## **HANDSTAND ARTS CIO** **A N N U A L R E P O R T 0 2 / 0 4 / 2 0 2 1 - 0 1 / 0 4 / 2 0 2 2 C H A R I T Y N O . 1 1 8 1 7 6 2** **R E G . A D D R E S S - 1 9 G R E E N B A N K A V E . W E S T , B R I S T O L B S 5 6 E P** ## CHAIR OF THE BOARD'S STATEMENT We felt very fortunate to have been able to deliver a live, public facing festival during the pandemic. This called for a lot of scenario planning and risk management in an ever changing landscape. By commissioning artists to make new work in this environment we supported freelancers and helped our sector progress. We placed access and care at the centre of how we worked during this time in response to external and internal pressures compounded by the pandemic. Our box office performed well against conservative targets responding to the situation and our fundraising activity was measured and successful. The board and team look forward to a time of funded consultation to further develop the company, board and staffing team in preparation for Circus City 2023 which we hope we can run without covid restrictions. **C L A I R E T E A S D A L E** CHAIR OF THE BOARD OF TRUSTEES ## OBJECTIVES AND ACTIVITIES The object of the CIO is to advance the arts through the presentation of circus performances and other performance arts for the public benefit, in particular but not exclusively for those people living in Bristol and the surrounding areas. The trustees are aware of the Charity Commission's guidance on public benefit During this year we ran our 4th bi-ennial festival under Covid 19 conditions which was our main activity. The festival was run by a core team of 2, a festival team of 9 and 12 volunteers. We reached live audiences of 2,500 with 32 performances in 13 venues including 50 artists from 21 companies. Outside of the festival, we were a partner in the new Horizon showcase project for Edinburgh Festival and were active in various local, national and international networks. Our qualitative feedback was very positive: ‘ _Really brilliant programming, diverse and inviting new audiences.’_ _‘Well Done pulling this amazing festival together in these precarious times of live performance. It was both inspiring and encouraging to see these brilliant productions as the first live shows since lockdown.’_ _‘The care, trust, creative nourishment and support offered to me as an artist has been outstanding and extremely meaningful and genuine.’_ ## ACHIEVEMENTS AND PERFORMANCE We made progress towards our charity's work with our objectives in the categories of: Audience development - Achieve 50% capacity in venues as theatre venues are committing to social distancing. - Maintaining progress towards audiences being more representative of Bristol as a whole (in terms of ethnic group, socio-economic background, disability, gender diversity). - Continue to track the proportion of audiences experiencing contemporary circus for the first time to understand patterns and issues of attendance for audiences. Artform and sector development - A high-quality programme of performances and events, equal to the quality of CC2019 (which acknowledges programming risks as restricted go-see opportunities due to COVID mean inclusion of more work which hasn’t been seen by Director). An increased insight into the diversity of artists - CC2021 programming and artist development work supports artist diversity and access needs. - Artists and partner venues feel that CC values and supports artist and sector development. Organisational impact. - Box Office income meets targets. - Satisfaction amongst the artists and team members regarding their experience of working with CC: wellbeing, well-managed, agency within their roles, feeling of being valued team members. By supporting the sector and the artists within it, we support the creation of work that the public experiences. By keeping our organisation strong we ensure the resilience and future of its operation. ## FINANCIAL REVIEW Our principle sources of funding were our box office returns, Arts Council England (Project Fund and Emergency Resource Support) and Bristol City Council. ERS funding came in just after the festival following a resubmission and has supported our ability to wrap up a demanding festival, retain staff, plan for the future, develop our people and organisation and create reserves. Our accounts were certified by independent accountant Mike Wheatley F.C.M.A At the end of this financial year we held £11,000 in reserves from Emergency Resource Funding and a subsequent reserves policy was agreed by the board which states that unrestricted reserves are to be held in a savings account at Unity Trust bank. Any use of reserves needing a transfer from the savings account must be signed off by the board. Reserves can be used for: 1.for unexpected drops in income or costs As key projects (ie Circus City Festival) are not started until adequate funding is in place and box office income is carefully managed, in-project drops in income are unlikely. One likely risk of unexpected costs is the late cancellation of shows where tickets need to be refunded and the company still be paid. 2.The existence of adequate reserves will ensure that, if the worst happens and the organisation needs to be closed down, there will be sufficient funds to meet all of its obligations and liabilities as part of a managed exit. - 3 Begin new projects or activities - 4.To respond to an unexpected opportunity that will allow your charity to deliver its Unrestricted reserves are set at 10% of the average income of a festival in order to be able to manage the closure of the CIO at the most expensive time which would be mid festival while contracted with companies/ artists re. cancellation. The board assesses risk at each meeting. The main risks we face are: 1.Staff retention and development in a precarious financial landscape 2.Reduced funding available for the arts and charitable organisations 3.Reduced attendance at events due to Covid and cost 4. Company development plans and budgeting/ forecasting are in place to address these ## STRUCTURE, GOVERNANCE AND MANAGEMENT Our CIO has a constitution document that outlines it's structure. Trustees are selected by identifying skills gaps in the board and working towards a diverse, representative board. New trustees are appointed by the board who meet 4 times a year with a template agenda with finance, director's report and risk management as standing items. The team and staff update existing regularly and produce new policies in response to change. This year we have produced an injury policy to address procedure for on-stage injury and have produced a reserves policy. This financial year did not see major changes in our structure, governance and management. Recruitment of festival staff was challenging - with our marketing manager and production manager coming on board relatively late and our assistant producer needing to be replaced during the festival. Personal challenges for staff exacerbated by the pandemic called for a gentle and supportive approach with wellbeing placed at the centre of our operations. ACE ERS funding has enabled us to carry out some company development which aims to support major staff changes for next financial year. The charity employs 2 x key freelance staff – one festival director and one festival producer. During the festival the team expands to 9 plus volunteers. The CIO is part of wider sectoral organisations – Circostrada, MICC, Bristol Festivals and Circus Change Up. Names of the charity trustees who manage the charity Claire Teasdale - Chair Tabitha Moyle - Treasurer Sascha Goslin - Trustee Kate Webb - Chair Name of chief executive or names of senior staff members Kate Hartoch - Director Nicole A'Court-stuart - Senior Creative Producer PROFIT AND LOSS Twrr4iwr SWI Twf4 u•1v ## CERTIFICATION Picture Credits: Joana Dias and Mike Corr, Phoebe Baker, Olga Kaletta, Circolombia, Chloe Mantripp