorc I"alues. ThLJ" arc relentlessli, positii'e. Il'e'd alH'a!'s come aii'ai. hu/.iing Mith an idca ahoul ii.hcrc to go and iihal lo do ncxl.- io C;ui'ious Activity Since ApriL 2023 we have been using the folLowing Strategic Framework to plan and deliver aciivity.. Our %ll¥thD (￿r71￿￿￿Or(J￿ Prtorlth (￿rIkInD Through the delivery of... In order to... We wiiL.. By focusing on... To achieve... INNOVATE in the field of Creative and cultural education Inclulion Ittknynce tackle unequal access to creativity and culture for children and young people learnin9 and a future leadership where being PROGRAMMES & creative and PARTNERSHIPS that briThJ abr*Jt experiencing indwwJuaL brilLiant arts organisational •fkJ and culture is stemic chaThJe. IMPAcf Socbal a regular part Justicé outcomes of EllEB and'l*el-tsp child's learning and life. INVEST in a dwerse cultural education workforce INFLUENCE cultural education partnerships and poli¢y L)ulliJ' l.'rraihc I. INNOVATE We innovate in the field ol creative and cultural education by collaborating with multi- sector partners to explore and test new appmaches to the delivery of cultural learning and leadership programmes. 1.1 A￿Ec CulturaL Leadership Programme In 2024-25 Curious Minds adapted its Long-eStab￿.Shed SLICE training model for an initiative commissioned by the Absolutely FabuLous Theatre Connection IAFTECI based in Hong Kong. This CPD programme was delivered with 15 school leaders and teachers, and 8 teaching artists from Hong Kong throughout the academic year via online sessions and two days of face-to-face engagement when the group visited London. The programme has benefitted from the invaluable support of a member of the Curious Minds team who is originally from Hong Kong. Curious Minds delivered a training syllabus including whole-school approaches to arts education,. Theory of Change- auditing arts provision,. project-planning,. advocacy and partnership working. We curated guest speakers and case studies to provide inspirational li C;ui'ious examples from England's cuLturaL education sector incLuding schooLs. the Northern Creativity ColLabor2tive. the National Theatre and the Southbank Centre. Delegates reported increased appetite and confidence to drive creative coLlaboration across their schools and have already begun to apply tools and models. The partnership has provided a valuable experience of international work in preparation for our role as the England ITAC Hub. 66 [liidL'i'takin% Ilie arls and cultiiral audil is like hai'in% an x-i'ai. focus on arts proi'ision in our school.- AFTEC Teacher 1.2. #BeeWeLL Artsmark SchooLs #Beewell is an extensive wellbeing survey conducted by the University of Manchester, the Anna Freud Centre. and Greater Manchester Combined Authority IGMCAI, which creates a huge and detailed dataset on the wellbeing of young people in Greater Manchester. The #Beewell Artsmark Pilot is 2-year programme running between 2023 and July 2025, which we were commissioned to design and deliver by Arts Council England. It explores how schools can use the #Beewell dats to commission creative intetventions that tsrget specific wellbeing needs. Seven GMCA secondary schools linclvding two SEND schools) are involved. The pilot is vouth-led.. we support pupils to use the #Beewell data to make both a micro-commission and a neighbourhood level commission. This results in the commissioning of 20 creative practitioners to work with almost 660 students. as weLI as other people from their Local communities. In addition, 38 young people gained a Creative Health level 2 qualification from the Royal Society for Public Health, whiLst deveLoping the skilLs to make and manage the commissions. 66 Leadin% Ihe iiilen"enlion %e%sion ii'ilh Ihe i'oun%er sliidenl.s for our.Irl.s and 11-elll)ein£ lasler M'ork'shop li.as nen"e-rackin% hill l am oi'erall %lad did it. I learnl hoii. lo cope Icad a %es5ion ... il helped iiith m!" leadership and presenlaiion skills immen%eli'. Student who achieved the Youth Health Champion Certificate. 12 C;ui'ious 66 11 lia.% crealed a ciillural shin in our %chool. lil'%1 hi%hli%liled ihe ar15 as inirinsic lo i1-ell1￿in% and iiiade Ihal i-en. i'i%il)le. Lead Teacher 66 The person l...l li.as nol iiilereslcd in arl or ciillure l)eforc illi% projecl. acliialli. loi'ed il so niiicli and leli eiiipoii'cred aiid iiicliideil ilial he caiiic ljack io oiic ofi)Iir %iiiiiiiier i)ro%r'iiiiiiie%. aiid ('iiriniis Iliiid% Iiiii(led his alleiiildiice IrJi'el. Ele Keiiiiiiieli. %iirpri%L'd hiiii%L'if iii dei'L'I(Ipiii% a loi'c of creaiii'ii>' Ilir()u%h this ii'ork. 11-hal a jo!.:" Lead Teaching A￿'St$. EVer￿Y Wigan. 1.3. Artsmark RuraL Commissioned by Arts Council England. Curious Minds worked with four rural schools in Whitehaven, Cumbria to understand the experience of rural schools in achieving Artsmark Award and pilot ways of offering support. With mentoring from Grayrigg Primary and training frorn Anti-Racist Cumbria. Curious Minds supported schools to address the challenge many rural schools experience in offering diversity within their arts provision. Each school was supported to identify an action research question to guide their planning., Curious Minds then supported with mentoring. group sessions, cultural audits, identification of barriers. probLem solving and brokering arts partnerships. One school described their highlight as Outputs included over 300 children engaged in art and creative sessions not least through an innovative'creative cover, model whereby supply cover was provided by Teaching Artists. Curious Minds trained 6 staff. Anti Racist Cumbria trained 8 staff, and 7 Teaching Artists were engaged. For legacy and sustainability. Curious Minds connected schooLs with partners such as Cumbria University. the NationaL Saturday Club and a local Artsmark Gold school. Positive feedback from teachers and schools reported= being inspired to rethink which artists they engage., embedding anti-racist practice- and strategic planning for the arts. 13 C;ui'ious 66 'rhe opporlunil!. lo share sonie or ihe challen%es li'e hai'e ii'iihin schoq)I landl the chance io %hare ideas aiid l)econie clearer.- Artsmark Rural Schwl Teacher 1.4. Rhyme & Reason Steph LampL Foundation The year had a strong start with a £50.000 grant secured from the Steph Lampl Foundation to utiLise poetry for mental health benefits across five secondary schooLs. Curious Minds went above and beyond the Foundation s initial invitstion, embedding mechanisms for sustainability and legacy within the project design and delivery. 'Rhyme & Reason, is inspired by a clinical model developed by EdgehilL University called 'Arts for the Blues. The project set out to explore how the model could be taken beyond the cLinical setting as a framework for providing creative arts-based interventions that tackle low-mood and anxiety. Scott Thurston, Professor of Poetry, Innovation and Creative Prattice at Salford University, and one of the originators of Arts for the Blues, worked with us to adapt the model for this context. The project engaged 5 Teaching Artists Ipoetsl. 5 Teachers and a Poet Mentor. and was supplemented with individual supervision from Edge Hill University and specialist input on trauma informed practice. Feedback was extremely positive: 66 C',rcalii'c. %'or%e01151)coi)Ic. amaiin% inlenlion and geiiuinL' carL' I()I' }-ouii% i)e()i)Ic. IA)i-ccl il. 'cILliiiix.41'Li%tl l)OL't 66 ()ne %liidenl 14ho hardli" allend% an bridal'% {aiid if slie does 1% il%ildll!' lalcl has 1￿Cli al ei'en. niornin￿. aiid on linie.- "I'e¢iLher 1.5. GoLdsmiths University of London Partnership Our partnership with the psychology department at Goldsmiths continued, with the conclusion of a pilot study supported by the University's Research Impact Fund focusing on the impact of Teaching Artists in the classroom. This work WILI resuLt in the publication of a co-authored research paper to be peer reviewed in the next financial year. 14 C;ui'ious In summer 2024 the partnership hosted three CPD sessions for the sector focusing on impact and evaluation, which brought togother researchers. academics. and sector Leaders. Sessions were well attended with 135 deLegates. This is the first in a programme of Curious Praxis where research insights are directly shaping secior practice. Feedback was positive.. 66 Bi'illianlll. concise. en%a%in% pi'csenlalinns iiilh just ilie riglil aiiioiiiil of coiileiit aiid realli, direcili i'clci'anl as M'CII as iiisi)iriiig.- CPD Session Delegate 66 11-here lo %lari!11 li'a% ffaiiia%liC.- CPD Session DeLegate 66 I plaii oil feciliiix l)dck lo iiii. Collea￿leS Ilic ii'a!'% iii Ivliicli M'L. Ldii iiiJke ()iir ci'Jliialion iii()ri' L'trL'LIii'c and inii)Jc'lful. CPD Session Delegate As a result of this pilot projert, we successfully applied to the South East Network for Social Sciences ISENSSI to host a collaborative PhD focusing on the impact of Teaching Artists in the classroom. Our doctoral candidate Saul Argent began his studies in the Autumn of 2024, under the supervision of Dr Diana Omigie (Psychology). Professor Alice BartoLi (Educational Psychology) , and our own Dr Steph Hawke. Head of Impact and Evaluation. Our Rhyme and Reason project provided a first opportunity for data-colLection and this is SauL's first pilot study for his thesis. To launch the PhD, the team hosted a round tabLe event at Goldsmiths in September 2024 which was well attended by leaders. teachers and teaching artists from the sector, including Creativity Collaboratives. The V&A Museum, Paul HamLyn Foundation. and the Cultural Learning Alliance ICLAI amongst other5. The event will produce a co-authored research paper for peer review and publication in the next finar)cial year. The partnership has also produced a thought-leadership article for the CLA'S Latest Thinking newsletter which. taken together with two articLes published as a result of our first partnership with Goldsmiths in 2021-2. and two articles in the pipeLine, represent praxis in cultural education, a continuous cycle of research. reflection and practice that strengthens the evidence base available to poLicy-makers. 15 C;ui'ious 1.6. STAR Performing Arts Academy We were approached by the sfAR MuLti Academy Trust to work with them on the STAR Performing Arts Academy. Having secured funding from the Christopher & Henry OLdfield Trust STAR sought our expertise in mobilising and guiding 5 schools in trie North Westto deliver performing arts enrichment clubs. cultural visits and celebration performances with Key Stage 3 pupils. We were able to extend the scope of their ambition to include teacher development and training. to ensure that the project has sustainable impact. Towards the end of this year, we had been introduced to the schools and begun to understand and assess their individual needs, encouraging wider ambition for the role that arts enrichment could play in school life. Star Academies Arts at the Heart 1.7. Work with Higher Education Partnerships with Higher Education Institutions IHElsl formed a significant strand of our work in 2024-25. Projects exploring the use of Greater Manchester #Beewell survey data forged a stronger conneciion with Manchester University, while our Rhyme and Reason project, with funding from the Steph Lampl Foundation. deepened our partnership with Professor Scott Thurston at Edge Hill University. translating the 'Arts for the Blues, clinical model for use in classroom settings. Our partnership with Goldsmiths college. University of London went from strength to strength through the development of our collaborative PhD studentship, and we also developed new partnerships with Dr Elisavet ChristOLJ of Lancaster University, focussing on creative evaluation, and the Centre for Cultural Value at Leeds University, with a focus on bLJilding a national Cultural Education Impact Network. 