| Objectiv | e | s and | Activ | iti | es | |
|---|---|---|---|---|---|---|
| soap nafewsae | ||||||
| Summary | ofthe purposes | of | Ballet Soul exists for the advancement | |||
| the charity | as set out | in ils | ofculture &performing arts by |
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| governing | document | developing & performing publicly dance |
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| and ballet at the highest levels & | ||||||
| making these accessible to audiences | ||||||
| not all ofwhom will be already familiar |
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| with such performing arts, the provision |
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| ofopportunities for the education & |
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| training ofballet performers particularly |
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| those newly qualified &from non- |
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| traditional ba rounds. |
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| Summary ofthe main activities in relation tothose purposes forthe public benefit, in particular, the activkiss, pro)acts oi services identified in the accounts. |
Para 1.17and 119 |
During this reporting period the charity has devehped and then performed a programme ofdance —Othello 21— ; which involved commissioning new choreography, and music using grant funding from Arts Council (England) 'ACE' paid in two trenches. This |
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| development, production and |
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| performance work took place also in a |
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| period affected substantially by the |
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| Covid-19 pandemic. Consequently, the |
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| performance elements ofthe work were |
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| recorded live and then used fn a Film |
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| format a reed with ACE. |
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| Statement | confirmirig | asia 1.18 | Baliet Soul's trustees have had regard to | |||
| whether the trustees | have | the Charity Commission guidance on public |
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| had regard | to the guidance | benefit: 'The public benefit requirement' | ||||
| issued by | the Charity | iPBi) pubfished September 2013 in the |
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| Commission | on public | course ofthe charity's operaUons over the |
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| benefit | re ortin riod. |
| During this reporting period the chanty |
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|---|---|---|---|---|---|---|
| has been engaged upon creating, |
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| Summary ofthe main achievements ofthe charity, identifying the difference the charity's work has made ta the circumstances ofits |
pars f20 | developing and performing a major new work —Othello21 with a score by Julian Joseph. As part ofthe arrangement with the Arts Council England, given the eff'acts of lockdowns and the inability to mount the production in live venues the |
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| beneficiaries and any wider benents to society ss a |
performance was live-Rimed on location around London and then streamed free |
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| whole. | on numerous accessibks platforms |
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| including via the charity's own website. |
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| htt s://www. balletsoul. or .uk/othello21 |
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| The new work gives Shakespeare's | ||||||
| brutal and gripping tragedy an edgy and |
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| evocative reimagining, with a dazzling |
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| original score by Brkish jazz legend | ||||||
| Julian Joseph. | ||||||
| This Rim version received nominations |
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| for awards at irrtemational festivals |
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| including Semi Finalist at the Around |
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| International Film Festival - Berlin |
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| International Awards 2021, |
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| In addition to the work itself the charity | ||||||
| also produced a documentary Rim about |
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| the creabon ofthe work and the | ||||||
| emergence ofthe dancers from | ||||||
| iockdown back into the rehearsal space | ||||||
| and ultimately into performance. |
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| htt s://www. b le o I. r .uk/makin- |
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| othello21 | ||||||
| The charity delivered on its wider public |
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| benefit ethos by ensuring that high |
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| quality, innovative new dance was |
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| performed and available toa wider |
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| audience than traditions i ballet and |
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| dance audiences despite the restrictions |
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| ofCovid-1 9.Italso delivered on its other |
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| stated objective of providing | ||||||
| opportunities for young ballet and |
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| , modern dance performers ta have the |
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| ,:opportunity totake kiading roles in a I newly commissioned production ofhigh artistic value, particularly increasing |
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| opportunities for those from under- ' |
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| rs resented and mino bac rounds. |
| Achievements against objectives set |
Achievements against objectives set |
Para 1.41 | Artistic Director adjusted the original objectives set for this first 16months of operation to account for the absenoe af |
|---|---|---|---|
| performance spaces and the restrictions |
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| placed upon both rehearsal and then , performance. Against this backdrop the |
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| Board are satisfied that the charity | |||
| delivered its objective ofsecuring funding |
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| (from ACE and Landon Borough of | |||
| Wandsworth) for initiating, then developing |
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| a major new work which wss then | |||
| performed in safe outdoor environments |
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| and filmed. That film afthe production was |
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| then made freely available and, as an |
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| additional resource, the documentary was |
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| also filmed, which provides bath an |
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| educational as well as public entertainment | |||
