Trustees’ Annual Report for the period
From November 2022 To 1 April 2023 Period end date
Charity name: Ballet Soul (Development & Performance) CIO
Charity registration number: 1186599
Objectives and Activities
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SORP reference
Summary of the Para 1.17 Ballet Soul exists for the
purposes of the charity advancement of culture &
as set out in its performing arts by developing &
governing document
performing publicly dance and
ballet at the highest levels &
making these accessible to
audiences not all of whom will be
already familiar with such
performing arts, the provision of
opportunities for the education &
training of ballet performers
particularly those newly qualified
& from non-traditional
backgrounds
Summary of the main Para 1.17 and During this reporting period the
1.19
activities in relation to charity has developed and then
those purposes for the performed a programme of dance
public benefit, in – Othello 21 – which involved
particular, the activities,
commissioning new choreography,
projects or services
and music using grant funding
identified in the
from Arts Council (England) “ACE”
accounts.
paid in two tranches. This
development, production and
performance work took place also
in a period affected substantially
by the Covid-19 pandemic.
Consequently, the performance
elements of the work were
recorded live and then used in a
Film format (agreed with ACE).
Statement confirming Para 1.18 Ballet Soul’s trustees have had regard
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whether the trustees to the Charity Commission guidance have had regard to the on public benefit Public benefit: the guidance issued by the public benefit requirement (PB1) Charity Commission on published September 2013 in the public benefit course of the charity’s operations over the reporting period
Achievements and Performance
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SORP reference
During this reporting period the
charity has been engaged upon
creating, developing and
performing a major new work –
Othello21 with a score by Julian
Summary of the main
Joseph. As part of the arrangement
achievements of the
charity, identifying the Para 1.20 with the Arts Council England, given
the effects of lockdowns and the
difference the charity’s
work has made to the inability to mount the production in
circumstances of its live venues the performance was
beneficiaries and any live-filmed on location around
wider benefits to society London and then streamed free on
as a whole. numerous accessible platforms
including via the charity’s own
website.
(https://www.balletsoul.org.uk/othell
o21)
The new work gives Shakespeare's
brutal and gripping tragedy an
edgy and evocative reimagining,
with a dazzling original score by
British jazz legend Julian Joseph.
This film version received
nominations for awards at
international festivals including
Semi Finalist at the Around Films
ARFF Berlin International Awards
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- In addition to the work itself the charity also produced a documentary film about the creation of the work and the emergence of the dancers from lockdown back into the rehearsal space and ultimately into performance. https://www.balletsoul.org.uk/makin g-othello21 The charity delivered on its wider public benefit ethos by ensuring that high quality, innovative new dance was performed and available to a wider audience than traditional ballet and dance audiences despite the restrictions of Covid-19. It also delivered on its other stated objective of providing opportunities for young ballet and modern dance performers to have the opportunity to take leading roles in a newly commissioned production of high artistic value, particularly increasing opportunities for those from under-represented and minotiry backgrounds.
Additional information (optional)
You may choose to include further statements where relevant about:
With the onset of the global Covid-19 pandemic the Board of Trustees and Artistic Director adjusted the original objectives set for this first 16 months Achievements against Para 1.41 of operation to account for the objectives set absence of performance spaces and the restrictions placed upon both rehearsal and then performance. Against this backdrop the Board are satisfied that the charity delivered its objective of securing funding (from ACE and London Borough of Wandsworth) for initiating, then
----- Start of picture text -----
developing a major new work which
was then performed in safe outdoor
environments and filmed. That film of
the production was then made freely
available and an additional resource,
the documentary was also filmed,
which provides both an educational as
well as public entertainment resource.
The Board is grateful to trustee and
artistic director, Ben Love, for leading
this major programme of work during
what can only be described as a very
challenging environment for the start
of the charity.
Fundraising was, as agreed by the
Board for this first stage of growth
and consolidation, limited to grant
funding from ACE and other sources.