2. INVEST We INVEST in a diverse cultural education workforce to develop• celebrate and professionalise the field of cultural education. 2.1. Anti-Racism Group {ARG) Established to drive forward our aim to be a proud anti-racism role model for the sector. our Anti-Racism Group IARGI continued to shape Curious Minds. programmes and partnerships and were woven into our work in muLtipLe ways. This year we expanded membership to include Young Associates. graduate Linda Wachanga. Members contributed to the Northern CuLturaL Education Awards as judges and presenters, joined our board away day. supported the Curiou5 Creatives Network. p?rtICiP3ted in a roundtable discussion with ITAC founder Eric Booth. and played active roles in our careers and employability work. 16 C;ui'ious Notably, we commissioned poet Amina Atiq to write and wrform a poem at our Labour Party Conferonce fringe event, 2dvoc2ting for the importance of cuLturaL education dirortly to decision makers. 2 ARG members delivered on our Rhyme and Reason projert supporting therll to develop advanced skills in wellbeing focused work and ensuring representation of black and brown people within a limited pool of specialists. The ARG helped us respond to race riots following the Southport attacks. where we commissioned qualified mental health prartitioners to offer group support to black and brown arts practitioners in our networks. This was hugely appreciated by attendees. many of whom had received no other SLJPPOrt from their organisations. The ARG also provided consultancy to BLJrnley Youth Theatre on diversifying staff recruitment and supporting young professionals from underrepresented backgrounds. The resulting action plan is helping BI￿ to embed and sustain anti-racist practice in its organisational culture. 2.2. Curious About Seminars We continued to provide essentiaL CPD for the cultural education workforce through our Curious About Seminars. Across the year we delivered eight sessions, with a particular focus on impact evaluation, safeguarding, and fundraising. A major strand was our three-part Curious About Impart Evaluation series, delivered in partnership with Goldsmiths University and the Cultural Learning AILiance. These online workshops attracted 135 participants from across the sector, 3596 from Arts Council England's Priority Places. Evaluation showed strong impact- 92% found the sessions relevant, 90% useful, and 80% gained new insights. Feedback highlighted the clarity of content and the value of practical tools, with participants noting the sessions were "concise, engaging, and inspiring. Other highlights included a sold-out Let's Talk About Safeguarding workshop in November, delivered with TIPP (Theatre in Prison and Probation). attended by 26 practitioners, and fundraising CPD in partnership with disabLed theatre company Tip Tray. Feedback across the programme showed us that this programme is appreciated and useful. highlighting the relevance of content and the accessible, supportive environment we have created. Participant feedback included.. 66 A %reat session - M"hich opcned ui) lol.% or inlcre.stiii% perspeclii'cs aiid tliin%s lo use iii mi. OM'II PTactice.- Curious About Delegate 17 C;ui'ious 66 ('uriou% Iliiids {...) excels al crealinE M'ork- ii'hich iiieel% Ihe need% ofarts praclilioiiep•. SO li-e cali niake ffahuloiLS M"ork M"hilsi feelin% safe.- Cunous About Delegate 2.3. Curious Creatives Network The Curious Creatives Network continued to provide 3 vttal, incLusive mechanism for the cultural education workforce to connecL Across 8 sessions. we maintained a strong focus on inclusion by carefully curating the content and speakers. as weLI as proactively ensuring a demographicaLly balanced membership of a minimum of 30% from under-represented groups. An impressive line-up of inspiring guest speakers shared insights on their work, including themes such as structural inequaLity and forced migration, race. class, health, schools and curriculum, and creative leadership. Attendance is consistently high across more than 100 active members. with our largest session in February seeing 60 attendees. We believe the success of the network is due to its accessible and welcoming format which suits grassroots organisations and freelancers, and programming which is responsive to their interests and needs. It has helped to build skills. confidence, knowledge and professional connections for the cultural education workforce this year. 2.4. Local Cultural Education Partnerships (LCEPS) Curious Minds has continued to play a central role in convening and supporting LCEPS across the North of England, strengthening collaboration and efficiently utilising peer to peer learning to ensure this highly influential group of decision makers are scaffolded. Our initial intention to engage with North-west and Yorkshire LCEPS was extended mid-year to include LCEPS in the North East lin agreement with Tyne and Wear Archives and Museum5 who are active in that areal, who have enthusiasticaLly participated since. Over the year. we hosted both online and in-person gatherings, with 41 ofthe 47 active Northern LCEPs187%1 represented. These meetings provided valuable opportunities for sharing practice, exploring ch3lLenges, and developing collective soLutions. Highlights included an in-person convening at HOME Manchester in ApriL 2024, which brought together 41 representatives from 26 partnerships. Feedback was overwhelmingly positive, with over 90% of participants rating the event as relevant, useful, and well thought through. Attendees told us they felt more connerted, re-energised, and supported as a result. Regular online sessions also proved very effective, with presentations from Barnsley Fusion on their Artsmark Place-Based pilot and cor)tributions from ACE Relationship Managers. An online format which incLudes invited speakers and single issue breakout sessions has been 18 C;ui'ious welL received, with SPARK Wakefield presenting in March on co-created curricuLum rÈsources, and themes such as youth voicè. working with Schools and welLbeing were Dfferod in response to requests for deeper discussion. We have continued to celebrate and share LCEP artivity through our quarterly newsletters too. which all Northern LCEPS receive. Newsletters published this year featured 11 partnerships and attracted over 500 views online. Additional LCEP case studies hosted on our website generated a further 388 views. demonstrating their ongoing value. Feedback incLuded'. 66 I reel more connecled lo olher I,C,F.I's. I recl Icss alonL' ii'illi iIiL' Lliallciik*es li'e face.. I did feel a scii%e ofL'aiiiara(Ici'ie an(1 %iii)i)ori froiii otliers iii IhL' i'oum. I fcL'I I'c-L'iici%iscd al)oui ihc diffcii'ncc I.(;I,;l)s can niake and ii-h). Ihcj. arc nccdcd. 66 Il"e are a flcd%lin% l.C.Tr"P and il ii'ill help lo iiifiirin neit %lep% as ii.cll a% %iiin£ us access lo a cohorl or rclei'anl coiilacls pcer siipporl.- 66 makinki al Ihis i)ii'()lal i)Iiinl in (iur I,(',F'l• i)r()ccss. Il il'as %real lo shai'c ch¥illen%cfb dnil hear oilici. PL'I)pIL % iiii)Iil qiiid i11si.%Ylil. ii'L'II fLL'liii4Y ii.%cful lo IIL. I)iirl ol. IIL'lI)iii% olliL'rs to fiii(l %oliilioii%. 2.5. Our roLe in Wigan Borough As our home borough, increasing our presence and contribution to the cultural ecology in Wigan is a priority. This year we committed to coordinating the Wigan Borough LCEP, aligning it with the Chance to See Fund. This WILL provide it with central purpose which sits within Wigan's new movementfor change'Progress with Unity,, building an 'entitlement' to creative and cultural education for alL chiLdren and young people. Our CEO is Chair of Wigan Borough Cultural Partnership and has led the writing group tasked with producing a new five year cuLturaL strategy. The Fire Within.. The Forge was launched at a spertacular pop-up event at Wigan Pier in Septetnber 2025 and was very welL received. Curious Minds is profiLed in the strategy document under the Cultural Education priority. 19 C;ui'ious The Chance to See Fund is our ongoing partnership with chart-topping Wigan band The L2thum%, which continued to grow in reach and impartthroughout the year. To date, tho fund has distributed 10 grants and was selected as one ofthe incoming Mayor of Wigan's charities for 2025126. Fundraising highlights included proceeds from the band's December 2024 homecoming gig which were matched by local developer Heatons, generating an additional £9,000 for distribution in 2025126. We also sponsored the Wigan Borough Dance FestivaL. using the four-night event to raise money for the Chance to See Fund, and provided evaluation support. Our Curious Works programme concluded successfully, creating five ALternative Saturday Jobs for local young people in Wigan's cuLtural organisations. Combined, these artivities ensure we're increasingly embedded in our home borough, laying the groundwork for our plan to open a base at Wigan Pier later this year. 2.6. Leading the Arts in Your School Leading The Arts in Your School is our longstanding course which equips teachers with the skills and knowledge to drive the development of their school's arts offer. At the start of this vear, we had a cohort of 16 teachers already on this journey. By lune, they had all completed the course. a work shadowing opportunity. and received certification. 10 arts organisations were involved in course delivery, simultaneously giving those organisations updated insight into the needs of teachers. A report of the delegates. progress and success was sent to their Headteachers, to encourage recognition of their skills and boost their influence within school. Ref lections f rom this year's cohort highlighted development of their arts-leadership, advocacy, networking, and the opportunity to learn from the practice of other schools. 