BRIGHT PEOPLE, THEATRE I. Annual Report ril 2024- March 2025 ## **Contents:** 2 **A message from our Chair** 3 **A message from our CE0 & Artistic Director** 4 **The BPT Story** 6 **Key achievements** 13 **Funding and Finance** 1 **Brighton People’s Theatre** Annual Report April 2024 - March 2025 ## **A message from our Chair** This second year of the current BPT Business Plan has seen a huge level of activity from our small charity. I am particularly proud that BPT was invited to present Born and Bread as part of the Brighton Festival. As one of the most significant arts festivals in the UK, it was thrilling to see the Brighton community front and centre. Hawk in the Valley and Mabrouk are both projects that demonstrate the innovative ways BPT is fulfilling its core mission to offer access to the arts for communities who are often excluded from culture nationally and locally. Both projects not only tell stories that are often hidden from mainstream culture, but they also introduce new local participants to the work of BPT. The body of work BPT has produced, and that is in active development, demonstrates that BPT is not simply holding a mirror up to nature but is instead involved in an active dialogue with the community it works with. It is great that this dialogue also extends out into the arts community with BPT sharing our learning with artists through our BPT training for professionals. % 90 90% of our participants say their wellbeing has improved **Brighton People’s Theatre** Annual Report April 2024 - March 2025 The core team that delivers BPT’s work have engaged with a large pool of participants and freelancers. The sheer level of activity produced on such a small annual budget remains impressive, but it does also highlight the continuingly strained funding streams available for arts charities and for social enterprises. As BPT moves forward, there is greater talk of sustainability, not only financial sustainability but also creative sustainability and mental health wellbeing to ensure that BPT remains a creative force of good in Brighton for years to come. % 95 **Thomas Hescott, December 2025** 95% of participants say they have an increased sense of belonging **----- Start of picture text -----**
2
**----- End of picture text -----**
## **A message from our CEO & Artistic Director** **At the end of the second year of delivering our business plan to bring people together to be part of something bigger than ourselves, we have plenty of achievements to celebrate.** **Our artistic work** 100% 100% of people involved in our work would recommend us to a friend. Our show Born and Bread was programmed as part of the Brighton Festival in May 2024. Our cast and crew went above and beyond to entertain and move Festival audiences. 77[%] We started work on a new show, The Museum of Life, exploring the complexities of ageing with our members. And we involved people with heritage from Arabic-speaking countries in the development of Mabrouk and with people living in Whitehawk in the creation of Hawk in the Valley. 77% had never done theatre before. **Brighton People’s Theatre** Annual Report April 2024 - March 2025 ## **Our learning** ## **Our team** Our tiny team of 3 part-time staff, the equivalent of 2 full-time staff, made all this happen. Again, we are indebted to the continued support of the Paul Hamlyn Foundation and this year, the Garfield Weston Foundation, whose core funding has enabled us to thrive. We were delighted with the uptake of our firstever People’s Theatre Training, which saw directors and producers from across the UK come to Brighton to learn about our methodology, including from Glyndebourne and Chichester Festival Theatre. As our thoughts turn towards what comes next after the third year of our business plan, we commissioned Terry Adams to carry out an independent evaluation of our work. This will be instrumental in shaping the future direction of the organisation based on all that we have learnt. We have also created work for 12 freelancers; sound designers, writers, movement directors, lighting designers, set designers, assistant directors, stage managers, dramaturgs and writers alongside specialists carrying out administrative, evaluation, finance and fundraising tasks for the organisation. **Naomi Alexander, December 2025** 3 ## **The BPT Story...** **We are a theatre company that brings people together. Owned and loved by the people of Brighton. We make our work over a cup of coffee, a shared story, a workshop, a show, a magical world appearing in a local park.** ## **Who we are** Brighton People’s Theatre was started by Naomi Alexander in 2015 out of a desire to create theatre in a way that was more relevant and accessible to most people. Brighton People’s Theatre is open to everyone in the Greater Brighton area who is over 18 and doesn’t earn their living as a professional artist. Everyone is welcome; however, we prioritise our resources to ensure that people with the lowest socioeconomic status can get involved. We think this is the fairest way of doing things. We pay childcare and bus fares for those who need them so they can join in. 77% of people we work with have never done anything like this before. 90% 90% of our participants have increased their knowledge of theatre. ## **Why we exist** ## **Our Team** Theatre should bring people together, but analysis of the Arts Council’s own Taking Part data shows that public subsidy of the arts reinforces and recreates social division. **CEO and Artistic Director Associate Director Communications Manager** Naomi Alexander Jack Parris Niamh Hicks Our research, led by communities in Brighton, shows that people from lower socioeconomic backgrounds often feel excluded from publicly subsidised arts. Research led by the Warwick Commission shows that it is the most wealthy, least ethnically diverse and most well educated 8% of the population who are the main consumers and producers of publicly subsidised arts. ## **Our Trustees** Thomas Hescott Chair Helen Rice Vice-Chair (resigned July 2024) Jenni Lewin-Turner Munya Muchati (resigned September 2024) Lily Einhorn Paul Hughes Anna Jefferson Parul Chatterjee (appointed September 2024) We think this is a social justice issue, and we want to change it. **----- Start of picture text -----**
4