Performance of
Unfortunately these other sources
fundraising activities
were limited during this first reporting
against objectives set Para 1.41
period but the Board are grateful to
London borough of Wandsworth for
their support also. In addition the
Board thanks Lanterns Studio Theatre,
David Lee, Ben Socrates and Carla
Kingham for their help and
assistance.
Not applicable – all income (grants)
received was expended on delivering
Investment performance
the outputs and objectives
against objectives
Para 1.41
The Board were very pleased to be
able to provide the rehearsal,
Other
development and performance
experience to the range of dancers
that Ballet Soul worked with over this
reporting period - in particular those
taking roles in Othello 21 Brandon Lee
Sears; Daiana Andres; Melody Tamiz;
Isaac-Lee Baker; Jordan Ajadi; Mattia
Sala; and Sophie Chinner.
As regards the educational element of
Ballet Soul’s objectives, our mission
remains “to educate, teach, energise
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and inspire young people, exposing them to the joys and the power of dance.” Given the constraints of the past 16 months Ballet Soul created a video tutorial on YouTube so individuals could join in at home! Company member Sophie took viewers through a full body warm up and some Ballet Soul choreography to try. Ballet Soul is proud to be continuing to build a relationship with our education partner the Royal Academy of Dance to develop and deliver programmes for young people of all ages.
Financial Review
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Review of the charity’s Para 1.21
financial position at the
end of the period
Statement explaining the Para 1.22
policy for holding
reserves stating why
they are held
Amount of reserves held Para 1.22
Reasons for holding zero Para 1.22
reserves
Details of fund materially Para 1.24
in deficit
Explanation of any Para 1.23
uncertainties about the
charity continuing as a
going concern
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Additional information (optional)
You may choose to include further statements where relevant about: Arts Council England London Borough of Wandsworth
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The charity’s principal
sources of funds
(including any
Para 1.47
fundraising)
As with all creative and performing
arts charities funding for creative
development remains a challenge.
Consequently funding remains the
A description of the
Para 1.46 major risk for Ballet Soul.
principal risks facing the
charity
Other risks which the Board monitor
are dependence upon individuals such
as the artistic director and individual
Board Members
Safeguarding of performers,
collaborators and others we work with
remains a high priority and a risk kept
under review.
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Structure, Governance and Management
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Description of charity’s
trusts:
Type of governing Para 1.25 Constitution
document
(trust deed, royal
charter)
How is the charity Para 1.25 Charitable Incorporated Organisation
constituted? Charity Commission model (CIO)
(e.g unincorporated
association, CIO)
Trustee selection Para 1.25 Open recruitment based on skills
methods including need analysis. Election to the Board
details of any by existing trustees. (No specific
constitutional provisions constitutional provisions providing for
e.g. election to post or any person or body entitled to
name of any person or nominate or appoint)
body entitled to appoint
one or more trustees
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Reference and Administrative details
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Charity name Ballet Soul (Development and Performance) CIO
Other name the charity Ballet Soul
uses
Registered charity 1186599
number
Charity’s principal Flat B 34 Brodrick Road
address
London
SW17 7DY
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Names of the charity trustees who manage the charity
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Na
me
of
pers
on
(or
bod
y)
Dates acted if not for
Trustee name Office (if any) enti
whole year
tled
to
app
oint
trus
tee
(if
any)
1 Colin Mitchell FCCA Chair
2 Alan Benjamin Love From 30.6.2020
3 Neneh Jalloh Secretary From 14.2.2020
4 Saundra Satterlee From 9.7.2020
5
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Corporate trustees – names of the directors at the date the report was approved - None
Name of trustees holding title to property belonging to the charity - None
Name of chief executive or names of senior staff members (Optional information)
Ben Love – Artistic Director and Trustee
Declarations
The trustees declare that they have approved the trustees’ report above.