66 Iledllv %oo(I course. ..IlloM'% l'ou lo nicel other arl IL'dL.IIL'r% and sliarc gooil i)rdL'liL'c. I rL'all>' L'iijoi'L'd Ihe woi'k %hadoM'ing and hai"e niadc friend% aloiig thL' M:ai. Leading the Art5 in Your School Participant Teacher 66 The COUP•e ii'ill pr(>i'oKe crealii'il!. and eiiiw)ii'er i'ou lo adi'ocale for Ihe arls in l'our selling. Leading the Arts in Your School Parts'cipant Teacher 20 C;ui'ious 2.7. Let's Craft 2024-25 marked the final year of the Let's Craft programme. which was initially established dLJring Covid 19 to get craft materials to children who were experiencing disadvantage. Brokered nationally by the Crafts CounciL with resources from Hobbycraft and delivered by former Bridge partners. the prograrnme continued beyond the p3ndemic to meet ongoing need. coupled with the willingness of Hobbycraft to continue providing resources. Curious Minds coordinated distribution across priority areas in the North-west and Yorkshire. working through LCEPS and local partners to ensure packs reached the children and young people they were intended for. During this final year. we supported delivery of 1.520 craft packs across Halton. Ellesmere Port and Doncaster. Packs were distributed via schooLs. food banks. housing associations. libraries, faith groups, and family hubs. reaching children in care. young people eligible for free school meals, SEND families. and other vulnerable groups. The impaci of the packs was clear. One carer told us- "Child A was living with nan since mum was sent to prison for drug offences. Child A was not coping well since mum left. We knew that the child A loved art, and we provided them with an art pack. Child A has used the pack to create many different crafts and has been excited to show us each one. The family has been referred to local agencies for additional 5UPPOrt. Child A 5 behaviour has settled down and Nan is grateful for the art pack that worked as a catalyst for change." A housing association partner similarly reflected that an unassuming offer of craft packs enabled them to identify and engage new families in need and connect them to wider support services including food banks and benefit supporL This programme is a great exampLe of how. for those not currentLy in a position to engage with more substantiaL activities, the simpLe provision of creative materials can still have positive impact on those in the greatest need. In total 40,285 craft packs were delivered nationally across the two phases of the Lets Craft programme, and it is estimated they benefitted more than 100.000 children. Of parents surveyed, 84.996 said that receiving a pack made them feel more confident about making things at home with their chiLdren. 2.8. Curious Works In 2024-25, Curious Minds successfulLy secured £75,000 from GMCAIWEA to deliver Curious Works. a pilot programme to support young people aged 16-25 in Wigan who are not in employmenL education or training INEEt) or are at risk of becoming NEE[. 21 C;ui'ious The programme utilised the strengths of arts-based organisations to engage young people who find themselves on the margins. A combination of opportunities were offered br02dly through local partners, which included workshops, mastercLasses, mentoring, and creative enrichment aclivities, with a focus on building confidence and removing barriers to education and employment. For the most interested. we offered Alternative Saturday Jobs IASJSI in partnership with Wigan based arts organisations. We also engaged a team of Young Producers, who pLanned and delivered a youth-led creative careers event for their peers, developing transferrable skilLs along the way. This event reached over 50 young people and featured interactive stalls from I l Local creative employers and freeLancers, showcasing pathways into creative careers. Despite initial recruitment challenges. in total the project engaged 38 young people from underserved groups across the borough. Participant feedback reflected the programme s transformative impact. Curiou5 works has laid strong foundations for future programmes. and a successful new relationship with funders WEA and GMCA. l>roi'iii% (Ii'%lexia isii'l %iiL.li a l)arricr iii a iicii, Alternative Saturday Jobs Participant Il'% liecii K(M)d flir iiii. coiifiilciice ai!(! alsi) jiisl %ii'cn nic ii'ork lo shoii. pcople.. I cai) pul il oil Liiikedln. li liich lia% hclpcd iiie nelH'ork li iih oihcr wlciilidl cniplol'cl￿.- Cunous Works. Young Producer 2.9.1'm a Teenager Get Me Into There Our'l'm A Teenager Get Me Into There, course helps non-specialist staff in cultural venues understand the needs and behaviors of teenage visitors and make them feel more welcome. It continues to go from strength to strength and is our most popular one-day training course to date. During this year, 190 arts and cultural professionals across 50 arts organisations benefited from our in-per50n training. We have successfully extended its reach, delivering this year in Scotland. Yorkshire. Lincolnshire, Cambridgeshire and The South East. It continues to draw attention from national organisations welL positioned to spread the word. and we have been receiving invitations to present at events and gatherings. including the National Trust the Association of Children's Librarians IASCELI, and the Kids In Museums Conference. 22 C;ui'ious In addition to in-person training. 3940 professionals have accessed the online course, which continues to provide vaLue free-of-charge forthose who cannot afford to attend in person, as well as enabling those who do attend to cascade the acbvities to colleagues with e35e. "It s been great because we ve been able to make the trair)ing work for us, fitting it into the only timeslot that's really available to the front-of-house team... I felt Like the Visitor Team felt valued and heard. and it makes my job easier to work towards change because I have an evidence base to back up the need... It was really great that you were able to offer this training in different formats as it made it accessible to both myself and the Visitor Team when time and budgets are tightl- Manchester Art Gallery We are incredibly pleased with the course's continuing popularity, which is helping to make more young people welcome in cultural venues across the country. Ongoing evaluation shows that delegates leave with plans to change marketing. programmes, signage and even the layout of some spaces,. but above all the course is changing perceptions and inspiring delegates to become advocates for young people amongst their own staff teams. Feedback has been positive.. "An eye-opening session that will help move our library service into a much more teenage-friendly space" "A fantastic session that helps us to empathise with, and understand teenager5.- "A great session that challenges you to self-reflect, whilst equipping you with the knowledge of how to best support young people's engagement with culture.- "A much needed opportunity to discuss this important topic and to listen to ideas, opinions and experiences from across the SeNice, with a view to improving our offer for young people." "Excellent session which ultimately changed how I view how we approach teenager5 in cultural Servi￿5. 2.10. Curiosity Outside the CLassroom Our brand new course, Curiosity Outside the CLassroom, trains teachers to get the greatest vaLue for their students from a cuLturaL trip. 23 C;ui'ious It was created in response to our own observations of teachers lacking confidonce and experience in organising trips, with several reporbng they have never taken students out Research from The Sutton Trust in 2003 evidenced that trips have indeed declined by 50%. rising to 68% of schools in deprived areas, hitting the students who need itthe most hardest. The content for this course draws on 2.000 trip reviews generated through our Curious Citizens programme (where groups of students identified as having the least cultural opportunity then planned and went on first time cuLtural visits). Their reviews provided significant insight into what young people value the most, which we turned into concrete advice for teachers. Before the close ofthis year, we had road-tested the course with 6 secondary schools (including one SENDI, and 2 primaries. Our knowLedge has Led to our CEO being invited by Clore Duffield Foundation to join an expert panel overseeing grantmaking to schools in Blackpool and Cornwall for cultural trips. Our 'Curiosity Outside the Classroom, course WILL be offered to the successful schools in the coming year. Feedback has been posrtive with teachers telling us that as a result of the training they will plan differently. work across departments and make trips more purposeful. They felt more connected to the opportunities available for their pupils and inspired to prepare, for some, their first ever arts trip.. .1 have lots of trips planned in my head... (it's) given me the confidence to go for it.- "Apart from the content and delivery of the course. which was excellent, it's a good opportunity to meet and talk to others in similar job5." "Extremely useful session, gained both practical ideas to use, and challenged my preconceptions." "The amount of group activities helped to explore the thinking and suggestions from other members of staff. The real life experiences show how trips are an integral part of a school life and all children should be given the same experience." -Lots of practical tips and takeaway tools to put straight into practice. Really made me think in a more 360 degree way to creating more impactful experiences for young people. "It has provided us vvith a blueprint of activities and resources that can be referenced. revisited. and utilised with confidence and clarity for short term and longer term actions. This will offer reassurance for the wider team. keeping them in the challenge zone, not the panic zone. 24 C;ui'ious 2.11. Other Training We have laid ground work for two more shorttraining courses to buiLd our offer. Our Peer Tutoring course WILL prepare students to lead arts based cLubs for smaLI groups of their peers. As weLI as the benefits individuaLs WILL gain from youth leadership. this WILL help schools sustain some arts enrichment provision without reLiance on financial resource5 or substantial staff capacity. This is an adaptation of the University of the First Age IUFAI course we had reworked in the previous year. with their support and permission. following the closure of the UFA. It has been prepared for primary school delivery. and will also be adapted for trial in S STAR Academies secondaries in the coming year. Our second new course WILL focus on Youth Leadership in the cultural sector. Whilst youth voice training is available from other providers. existing courses do not extend to authentic youth Leadership at a strategic level and this remains a need for LCEPS in particular. We have exiensive insight and experience from many programmes to draw on. particuLarLy our Hope Street5 programme, which concluded in March 2024. 