| resaul'ce. | |||
| The Board is grateful totrustee and artistic | |||
| director, Ben Love, for leading this major | |||
| programme ofwork during what can only |
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| be described as a very challenging ' |
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| environment forthe start of the cha |
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| Fundraising was, as agreed by the Board |
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| for this first stage of growth and |
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| Performance offundrsising acbvities against objectives set |
Para 1,41 | consolidation, limited to grant funding from ACE snd other sources. Unfortunately, these other sources were limited durIng this first reporting period but the Board are |
|
| grateful to London borough ofWandsworth for their support atso, In addition, ihe Board |
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| thanks Lanterns Studio Theatre, David Lee, |
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| Ben Socrates and Carta Kinghsm fortheir |
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| hei and assistance. |
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| Nat applicable —all income (grants) | |||
| investment performance age Inst objectives |
Para 1.41 | received was expended on delivering the outputs and objectives. |
|
| The Board were very pleased to be able to | |||
| Other | provide the rehearsal, development and performance experience to the range af i dancers that Ballet Soul worked with over |
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| ' this reporting period - in particular those taking raise in Othello 21: Brendan Lee |
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| Sears; Daiana Andres; Melody Tamiz; |
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| Isaac-Lee Baker, Jordan Ajsdl; Mattia Bala; | |||
| and Sophie Chinner. | |||
| As regards the educational elemerrt af |
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| Ballet Soul's objectives, our mission | |||
| remairis "to educate, teach, energise and | |||
| inspire young people, exposing them to the joys and the power ofdance." |
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| Given the constraints ofthe past 16 months |
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| Ballet Soul created avideo tutorial on |
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| YouTube sa individuals could join in at |
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| homel Com n member So hie took |
| viewers through a full body warm | up | arid |
|---|---|---|
| some Ballet Soul chomography to try. |
||
| Ballet Soul is proud to be continuing | to | |
| build a relationship with the Royal |
Academy | |
| of Dance to develop and deliver | ||
| prograrnmes for young people of |
all | ages. |
| Review | ofthe | ofthe | ofthe | ofthe | charity's | charity's | charity's | Para 1.2'I | The charity is currently in the process of |
The charity is currently in the process of |
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|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| financial | position | at the | end | applying for further grant funding to |
deliver | ||||||||
| ofthe period | live performances ofOthello 21 and |
to | |||||||||||
| develop a longer term programma of |
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| education and productions. The grant |
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| funding made in this reporting period for |
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| development and production wcrk and |
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| education has been ful ex nded. |
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| Statement | explaining | the | Para 122 | No reserves currently held. Poticy to be |
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| policy for holding | reserves | adopted for when the charity is in a | position | ||||||||||
| statin | wh | the | are held | to a uire and hold reserves. |
|||||||||
| Amount | of | reserves held | Para 122 | Nil | |||||||||
| Reasons | for holding zero | Para 122 | Currently no need as there are no |
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| reserves | outgoings or other risks needing to |
be | |||||||||||
| covered by reserves. Previous grant |
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| funding from ACE and Wandsworth |
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| anticipated complete expenditure on the |
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| Othello 21 oduction |
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| Details | offund materially | ln | Pare 1.24 | ||||||||||
| defiat | |||||||||||||
| Explanation | ofany | Para 1.23 | The uncertainties concern, as always, the |
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| uncertainties | about the | risks offailing to secure sufficient Arts | |||||||||||
| charity | contrnuing | as a | Council or other grant funding. The |
charity | |||||||||
| going concern | is prudently operated at present on |
an | |||||||||||
| individual development/production basis so |
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| there are no o oi cosh |
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| Additional | information | ioptional) | |||||||||||
| You ma | choose | to | include | further statements | where relevant about |
||||||||
| Arts Council England | |||||||||||||
| London Borough ofWandsworth | |||||||||||||
| The charity's principal souroes offunds (including |
Para 1 47 | ||||||||||||
| any fundraising) | |||||||||||||
| As with all creative and performing | arts | ||||||||||||
| charities funding for creative development | |||||||||||||
| A description | of | the principal | remains a challenge. Consequently | funding | |||||||||
| risks facing | the charity | remains the major risk for Ballet Soul. | |||||||||||
| Other risks which the Board monitor | are | ||||||||||||
| dependence upon individuals such |
as the | ||||||||||||
| artistic director and individual Board |
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| Members | |||||||||||||
| Safeguarding ofperformers, collaborators |
|||||||||||||
| and others we work with remains a | high | ||||||||||||
| rrorit and a risk ke under review. |
| Unrestricted | Unrestricted | Unrestricted | Restricted | Restricted | Restricted | Restricted | Emtowm ant | Emtowm ant | ||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Jv; | funds | funds | funds | |||||||||||
| to | naa | net E | to nsaturn e | |||||||||||
| 81Cash | funds | |||||||||||||
| Tofei cesrr funds | ||||||||||||||
| i turns uanruw | wan rsualpe nrl tnsmsrn | |||||||||||||
| ~raunusr) | ||||||||||||||
| Unrestricted | Resdlcted | Endowment | ||||||||||||
| funds | funds | funds | ||||||||||||
| Details | tu nearest | E | ta | naalaat 9 | lu nun rue'1 E | |||||||||
| 82 Other | monetary assets | |||||||||||||
| Datailu | Fund | towhich ba |
C | ~ | Cunwrtvsluc arw |
|||||||||
| 83Imrestment assets | ||||||||||||||
| Fund | tcwhich | Current value | ||||||||||||
| Details | Iwaat | bala | n | |||||||||||
| 84Assete retained forthe | ||||||||||||||
| charity's | oem use | |||||||||||||
| Fund | tawelch | Aruuurlt | dus | |||||||||||
| Details | lie be | relates | c | anal | ||||||||||
| 85 LishiliVes | ||||||||||||||
| 8igned by behetroratt |
Ona Or twc Irualeaa dw h sh |
On | ignetrrre | Phnt | Name | Date of revet |
||||||||
| Colin | hNtcbell | 22 | r-22 |