Signed on behalf of the charity’s trustees
Signature(s) Colin Mitchell FCCA Full name(s) Benjamin Love
Position (eg Secretary Chair Secretary, Chair, etc)
Date 17/05/2023
Trustees’ Annual Report for the period
From November 2022 To 1 April 2023 Period end date
Charity name: Ballet Soul (Development & Performance) CIO
Charity registration number: 1186599
Objectives and Activities
----- Start of picture text -----
SORP reference
Summary of the Para 1.17 Ballet Soul exists for the
purposes of the charity advancement of culture &
as set out in its performing arts by developing &
governing document
performing publicly dance and
ballet at the highest levels &
making these accessible to
audiences not all of whom will be
already familiar with such
performing arts, the provision of
opportunities for the education &
training of ballet performers
particularly those newly qualified
& from non-traditional
backgrounds
Summary of the main Para 1.17 and During this reporting period the
1.19
activities in relation to charity has developed and then
those purposes for the performed a programme of dance
public benefit, in – Othello 21 – which involved
particular, the activities,
commissioning new choreography,
projects or services
and music using grant funding
identified in the
from Arts Council (England) “ACE”
accounts.
paid in two tranches. This
development, production and
performance work took place also
in a period affected substantially
by the Covid-19 pandemic.
Consequently, the performance
elements of the work were
recorded live and then used in a
Film format (agreed with ACE).
Statement confirming Para 1.18 Ballet Soul’s trustees have had regard
----- End of picture text -----
whether the trustees to the Charity Commission guidance have had regard to the on public benefit Public benefit: the guidance issued by the public benefit requirement (PB1) Charity Commission on published September 2013 in the public benefit course of the charity’s operations over the reporting period
Achievements and Performance
----- Start of picture text -----
SORP reference
During this reporting period the
charity has been engaged upon
creating, developing and
performing a major new work –
Othello21 with a score by Julian
Summary of the main
Joseph. As part of the arrangement
achievements of the
charity, identifying the Para 1.20 with the Arts Council England, given
the effects of lockdowns and the
difference the charity’s
work has made to the inability to mount the production in
circumstances of its live venues the performance was
beneficiaries and any live-filmed on location around
wider benefits to society London and then streamed free on
as a whole. numerous accessible platforms
including via the charity’s own
website.
(https://www.balletsoul.org.uk/othell
o21)
The new work gives Shakespeare's
brutal and gripping tragedy an
edgy and evocative reimagining,
with a dazzling original score by
British jazz legend Julian Joseph.
This film version received
nominations for awards at
international festivals including
Semi Finalist at the Around Films
ARFF Berlin International Awards
----- End of picture text -----
- In addition to the work itself the charity also produced a documentary film about the creation of the work and the emergence of the dancers from lockdown back into the rehearsal space and ultimately into performance. https://www.balletsoul.org.uk/makin g-othello21 The charity delivered on its wider public benefit ethos by ensuring that high quality, innovative new dance was performed and available to a wider audience than traditional ballet and dance audiences despite the restrictions of Covid-19. It also delivered on its other stated objective of providing opportunities for young ballet and modern dance performers to have the opportunity to take leading roles in a newly commissioned production of high artistic value, particularly increasing opportunities for those from under-represented and minotiry backgrounds.
Additional information (optional)
You may choose to include further statements where relevant about:
With the onset of the global Covid-19 pandemic the Board of Trustees and Artistic Director adjusted the original objectives set for this first 16 months Achievements against Para 1.41 of operation to account for the objectives set absence of performance spaces and the restrictions placed upon both rehearsal and then performance. Against this backdrop the Board are satisfied that the charity delivered its objective of securing funding (from ACE and London Borough of Wandsworth) for initiating, then
----- Start of picture text -----
developing a major new work which
was then performed in safe outdoor
environments and filmed. That film of
the production was then made freely
available and an additional resource,
the documentary was also filmed,
which provides both an educational as
well as public entertainment resource.
The Board is grateful to trustee and
artistic director, Ben Love, for leading
this major programme of work during
what can only be described as a very
challenging environment for the start
of the charity.
Fundraising was, as agreed by the
Board for this first stage of growth
and consolidation, limited to grant
funding from ACE and other sources.
Performance of
Unfortunately these other sources
fundraising activities
were limited during this first reporting
against objectives set Para 1.41
period but the Board are grateful to
London borough of Wandsworth for
their support also. In addition the
Board thanks Lanterns Studio Theatre,
David Lee, Ben Socrates and Carla
Kingham for their help and
assistance.