2.12. ITAC EngLand Hub The title 'Teaching Artist. is the international name for cuLturaL and creative educators or community artists. ITAC Ilnternational Teaching Artist Collaborativel is the first and only global network of Teaching Artists. and consists of established hubs in S countries. with several more set to join. At the start of this year, we had aLready successfully applied and secured our place as the only ITAC hub for England. Throughout this year we progressed our position as a national convenor for teaching artists within this global network. Through regular engagement with the ITAC executive and our international counterparts, we have contributed to shaping developments such as the launch of a new ITAC membership platform, website and programme of online sessions, ensuring they also meet the needs of practitioners in England. We have also supported ITAC with practical expertise, including digital communications advice. In September 2024. four members of our senior leadership team attended the ITAC7 Conference in New Zealand. This bi-annual event is an established focal point for ITAC, and attending enabled us to build relationships with other hubs. exchange practice, and Ljnderstand the facets of English work considered the most pioneering from an international perspective, in particular arts in health and social prescribing. It also provided valuable insight into how the conference itself operates. the expectations of participants, and the opportunities that hosting a future conference couLd offer. Looking ahead. we are in discussion with the ITAC executive about hosting a future conference in England. potentiaLIv in 2028, and are considering a Major Projects grant application to ACE to support this ambition. Continuing to grow and establish ourselves in this roLe wilL enabLe us to make full use of our intornational partnerships to platform English work. as welL as connerting the teaching artist community in England wtth intÈrnationaL peers. 25 C;ui'ious INFLUENCE We INFLUENCE cultural education partnerships. plans and poliry by engaging with prartitioners, leaders and politicians to galvanize cultural education partnerships and shape the debate about the importance of creativity and culture in childhood and adolescence. 3.1 EvaLuation Consultancy Our work is powered by curiosity afid we approach every activity and interaction as an opportunity to know more. Our goal is to innovate, invest in, and influence the field of evaluation in culturaL education by upskilling the workforce and by using the evidence we coLlect to champion creative and cultural education. One of the ways we achieve this is by offering our skills as an external evaluator and criticaL friend. In 2024-25 Curious Minds completed an impactevaLuation for Youth Focus North West. evaluating their work across the Greater Manchester Combined Authority over seven years. This substantial piece of work involved 21 in-depth interviews with stakeholders. and the report will be officially launched in the next financial year. Evaluations were also completed for- new Wigan-based NPO Thick Skin Theatre, National Museums Liverpool, Wigan Borough Dance Festival and ELlesmere Port NPO Theatre Porto. As part of the latter project we triaLled a subscription to the SociaL Value Engine software which gave access to a bank of current research for use as proxies to calculate social return on investment In this year we were aLso commissioned by new NPO 8uxton Opera House to evaluate the impact of its education and outreach programme. Where appropriate we share this learning and experience via our website. 3.2 Northern CuLturaL Education Awards On 24th May 2024, Curious Minds hosted the Northern Cultural Education Awards, a unique flagship event to celebrate the achievements of the cultural education sector and shine a spotlight on excellent practice. For the first time this year it was open to the whole of the North of England, and we received 156 nominations from a wide geographical spread, demonstrating an appetite for recognition. Eight awards and two runner-up Certificates of Commendation were presented, including a Changemaker Award for Paul CoLlard, who joined via livestream from Thailand to receive it. Hosted by broadcaster and producer Ngunan Adamu we presented a lively programme of performances and speakers. including a recorded fflessage from Darren Henley. Arts Council England CEO, to 320 guests. 26 C;ui'ious Over 80% of feedback respondents said theyfeLt happy and proud to be involved. One nominee refLectod.. "Within a few hours of us celebratNng our commendation on SOCAal media, we d had recognition from our MP and people at the council...don't underestimate how important it is that someone brings this sub-sertor together.- Award Nominee, 2024 Throughout the year we continued to celebrate winners and finalists through event footage. case studies, and infographics. keeping their achievements in the spotlight. The event served as a powerful focal point to increase visibility and recognition for the sector, and to celebrate the people who make it happen. 3.3. Thought Leadership & Public Affairs Curious Minds continued to play a strong role in shaping the national conversation on cultural education. A highlight was our collaboration with the Cultural Learning Alliance to host a fringe event at the Labour Party Conference in September 2024, attended by around 50 delegates. The event. Access to Arts and Cultural Education.. Helping Labour Deliver Creative Opportunities lor Every Child. brought together parliamentarians. sector leaders and artists to debate the future of cultural learning with the incoming government. Our commissioned poet Amina Atiq, opened with a performance. and discussions centred on curriculum reform. accountability. and reversing the decline in arts qualifications. Alongside this, we contributed evidence directly to the Government's Curriculum Review Evidence Committee. and to the DfE attheir request. drawing on manv vears of practical experience working wf(h schools to protect and grow arts provision. Across the year, members of our leadership team presented at a wide range of sector events and advisory forums, including the C-change Conference. Primary Drama Conference, ACE Learning and Participation leads away day. the NationalTheatre Drama Teacher Conference, and Peterborough's Cultural Education Partnership launch. We also contributed to regional policv discussions, including a roundtable with the Deputy Mayor of Manchester on the potential role of arts in violence reduction and the Youth Focus North West'spotlight, Conference. attended by the DCMS and GMCA. We have continued to exert influence on behalf of the sector through nationaL networks and partnerships. with our CEO co-chairing the Cultural Learning Alliance. which published its influential 2024 Report Card. and our staff serving on advisory paneLs such as the Myriad Creative Health and WeLlbeing programme. We were invited to advise on the Child in the North research initiative, led by Durham University. and contributed to a wide range Df working groups and panels drawing expertise from across our staff team. Those artivib.es ensure Curious Minds practicaL expertise inform5 research, policy. and high-level docigion making. improving the condttions for fvture work to flourish. 27 C;ui'ious Organisational Development Our Transition and Transform programme is reshaping Curious Minds to be stronger, more agile and better able to serve the cuLturaL education field in a challenging funding climate. Supported by £503,800 of Arts Council England Transform funding (matched with £140,000 from our reserves and a further £160.000 set aside as a strategic deveLopment fund). this three-year plan runs to March 2026 and is designed to diversify income. modernise our infrastructure and ensure our long-term sustainabiLity. The programme has five interconnected areas of work.. building organisational capacitv., digital transformation; developing new products and services.. unLocking the value of our existing intellertual property.. and refreshing our approach to fundraising. Each strand is already shaping our day-to-day practice ènd strengthening our ability to support the sector. Our digital transformation is well under way. After a competitive tender process we appointed Culturesuite to create a new website that integrates event booking, email marketing and Salesforce CRM. This will provide a modern and accessible home for our programmes and resources. with the flexibility to incorporate and improve on our existing online directories, The Culture Hub and the CulturaL Providers Map. Together, these currentlv host over 900 live provider and schooL profiles and continue to exceed sertor demand. We have also expanded and refreshed our traded offer, developing new courses and tools that respond to emerging sector needs. This includes Curiosity Outside the Classroom, training teachers to deliver high-impact cultural trips.. Our Vox Curio. a curiosity-led approach to evaluation combining our creative facilitation methods with the Most Significant Change methodology., and our Peer Tutor Training model. which heLps schools sustsin arts clubs and activities through youth leadership. We continue to build on the success of I'm a Teenager.. Get Me Into There, which remains a flagship training product, extending its reach nationallv and informing how cultural venues weLcome young people. Atthe same time, we are strengthening our abiLity to generate income from consultancy, facilitation and evaLuation services, while building a more strategic approach to fundraising and philanthropic giving. These changes are making Curious Minds a more nimble and dynamic organisation one able to adapt to policy shifts. meet the needs of schools and cultural partners. and invest in the children and young people who stand to gain most from access to brilliant arts and cultural learning. Our Plans for the Future The Trustees, Executive ManagementTeam and staff of Curious Minds remain ambitious for the charity's future, knowing that our work is urgent and deepLy needed. Later this year we will move into Pier 2 at Wigan Pier. creating a permanent home for Curious Minds and estabLishing a new Centre of ExceLlence for arts and cultural education. This iconic site, long tied to Wigan's industrial story, WILI become a place whore creativity and opportunity meeL It WILL give us the space to convene, innovate and supportthe cultural 28 C;ui'ious education workforce, whiLe rooting us firmly in Wigan, Greater Manchester and the North. Our long-term partnership with Wigan Council has secured a 10-year peppercorn rent for the site, a clear sign of shared commitrnent to making this a home for cultural education and opportunity. Our presence there will contribute to Wigan s Progress with Unity missions, helping the borough build a fairer future for its children and young people. To prepare for this move. we are actively raising the capital finance needed to complete essential works at Pier 2 and have begun our first experience of applying for social investment alongside grant funding. This marks an important step in diversifying how we finance our growth and ensuring the Long-term sustainabiLity of our new home. As part of our local commitment, we WILL continue to grow the Chance to See Fund. which provides cultural opportunities for chiLdren and young people who might otherwise be excluded. Being named the Mayor of Wigan's Charity for 2025126 gives us a powerful platform to raise the profile of this work and expand its reach. Nationally, we will formally launch the ITAC England Hub in December with a Teaching Artists Symposium. bringing together teaching artists. funders and policy makers from across England. We will also take our Northern Cultural Education Awards national. with plans now under way to hostthe first National Arts and Cultural Education Awards in Manchester in October 2026. This ambitious step will celebrate outstanding prartice and champion excellence and equity across the country. We are also investing in leadership for arts and cultural education. Our flagship programme, SLICE (Specialist Leaders in Cultural Education), is being fully redeveloped and relaunched to bring together school and cultural leaders and equip them to act as effective system leaders shaping policy, strengthening partnerships and driving change well beyond their own institutions. SLICE Fellows will champion the place of arts and culture in Learning, influencing how cultural education is planned, delivered and valued across schools and wider services for children and young people. We are preparing carefully for an evolving poliry environment. The Curriculum and Assessment Review and the new SchooLs White Paper. both expected in autumn 2025, are anticipated to strengthen and embed the role of arts and cultur81 education in schools. The forthcoming National Youth Strategy is expected to call for more and better cultural opportunities in informal learning settings. underpinned by major investment from the Dormant Assets Fund, now rebranded as Every ChiLd Can. Alongside this. government attention to early years development, children's mental health and welLbeing, and improving outcomes for white working-class children and young peopLe presents clear opportLJnities for us to contribute our expertise and influence. We are also alert to the changing social climate. Across society we are seeing rising division, fear and intolerance, with young people increasingly exposed to influences that promote polarisation and mistrust. Our work will respond with determination, redoubling our commitment to use arts, culture and creativity as a force for empathy, understanding and hope. 29 C;ui'ious In the year ahead, we expert Arts CounciL EngLand to open applications for its next N3tion21 PortfDLio in the first half of 2026. WÈ WILI prepare a strong case to secure NPO funding beyond 2028, ensuring that Curious Minds can continue to lead, innovate and invest in the future of arts and cultural education. As the Departmentfor Education establishes its NationaL Centre for Arts and Music Education. we will work to position Curious Minds constructively within the new national ecology. We will continue to build strong aLliances with funders and partners, expand our training and consultancy offer, and ensure thatthe voices of educators, artists and young people are heard in shaping poLicy and practice. Our purpose remains constant= to champion every chiLd's entitlement to brilliant arts and cuItLJral learning and to support the people and partnerships who make it possible. We look to the future with hope, confidentthat by working together across places and systems we can build an education landscape where curiosity. creativity and culture belong to every child. 30 C;ui'ious Financial Review Financial ResuLts The Trustees are pleased to report a variance in free resetves to £500,53912024.' £621,869), keeping the Charity in a stable financial position to meet our future plans. We continue to plan for a new base and have therefore set aside further funds towards the cost of establishing this in the coming year. Total funds designated towards our new base and Transformation and Development programmes now totaL £762,62812024.. £518.6731. Additional funding sources during the year derive from restricted grants. with a total of £211.13912024.. £219.7881 funds carried forward at the year end to meetthe associated programme plans. Core funding From April 20 12 to March 2023. Curious Minds was in receipt of National Portfolio Funding and Department for Education funding from Arts Council England in respect of its status as a Bridge organisation. From April 2023 we were awarded National Portfolio Organisation status by Arts Council EngLand. securing £2.4 million of funding over three years. Project funding We also deliver a number of projects funded by Arts Council England. such as Artsmark Rural and #Beewell. and have designed and delivered projerts for the Steph Lampl Foundation and the GMCAIWorkers' Education Association scheme during the year. The Charity continues to aim for further diversify in incoming resources in future periods. Financial Risk Management Within the wider risk management process. the Board of Trustees monitors and assesses financial risks to which Curious Minds may be exposed and assesses their potentiaL impact on the Charity. Reserves poLicv The level of unrestricted reserves has been set to meet the costs of retaining sufficient staff and covering overhead costs for six months in order to continue to pursue our objectives, given tho planned investment in transforming our business modeLto become more sustainable over the period 2023 - 2026. The target was reviewed in 2025 and the unrestricted reserves needed to meet these costs remained at £500.00012024.. £500.0001 During the current year, this target was met and at the year-end the free reserves stood at £500.53912024.. £621.8691. 31 C;ui'ious At the discretion of the Trustees. the surplus above target can be designated to development work. The Trustees review the reserves policy annuallv. Investment poLicy Our cash assets, over and above those required for day-to-day working capital, are invested in appropriate fixed-term and notice cash deposit accounts that yield a greater return than our instant access current accounts. This investment policy is reviewed with reference to a detailed cash-flow analysis and assessment of future funding opportunities,. however. the scheduling of cash outgoings (including grant claims) remains difficult to predict with accuracy, as this is largely in the control of our partners and therefore timing is unknown. Financial controL and audit The organisation's finances are overseen bythe Finance and 0peraty.ons Team. They use Xero Accounts software for financial processing and adhere to finance systems which were developed in partnership with our Auditors and are reviewed annualty. Relevant Staff receive appropriate training for day-to-day financial systems and consistently process financial information in an accurate and timely manner. To ensure effective financial management within the organisation. management accounts are produced on a quarterly basis for the Executive Management Team and the Board of Trustees. The COO overseas core budgets. whilst programme budgets are reviewed between the Finance & Operations Manager and individual project budget holders to ensure that all transactions are posted accurately and according to the principles of accruals-based fund accounting. The Board of Trustees have a comprehensive overview of audit requirements. financial policie5 and procedures, including accounting policies and compliance with statutory requirements. risk management and financial planning. The Board continues to appoint the external Auditors and approve their remuneration and terms ofengagement and responds to any relevant matters relating to annual financial statements raised by the External Auditors as a result of their audit work. 32 C;ui'ious Slruetllre, Governance & Management Governing Document The Charity is a company limited by guarantee and is governed by its Memorandum and Articles of Association dated 17th December 2008. as amended by special resolutions dated 3rd March 2009, 25th June 2009 and 2- November 2022. The Company is registered as a Charity with the Charity Commission. Trustee recruitment Transparent procedures are an important element of good governance. ALI new Trustees to the Board are appointed through a transparent open recruitment process when skills and knowledge gaps in the Board are identified. A thorough induction to Curious Minds is given to all newly appointed Trustees and they receive a governance pack which includes the organisation's business plan and current financial budget. the organisation's memorandum and articles of association, the Trustee role and description and sub-cornmittee terms of reference, the Charity Commission document The Essential Trustee,, and the publication 'Good Governance.. A code for the voluntary and community sector,. Curious Minds, Board of Trustees is fortunate to contain a mixture of skiLls ranging from arts, culture. heritage, public services and education through to human resources and accountancy. This enhances the placement of the organisation as a key player within the arts and cultural sector, regionally and nationallv. Trustees are encouraged to attend events and project activty throughout the year to gain first-hand knowLedge and experience of the work of Curious Minds. and they are required to attend an annual Board awav day with the managementteam to develop their skills within the Board environment and to discuss key strategic issues for Curious Minds, which in turn informs the business planning process for the organisation. Related Parties and links with other organisations None of our Trustees receive remuneration or other benefit from their work with the charitv. Trustees and members of the Curious Minds paid staff team are required to declare anv interest - when considering what interests to declare. the principaL rule is that if members of the general public could reasonably conclude that the interests might have an influenco on an approach tsken by Curiou5 Minds to an application or contrart awarded, to funding received by Curious Minds. or general organisational decisions taken by Curious Minds, then they must declare them. Due to Curious Minds recruitment of experienced sector leaders. it is inevitable that Trustees and Executive Management wilL have declared interests arising from either executive or non- execLJtive appointments with Pubb'c, Cultural and Education Sector organisations. Where 33 C;ui'ious Curious Minds engages with a partner organisation in which a decLaration has been made, the interested party must be excluded from the decision making processe5. It Is considered that these transactions do not represent related party transacbons. for reporbng purposes. Decision making The Board ofTrustees have delegated the day-to-day management and decision making of CLJrious Minds to the Chief Executive. Significant decisions that impart on, for example, staff employment, business pLanning. financial stabiLity and the sustainability of the organisation, are brought to the Board for approval prior to action taking place. Risk management The Trustees have a duty to identify and review the risks to which Curious Minds is exposed and to ensure appropriate controls are in place to provide reasonabLe assurance against fraud and error. Curious Minds has a thorough risk management procedure wherein risks to which the organisation may be exposed are monitored and assessed as to their potential impact and likelihood. Appropriate contro15 are then identified and put in place to provide reasonable assurance against their occurrence. The executive management team. led by the Chief Executive. monitor the risks associated with the organisation regularly and the updated risk register is presented to the Board of Trustees quarterly for discussion and approval. InternaL poLicies Curious Minds have a range of internal policies that have been written in consultation with appropriate professionals and that are reviewed annually and amended more frequently according to new legislation as