Not applicable – all income (grants)
received was expended on delivering
Investment performance
the outputs and objectives
against objectives
Para 1.41
The Board were very pleased to be
able to provide the rehearsal,
Other
development and performance
experience to the range of dancers
that Ballet Soul worked with over this
reporting period - in particular those
taking roles in Othello 21 Brandon Lee
Sears; Daiana Andres; Melody Tamiz;
Isaac-Lee Baker; Jordan Ajadi; Mattia
Sala; and Sophie Chinner.
As regards the educational element of
Ballet Soul’s objectives, our mission
remains “to educate, teach, energise
----- End of picture text -----
and inspire young people, exposing them to the joys and the power of dance.” Given the constraints of the past 16 months Ballet Soul created a video tutorial on YouTube so individuals could join in at home! Company member Sophie took viewers through a full body warm up and some Ballet Soul choreography to try. Ballet Soul is proud to be continuing to build a relationship with our education partner the Royal Academy of Dance to develop and deliver programmes for young people of all ages.
Financial Review
----- Start of picture text -----
Review of the charity’s Para 1.21
financial position at the
end of the period
Statement explaining the Para 1.22
policy for holding
reserves stating why
they are held
Amount of reserves held Para 1.22
Reasons for holding zero Para 1.22
reserves
Details of fund materially Para 1.24
in deficit
Explanation of any Para 1.23
uncertainties about the
charity continuing as a
going concern
----- End of picture text -----
Additional information (optional)
You may choose to include further statements where relevant about: Arts Council England London Borough of Wandsworth
----- Start of picture text -----
The charity’s principal
sources of funds
(including any
Para 1.47
fundraising)
As with all creative and performing
arts charities funding for creative
development remains a challenge.
Consequently funding remains the
A description of the
Para 1.46 major risk for Ballet Soul.
principal risks facing the
charity
Other risks which the Board monitor
are dependence upon individuals such
as the artistic director and individual
Board Members
Safeguarding of performers,
collaborators and others we work with
remains a high priority and a risk kept
under review.
----- End of picture text -----
Structure, Governance and Management
----- Start of picture text -----
Description of charity’s
trusts:
Type of governing Para 1.25 Constitution
document
(trust deed, royal
charter)
How is the charity Para 1.25 Charitable Incorporated Organisation
constituted? Charity Commission model (CIO)
(e.g unincorporated
association, CIO)
Trustee selection Para 1.25 Open recruitment based on skills
methods including need analysis. Election to the Board
details of any by existing trustees. (No specific
constitutional provisions constitutional provisions providing for
e.g. election to post or any person or body entitled to
name of any person or nominate or appoint)
body entitled to appoint
one or more trustees
----- End of picture text -----
Reference and Administrative details
----- Start of picture text -----
Charity name Ballet Soul (Development and Performance) CIO
Other name the charity Ballet Soul
uses
Registered charity 1186599
number
Charity’s principal Flat B 34 Brodrick Road
address
London
SW17 7DY
----- End of picture text -----
Names of the charity trustees who manage the charity
----- Start of picture text -----
Na
me
of
pers
on
(or
bod
y)
Dates acted if not for
Trustee name Office (if any) enti
whole year
tled
to
app
oint
trus
tee
(if
any)
1 Colin Mitchell FCCA Chair
2 Alan Benjamin Love From 30.6.2020
3 Neneh Jalloh Secretary From 14.2.2020
4 Saundra Satterlee From 9.7.2020
5
----- End of picture text -----
Corporate trustees – names of the directors at the date the report was approved - None
Name of trustees holding title to property belonging to the charity - None
Name of chief executive or names of senior staff members (Optional information)
Ben Love – Artistic Director and Trustee
Declarations
The trustees declare that they have approved the trustees’ report above.
Signed on behalf of the charity’s trustees
Signature(s) Colin Mitchell FCCA Full name(s) Benjamin Love
Position (eg Secretary Chair Secretary, Chair, etc)
Date 17/05/2023