appropriate. These incLude (but are not Limited tol the following areas.. Employment (including wellbeing) Inclusion Pay policy (see note 51 Fund Management and Financial Controls (including procurement) Health & Safety lincluding Covid- 191 Safeguarding Environmental sustainability- 34 C;ui'ious Slatement of Trustees, Responsibilities The Trustees (who are also the Dirertors of Curious Minds for the purposes of company lawl are responsible for preparing the Report of the Trustees and the financial statements in accordance with applicable law and United Kingdom Generally Accepted Accounting Practice. Cornpany13w requires the Trustees to prepare financial statements for each financial year. which give a true and fair view of the state of affairs of the charitable company and of the incoming resources and application of resources. including the income and expenditure, of the charitable company for that period. In preparing those financial statements. the Trustees are required to.. select suitable accounting policies and then apply them consistentlv observe the methods and principles in the Charity Statement of Recommended Practice ISORPI make judgements and estimates that are reasonable and prudent state whether applicable UK accounting standards have been followed, subject to anv material departures disclosed and explained in the financial statements. prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charitable company will continue in business. The Trustees are responsible for keeping proper accounting records which disclose with reasonable accuracy at any tirne the financial position of the charitabLe company and to enable them to ensure that the financial statements comply with the Companies Act 2006. They are also responsible for safeguarding the assets of the charitable company and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities. The Trustees are responsible for the maintenance and integrity of the corporate and financial information included on the charitable company's website. Legislation in the United Kingdom governing the preparation and dissemination of financial ststements may differ from legislation in other jurisdictions. 35 C;ui'ious Slatement as to disclosure of information to Allditors In so far as the TrLJStees are aware atthe time of approving the Trustees. annual report.. there is no relevant information, being information needed by the Auditor in connection with preparing their report. of which the charitabLe cornpany s Auditors are unaware, and the Trustees, having made enquiries of fellow Directors that they ought to have individually taken. have each taken all the steps that they are obliged to have tsken as a Director in order to make themselves aware of any relevant audit information and to establish that the charitable company s Auditors are aware of that information. This report has been prepared in accordance with the special provisions of Part 15 of the Companies Act 2006 relating to small companies. On behalf of the Board of Trustees: UAL Kathy McArdle Chair of the Board of Trustees 36 C;ui'ious Independent Auditor's Reporl to the Trustees ofcurious Minds Opinion We have audited the financial statements of Curious Minds (the 'charitable company'l for the year ended 3 1, March 2025 which comprise the Statement of Financial Activities. the Balance Sheet, the Statement of Cash Flow. and the reLated notes. The financial reporting framework that has been applied in their preparation is applicable Law and United Kingdom Accounting Standards. including Financial Reporting Standard 102 The Financial Reporting Standard applicable in the UK and Republic of IreL3nd (United Kingdom Generally Accepted Accounting Practice). In our opinion the financial statements= give a true and fair view of the state of the charitable company's affairs as at 3 1, March 2025 and of its incoming resources and application of resources. including its income and expenditure, for the year then ended- have been properly prepared in accordance with United Kingdom GeneraLly Accepted Accounting Practice; and have been prepared in accordance with the requirements of the Companies Act 2006. Basis for opinion We conducted our audit in accordance with InternationaL Standards on Auditing IUKI IISAS IUKII and applicable law. Our responsibiLities under those standards are further described in the Auditor's responsibilities for the audit of the financial statements section of our report. We are independent of the charitable company in accordance with the ethical requirements that are relevant to our audit of the financial statements in the UK, including the FRC's Ethical Standard, and we have fulfilled our other ethical responsibiLities in accordance with these requirements. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion. ConcLusions reLating to going concern In auditing the financial statements. we have concluded that the Trustees, use of the going concern basis of accounting in the prepaiation of the financial statements is appropriate. Based on the work we have performed. we have not identified any material uncertainties relating to events or conditions that. individualLy or colLectiveLy. may cast significant doubt on the charitable company's ability to continue as a going concern for a period of at Least twelve months from when the financial statements are authorised for issue. 37 C;ui'ious Our responsibiLities and the responsibilities of the Trustees with respect to going concern are described in the reLevant sertions of this report Other information The other information comprises the information included in the Trustees, annual report other than the financial statements and our auditor's report thereon. The Trustees are responsible for the other information contained within the annual report. Our opinion on the financial statements does not cover the other informab.on and. except to the extent otherwise explicitly stated in our report. we do not express any form of assurance conclusion thereon. Our responsibility is to read the other information and. in doing so. consider whether the other information is materially inconsistent with the financial statements or our knowledge obtained in the course of the audit. or otherwise appears to be materially misstated. If we identify such material inconsistencies or apparent material misstatements, we are required to determine whether this gives rise to a material misstatement in the financial Statements themselves. If, based on the work we have performed. we concLude thatthere is a material misstatement of this other information. we are required to report that fact We have nothing to report in this regard. Matters on which we are required to report by exception We have nothing to report in respect of the following matters in relation to which the Charities (Accounts and Reports) Regulations 2008 require us to report to you if. in our opinion.. the information given in the financial statements is inconsistent in any material respect with the Trustees. report or the charitable company has not kept adequate accounting records., or the financial statements are not in agreement with the accounting records and returns., or we have not received all the information and explanations we require for Dur audit. ResponsibiLities of Trustees As explained more fully in the Trustees. responsibilities statement the Trustees (who are also the directors of the charitable company for the purposes of company Lawl are responsible for the preparation of the financial statements and for being satisfied that they give a true and fair view, and for such internal control as the Trustees determine is necessary to enable the preparation of financial statements that are free from material misstatement, whether due to fraud or error. In preparing the financial statements. the Trustees are responsibLe for assessing the charitable company's abiLity to continue as a going concern. disclosing, as applicable. matters related to going concern and using the going concem basis of accounting unless the Trustees either intend to liquidate the charitable company or to cease operations. or have no realistic alternative but to do so. 38 C;ui'ious Auditor's responsibiLities for the audit of the financial statements We have been appointed as auditor under Companies Act 2006 and report in accordance with regulations made underthat Act. Our objectives are to obtain reasonabLe assurance about whether the financial statements as a whole are free from material misstatemen( whether due to fraud or error. and to issue an aLJditor's report that includes our opinion. ReasonabLe assurance is a high leveL of assurance, but is not a guarantee that an audit conducted in accordance with ISAS IUKI WILL always detect a rnateriaL misstatement when it ex15ts. Misstatements can arise from fraud or error and are considered material if. individually or in the aggregate. they could reasonably be expected to influence the economic decisions of users taken on the basis of these financial statements. Irregularities, including fraud. are instances of non-compliance with laws and regulations. We design procedures in line with our responsibilities. outlined above, to detect material misstatements in respect of irregularities, including fraud. The extent to which our procedures are capable of detecting irregularities. including fraud. is detailed below. Because of the inherent limitations of an audiL there is a risk that we will not detect all irregularities, including those leading to a materiaL misstatement in the financial statements or non-compliance with regulation. This risk increases the more that compliance with a law or regulation is removed from the events and transactions reflected in the financial statements, as we will be less likely to become aware of instances of non-compliance. The risk is also greater regarding irregularities occurring due to fraud rather than error. as fraud involves intentional concealment. forgery. colLusion. omission or misrepresentation. Extent to which the audit was considered capabLe of deterting irregularities, including fraud We identify and assess the risks of materiaL misstatement of the financial statements, whether due to fraud or error, and then design and perform audit procedures responsive to those risks, including obtaining audit evidence that is sufficient and appropriate to provide a basis for our opinion. Identifying and assessing potential risks related to irregularities In identifying and assessing risks of materiaL misstatement in respect of irregularities, including fraud and non-compliance with laws and regulations. we considered the folLowing'. the nature of the sector. control environment and charitabLe company s performance., results of our enquiries of management about their own identification and assessment of the risk5 Of irregularitie5', any matters we identified having obtained and reviewed the charitable company s documentation of their policies and procedures relating to- 39 C;ui'ious identifying, evaluating and complying with laws and regulations and whether they were aware of any instances of non-compliance., detecting and responding to the risk5 of fraud and whether they have knowledge of any actual, suspected or alleged fraud- the internal controls established to mitigate risks of fraud or non-compliance with laws and regulations. and the matters discussed among the audit engagement team regarding how and where fraud might occur in the financiaL statements and any potentiaL indicators of fraud. As a result of these procedures. we considered the opportunities and incentives that may exist within the organisation for fraud and identified the greatest potential for fraud in relation to the timing of the recognition of income. and the recognition of grants payabLe. In cornmon with all audits under ISAS IUKI, we are also required to perform specific procedures to respond to the risk of management override and we identified a risk in relation to the posting of unusual journals and the manipulation of accounting estimates. We also obtained an understanding of the legal and regulatory frameworks that the charitable company operates in. focusing on provisions of those laws and regulations that had a direct effect on the determination of material amounts and disclosures in the financ131 statements. The key laws and regulations we considered in this context included the reporting requirements of the funding bodies and the charity commission regulations. In addition, we considered provisions of other laws and regulations that do not have a direct effect on the financial statements but compliance with which may be fundamental to the charitable company's ability to operate or to avoid a material penalty. Audit response to risks identified In addition to the above. ovr procedures to respond to risks identified included the following.. reviewing the financial statement discLosures and testing to supporting documentation to assess compliance with relevant laws and regulations described above as having a direct effect on the financial statements,. enquiring of management and members of the Board of Trustees concerning actual and potential litigation and cLaims', performing analyticaL procedures to identify any unusual or unexpected relationships that may indicate risks of material misstatement due to fraud.. reading minutes of meetings of those charged with governance and reviewing correspondence with relevant authorities where matters identified were significant.. in addressing the risk of fraud through managemerbt override of controls. testing the appropriateness of journal entries and other adjustments.. assessing whether the judgements made in making accounting estimates are indicative of a potential bias., and evaluating the business rationale of any significant transactions that are unusual or outside the normal course of business. We also communicated relevant identified laws and regulations and potential fraud risks to all engagementteam members and remained aLert to any indications of fraud or non- compliance with Laws and regulations throughout the audit 40 C;ui'ious A further description of our responsibiLities for the audit of the financial statements is located on the Fin2nciaL Reporting Council's website aL' www.frc.org.uWauditorsresponsibilitios. This description forms part of our auditor s reporL Use of our report This report is made solely to the charitable company's Trustees. as a body. in accordance with Part 4 of the Charities (Accounts and Reports) Regulations 2008. Our audit work has been undertaken so that we might state to the charitable company's Trustees those matters we are required to state to them in an auditor's report and for no other purpose. To the fullest extent permitted by law, we do not accept or assume responsibility to anyone other than the charitable company and the charitable company'sTrustees as a body, for our audit work, for this report, or for the opinions we have formed. Jamielee Johnston CA Mitchell Charlesworth IAuditl Limited Chartered Accountants & Statutory Auditor 3 Floor 44 Peter Street Manchester M2 5GP Mitchell Charlesworth (Auditj Limited is eligible to art as an auditor in tern?s of sertion 1212 of the Companies Act 2006. 41 C;ui'ious Slatement of Financial ActiTruties for the Year Ended 31st March 2025 (Including income & expenditure accounl) 2024125 2023124 2024125 Lknr15trKt•d FI￿1￿ UnrÈsts*ted Rèstnctsd Tot 2023124 Totsl Fur Funds Furrtts Fwd$ INCOME kncrfftng reswres trrrfn charitstA* tmties 878204 354.822 895.491 40&739 1.233A126 13012>) vestrneTht Inccffle 47330 36.846 47330 36.846 TOTAL WCOME 92S.S34 354m2 932.337 40&739 1.2803S6 1339.076 EXPEND￿VRE Expendltfft c•) charrtable xbwijes 3 865.656 3Tr).724 826.567 317312 1.166380 1,143.879 865,656 3(Kl.724 826.567 317312 1,16WQ 1.143.879 NEf TrKOMING i lOUTGOI￿> AESOURCES FOR THE YE4 BEFORE TRANSFERS 59878 I￿?70 89.427 113.976 19&197 TKONSFERS 8Ef•iEEN FUNDS li 62.747 162.747) 14fj99 114.699i WCOMING I IOVTG0I￿> PESOURCES FOR THÉ YEJR 122.625 IW9) 120.469 74.728 111976 19S197 AECONauATION OF FUNDS li a4LANCES BROU 1.140542 219.7￿ 11120.073 14&C￿ 1.360330 1,165.133 &4L4NCES CARAIED FORWARD L263,167 21L139 1.140.542 219.788 1,474306 1360.330 The notes on pages 45 to 55 form part of these accounts. 42 C;ui'ious Balance Sheet as at 3isI March 2025 2025 2025 2024 2024 Not• FIXED ASSETS Tangible Assets CURRENT AsS￿s Debtors Cash at bank and in hand 88.832 1.441.966 1.530.798 33.986 1.386.376 1.420.362 CREDITORS Amounts failing due in one year 56,492 60.032 NET CURRENT ASS￿5 1,474.306 1.360,330 TOTAL NET ASSETS 1.474.306 1.360.330 FUNDS Unrestricted 1.263.167 211.139 1.140.542 219.788 Restncted TOTAL FUNDS 1.474.306 1.360.330 For the year ending 31 March 2025 the company was entitled to exemption from audit under sertion 477 of the Companies Att 2006 relating to small companies but as this company is a charity, it is subject to audit under the Charities Act 2011. The members have not required the company to obtain an audit in accordance with section 476 of the Companies Act 2006. The directors acknowledge their responsibility for complying with the requirements of the Act with respect to accounting records and for the preparation of accounts. These accounts have been prepared in accordance with the provisions appLicable to companies subject to the small companies regime. The notes on pages 45 to 55 form part of these accounts. Approved by the Board of Trustees and authorised for issue on 22", October 2025. And signed on their behalf by Kathy McArdle - Chair of the Board of Trustees Company registration number 06775402 43 C;ui'ious Slatement of Cash Flow for the Year Ended 31st March 2025 2025 2024 Cash used in operating activities Net movement In funds 113.976 195.197 {47.3301 136.8461 154.8461 120,240 13.5401 1161.9871 8.260 116.604 DedLKt interest inccme shown ￿ nvesb'ng actIv￿.e5 Decrease I lincreasel in debtors Increase I Idecreasel in credrf(crfs Net cash flow from l ltol operating artiities Cash flows from investing Ktivities Interest ncome 47.330 36.846 Cash provided by (used in) investing artivities 47,330 36.846 Increase I Idecreasel in cash Imd cash equivalents in the year 55.590 153.450 Cash and cash equvalents at the beginning of the year 1.386.376 1.232.926 Total cash and cash equivalents at the end of the ye 1.441,966 1.386.376 AnaLysis of changes in net debt The charty dKI not hold any cwerdraft or loan facitities nor finance lease oblbJatK)ns at the start (x dwing the per￿ covered by these aCcO￿ts ￿ In the preVI￿S accoLnting penrxl. 44 C;ui'ious Notes to the Financial Statements for the Year Ended 31st March 2025 l. Accounting Policies Basis of Preparation The financial statements have been prepared in accordance with Accounting and Reporting by charities.. Statement of Recommended practice appLicable to charities preparing their accounts in accordance with the Financial Repo￿ng Standard appLicable in the UK and Republic of Ireland IFRS 102 effertive l March 20181, Charities SORP IFRS 1021 and the Companies Aci 2016. Curiou5 Minds meets the definition of a public benefit entity under FRS 102. Assets and liabilities are initially recognised at historical cost or transaction value unless otherwise stated in the relevant accounting policy notelsl. The financial statements are prepared in sterling. which is the functional currency of the charity- Monetary amounts in these financial statements are rounded to the nearest £. Going concern These accounts are prepared on the going concern basis. At the time of approving the financial statements the directors have a reasonable expectation that the company has adequate resources to continue in operational existence for the foreseeable future. Thus. the directors continue to adopt the going concern basis of accounting in preparing the financial statements. The Charity has confirmed ACE grant funding to 31. March 2026 and sufficient cashflow to meet its liabilities as they fall due. Incoming resources Income is recognised in the accounting period in which it is receivable, except in the following circumstances, when the income is deferred and incLuded in creditors.. The income is unrestricted core funding for a specified future period. A sales invoice has been raised ahead of work being carried out and there is no contractual entitlement to the income until the work has been done. Not all the terms and conditions for the receipt of the grant instalment have been met The project has been compLeted and the grant condttions are such that unspent grant must be refunded. IncomÈ includes grants in respert of revenue and capitaL Items. 45 C;ui'ious Resources expended Expenditure is accounted for on an accruals basis and has been cLassified under headings that aggregate all cost related to the category. Where costs cannot be directly attributed to particular headings, they have been allocated to activities on a basis consistent with the use of resources. Grants offered subject to condits.ons which have not been met at the year-end date are noted as a commitment but not accrued as expenditure. Allocation and apportionment of costs Support costs have been allocated between the cost centres.. salaries.. travel and subsistence., learning, development and recruitment marketing and pubts'city., premises related costs,. and office. sundry costs and depreciation. Central costs are charged to unrestrirted funds with contributions to overheads levied to individuaL programmes as appropriate. Contributions to overheads are charged to programme funds. as agreed with funders and where funds are restricted. these are shown within fund transfers along with relevant permissible recharges for specific programme work. Grants payable and grant making policy Curious Minds issues grants in accordance with the reqLJirements and objettives laid out within the various funding agreements we receive. The Charity does not have its own funds for grant making purposes. In meeting our strategic objectives land requirements of our funders where applicable), the nature of the investments committed determines grant making as the legalform to achieving this, as they do not constitute contracts for service Grant commitments are recognised when the Legal agreements are signed and control ofthe grant funds is passed to the recipient or Lead partner in a partnership. Direct grant costs are allocated directLy to the grant funds. Where agreed with the funder, a management charge is levied for central overheads, administration and contribution to resetves (this is credr(ed to unrestrirted funds. where associated costs are charged). Where agreed wf(h the recipient grant repayments during the year are shown as a redurtion in grants payable. Tangible fixed assets Single asset purchases, not forming part of a related series of transactions, costing Less than £2,000 are not capitalised, bLJt are written off as a revenue expense in the year of acquisition. Depreciation is provided at the foLlowing annual rates in order to write off the cost Less estimated residuaL value of each asset over its estimated useful life.. Office Equipment/ Furniture & Fixtures at 25% on cost 46 C;ui'ious Taxation The Charity is exempt from corporation tax on its charitabLe activities. The Charity is not registered for VAT and therefore all its input VAT is irrecoverable. Expenditure is analysed inclusive of VAT where this has been incurred. Pension costs and other post-retirement benefits The charitable company operates a defined contribution pension scheme which pays 61¥0 of gross salary. Contributions payable to the employees personal pension schemes are charged to the Statement of Financial Activities in the period to which they relate. The Charity. staging date for auto enrolment was 11412017 and the scheme is compliant. Operating leases Payments under operating leases are charged to the Ststement of Financial Activities in the period to which they relate. Fund accounting Unrestricted funds can be used in accordance with the charitable objertives at the discretion of the Trustees. Flestricted funds can only be used for particular restricted purposes within the objects of the Charity. Restrictions arise when specified by the donor or when funds are raised for particular restricted purposes. Further explanation of the nature and purpose of each fund is included in this note to the financial statements. Designated Funds Curious Stories Funds generated from sale of the Curious Stories b(K)k. sponsorship as well as fundraising to enable disadvantaged children to better experience high quality arts and culture. Curious Space Following closure of our Preston base in 2020. we have designated costs saved a5 set up funds towards a new base as we emerge from Covid-19 restricts'ons and home working. Development & Transformation Fund Funds set aside to support development of income generation activities and internationaL opportunities and towards Transformation of the business model from 2023. in conjunction with ACE Transform funding. Dialogic Teaching & Learning A trial project to explore the impact of dialogic teaching and pedagogy. Hope Streets Fund Additional funds to coverthe required match contribution to the NLHF programme and cover ongoing legacy requirements. 47 C;ui'ious Restrirted Funds ACE Artsmark Projects ACE funded projects to promote and embed Artsmark in areas where engagement is low. ACE #Beewell Grant from Arts Council England for an Artsmark pilot projert across Greater Manchester. ACE Transform Grant from Arts Council England towards organisational development working towards greater sustainability and less reliabiLity on ACE. Steph Lampl Foundation Grant funding for a pilot project using poetry at it's core. aiming to improve mental wellbeing and coping strategies among young people. The Lathums - Chance to See Fund A fund inspired and supported bythe band The Lathums to improve access to musical instruments and opportunities for children in Wigan. 2 INCOME Incoming R•sourc•s from Charitabl• Activiti•& R•strirt•d Grants 2025 2024 Funding body Arts Council En9iand Arts Council EngLand Arts Council England Arts Council England Cultrjral Crtizens Jrpos• Artsmath pr4ects EeeWeLI 40.000 30.000 20.000 CoronatKffl Bandstands prqeci Transform 17329 220,52 1 3984 179.984 Cultural c￿zenS Steph Lampl F￿ndatrOn The Lathums fundraisng UnNer5ty of Manchester Workers. Educaton Assocwtrjn Rhyme & Reason projeci Chance to See Fund 50,000 9.838 16.715 98,190 eéeweu Ojriws Works prcyect 75,000 354.822 406.739 Unr•strict•d Incom• Arts Council England Bank Interest Donatsons Naljonal Pwtroljo 2023r26 0,000 800.000 47.330 36046 2.028 92.463 1,000 932.337 Fees receNed 6&804 9.400 925,534 Other Income Tot L280.356 1.339.076 48 C;ui'ious 3 EXPENDrruRE ON CHARITABLE ACTWMES a. Analysis of expenditure on charitable artivities 2025 2024 2025 2024 Direct pport costs Dirert SLVP)rt costs costs costs Tot Total Grants payabLe Project deiNery Governance cc6ts 20,039 87L862 16J35 825fj96 20.039 16.735 L135.823 1.118.697 10.518 8.447 263.961 10.518 293,001 8.447 891.901 274.479 842A31 301.448 L166.380 1.143.879 of totsl exwdityjre 7&5* 23.5* 73.V 26.4* ioo.o* IrKs.o* Chantable expendrtUTe 15 auocated be￿een unrestrKted and ￿str￿ted funds as foLI(M& 2025 2024 2025 2024 Unr•strirt•d R•strirt•d Unrestncted Restrthd Tot Totsl Grants payable Project deiNery Governance costs &300 846,838 10.518 865656 11,739 288.985 750 15985 20,039 L135.823 10.518 L166,380 16.735 817370 8A47 826567 301327 1.118.697 6.447 1.143.879 300.724 317312 % tsfttytal exwd￿re 74 29b 258% 723* 277 iOOO*• IfXS.O% b. Grants payabl• by programm• Number of grants to InstitiJtK￿S 2025 2024 Programme Arts Council England Artsmark Beeweil Arts Council England - Brklge Arts Council England Department Ed￿atH￿l Cwiws Minds 2025 2024 24.470 112,7311 16.235 12501 750 &300 20.039 12 16.735 49 C;ui'ious 3 EXPENDITURE ON CHAR￿ABLE A￿1v￿lEs c. Analysis of institutional grants Grantee Purpose ACE - Artsmark Beewell Programme grants Bedford High School Neighbourhood commissions Bolton Scho(A NeKJhbourh(KKI commiss￿5 NeKJhbourhood commissK)ns Neighbourhood commissions Neighbourh¢xKI commissions Neighbouthood commissions Neighbourhood commissions b total 2025 2024 1.090 3.850 Byrchall HKJh School Falinge Park High School Goiborne High School Holingwood Academy Piper Hili High School 3.850 4,940 5.620 24,470 b total number of grants ACE - Bridge grants Falinge Park High School Cumbria Music SeNice PUsh￿g Boundaries FRAME proie¢t Inteigenerational pilot Coronation Bandstands 600 112,7311 Manchester Metropolitan Unniers Music for Youth 11,6941 17,329 b totsl 112,7311 16.235 gJb total number of grants ACE DE EXten￿On grants United Leaming Trust S￿CE Programme b total 12501 12501 b total number of grants Curious Minds Everything Human RKJhts Goldsmfths Universty Hawk Oance Theatre Chance to See Fund 1,800 2,500 PhD Collaboration Chance to See Fund 750 Healthy Arts Thickskin Theatre Chance to See Fund 1,500 1,500 1.000 8,300 Chance to See Fund Wigan Youthzoe Chance to See Fund b totsl 750 b total number of grants Total Grants Payable 20.039 16.735 Total number grants 12 50 C;ui'ious 4 Analysis of govemance and support costs 2025 2024 Governance Costs Aud(c fee 9.000 8.400 Support costs Totsl Governance costs 1,518 10.518 47 8.447 2025 2024 2025 2024 Projett Gover- Delivery nan Projert Gover- Deiwery nance Total Total Support Costs SaLarie5 159.932 170.692 159,932 12.066 170,692 Travel & Subsistence 11.667 399 9.366 47 9,413 Leaming & Development and recruitment 5,526 34.498 13.266 36.648 5.526 34,498 9.940 52,517 550 274.479 13,266 36,648 11,089 60,340 301,448 Legal & Professional Servites Premises related costs 9.940 Sl,398 1,119 272.961 1.518 11.089 59.837 Office, sundry costs & Depreciation Total Support costs 503 300.898 96 of lotal exp¢ndituro 99.4% 0.6% 99.8% 0.2% 5 Staff Costs The payroll costs of the charity were as f¢)iiows: 2025 2024 Wages & salaries Social Security costs Pension costs 665.811 64.655 38,326 768.792 598,543 57,415 35,272 691,230 Total Staff costs One empLoyee had eamings lexcluding employer pensicffi costs) over £60,000 during the year Number of employees One12023.. One) Band £60,000 to £70,000 The remuneration costs during the year of the Executwe Management Team as outbned on page 2 lincluswe of pension costsl was £198.55612024-. £190.346 reststedl. The average monthly head count was 18 staff12024: 16 staffj and the average monthly number of fulltime equivalent employees linclLKling casual and parttime employees) during the year was.. 2025 2024 Average FfE 15.5 14.4 51 C;ui'ious 6 Net incoming ￿sourceS before transfer This is stated after ¢h•rging: 2025 2024 Auditors remuneration - Audtt fees 9.000 398 8,400 47 Director's ITwsteesl expenses 9,398 8,447 Number of trustees claiming expenses- Office Furniture 7 Tangible fixed assets Cost Equipment & Frttings Total As at l April 2024 As at 31 March 2025 16.474 3.887 20,361 20.361 16.474 3,887 Depreciatyon As at l April 2024 16.474 3.887 20,361 16,474 3,887 20,361 Net book value As at 31 March 2025 As at 31 March 2024 8 Debtors 2025 2024 Trade debtors Prepayments Grant and other income recewable 6.047 70.430 12.355 88.832 3,387 11.746 18.853 33.986 52 C;ui'ious 9 Creditors falling due within one year 2025 2024 Trade Credtt￿5 11.217 18.895 Contract commrtments dl￿ and accrued 8.105 29.210 7.960 56.492 12.865 28.272 Accnjais Grants and income n advan 60.032 CuiTr)us Minds pays ali SLppLErs withn 30 days of recept ￿ invcxces due fLY payment AccNab include £15.73012024..£17.2501. ￿ng the cost of staff annual leave due but not taken and carrpd fO￿ard at year end. 10 Deferred income 2025 2024 8uxton Opera House 7.960 7960 Movement in deferred income Balance as at l April Amunt released to income ArrK*unt deferred in year Balance as at 31 March 14.548 114.5481 7.960 7.960 53 C;ui'ious m o o) tho o o ui O CY fw a) m ￿ (h o ft) r* O ) 0 o ry o o v o ro C V Ln ? (9 0 V U C] Ci i 12 Analysis of net assets betsveen funds 2025 2024 2025 2024 General Restricted General Restiicted Total Total Funds Funds Funds Funds Tangible fLxed assets Net current assets 1,263,167 211.139 1,263,167 211.139 1,140,542 219,788 1,140,542 219,788 1,474,306 1,474,306 1,360,330 1,360,330 13 Operating Lease commitinents The charity has no commitments under operation leases for premises12024.. NIL). 14 Corporation tax The company is a registered charity and is entitled to claim annual exemption from UK corporation tsx. 15 Related Party Transactions The following trustees were reimbursed travel and accommodation expenses to attend trustee meetings during the year of: Kathy McArdLe - £24312024.. £46.70) and Abby Symonds- £15512024.. NIL). Derri Burdon, Chief Executive, was appointed as Co Chair and Trustee of the CUl￿ral Learning Albance ICLAI who were registered as a charitab￿ Incorporated Organisation ICIOI on 10th May 2023. Curious Minds provKled the CLA wf(h back office support from December 2023. for which fees of £14,350 were receNed in 2024r2512023r24 £1.1001. Our CEO'S Daughter, Amy Hodgson is Founding Dirertor of WigLe Dance CIC, a Wigan based youth- led d3nce organisation that produces the Wigan Borough Dance FestivaL Curious Minds commissioned WigLe's youth and professional dance Companies to perform at events throughout the year and sponsored the Wigan Borough Dance Festwal that took place in March 2024, with WigLe receiving sponsorship. fees and reimbursed costs totslknng £1,300 in 20241251£3.633 in 20231241. WigLe Dance CIC commissioned the Curious Minds team for evaluat*Jn supporL paying con5ultsncy fees of £750 in 2024125. 55 C;ui'ious