**----- End of picture text -----**
**Brighton People’s Theatre** Annual Report April 2024 - March 2025 **Our Vision and Mission is simple** **We bring people in Brighton Together... ...to play, to laugh, to create, to think, to talk, to perform, to applaud, to agree, to disagree, to empathise, to sing, to dance, to cry, to listen, to learn, to connect, to understand, to be understood, to be seen, to belong, to trust, to be part of something bigger than ourselves.** **Brighton People’s Theatre Annual Report April 2024 - March 2025** 5 > [91] by 232 people ## **Key Achievements...** ## **Workshop programme** > [70] class backgrounds[%] Between July and December 2024, Brighton People’s Theatre delivered 17 drop-in workshops, offering a space to play, create and connect. We offered these on a Pay What You Decide basis to remove cost barriers. 130 people attended, with a mix of new and returning participants. The workshops were led by our Associate Director, Jack Parris, and the sessions used play and improvisation to build confidence, creativity and connection. 70% of our cohort are from working Between June and July 2024, Brighton People’s Theatre delivered a six-week open access development programme for Songbird Cafe. Six Pay What You Decide workshops engaged 47 participants exploring story, character and music with professional artists, alongside dramaturgical and R&D sessions shaping the new work. “ **The BPT workshops were better than I expected! I was looking for a chance to be playful, use my body, get out of my own head and connect with others, and the workshops did all of that and more!** ” **—** Weekly workshop participant **Brighton People’s Theatre Annual Report April 2024 - March 2025** We ran 91 workshops, attended Our monitoring data shows around a third (31%) reported a mental health condition, slightly higher than the local average of 27%. Just over a quarter (28%) shared that they live with another long-term or chronic condition, compared with 37% locally. We also see higher levels of neurodivergent conditions than in the wider population. Five per cent identified as having a cognitive or learning disability (2.4% locally), while 26% identified as autistic and 31% as having ADHD or ADD, compared with local figures of 1.2% and 4% respectively. These insights help us better understand our community and shape a creative offer that’s inclusive, supportive and responsive to participants’ needs. 6 **I've loved BPT since I joined. People are very friendly and welcoming. No one takes themselves too seriously, which I think really helps. There's a strong sense of community.** **Brighton People’s Theatre Annual Report April 2024 - March 2025** 7 ## **Born and Bread** **A standout moment in 2024 was Born and Bread, our Brighton Festival commission.** Over nine months, 30 non-professional performers co-created the show, which was written from 100 community conversations exploring food, home, and belonging. Developed through 24 workshops across Brighton and refined in 30 rehearsals, the production evolved from a show about food into a powerful exploration of what it means to ‘belong’ in Brighton in 2024. Set in a bustling community kitchen, the performance followed 30 bakers attempting to bake bread. The show culminated in a shared meal of soup and bread served to the audience by the cast whilst nailing a three part harmony! The soup was cooked live onstage by our community food partners The Real Junk Food Project. - ““ _**It has brought amazing people into my life. People I feel I can be myself with and connect with on a different level, as we would maybe have never crossed paths if it weren't for BPT. I have friends for life from this process. I feel like I have better mental health as I have opportunities to express myself and better wellbeing in general, and so much more confidence.**_ ” Featuring original songs, the show was a joyful, moving celebration of community and connection. The five sold-out performances at the Attenborough Centre reached 800 people. “ _**I think you underestimate the joy you bring to people's lives; it truly is magic. I loved every minute of this time and can't wait for the next project.**_ ” Born and Bread cast member Born and Bread cast member 800 800 people saw Born and Bread at Brighton Festival > [100] across the city We had conversations with 100 people 8 **Brighton People’s Theatre Annual Report April 2024 - March 2025** ## **Museum of Life** **Since early 2024, Brighton People’s Theatre has been exploring the theme of Ageing: From Cradle to Grave through a rich programme of activity designed to connect, empower, and create.** Since then, we’ve delivered 45 workshops, alongside two public Conversation Sessions at Brighton Dome, where over 40 people shared their experiences in one-to-one and group conversations. Across the year, we’ve spoken to more than 70 people about ageing, uncovering moving, funny, and complex stories that reflect life across generations. Participants named the project The Museum of Life. We secured Arts Council funding to develop the script and rehearse toward a first public sharing. Since then, we’ve run 12 weekly scriptwriting sessions, 6 dramaturgy workshops with Lou Cope, and launched a producing group to give participants insight into the full creative process. This new approach, giving members the opportunity to get involved in all aspects of the theatre making process, deepens skills, confidence, and ownership. “ _**As a mum with very little time to myself, being part of Museum of Life has been invaluable to my wellbeing. It's given me a sense of purpose and identity. I love how we've explored all the different contexts of the life journey and seeing how that varies for each person. It's been wonderful co-creating the show with my BPT family, and I can't wait to perform it on stage.**_ Participant feedback We’ve delivered 45 workshops on the theme of[45] ageing In March 2026, we’ll share this work-inprogress with potential national co-producing partners. This is part of our new strategic plan to explore a new model for co-producing cocreated theatre with partners across the UK in 2026. 70 We’ve had conversations with 70 people on the theme of ageing **----- Start of picture text -----**
9
**----- End of picture text -----**
**Brighton People’s Theatre Annual Report April 2024 - March 2025** **BPT has given me a new lease of life and helped me to enjoy life so much more.** **Brighton People’s Theatre Annual Report April 2024 - March 2025** 10 ## **Mabrouk** **In Spring 2025, BPT collaborated with Brighton’s Arabic communities on a cocreated theatre project called Mabrouk.** Facilitated by Tanushka Marah to inform the writing of an original script by Suhayla ‑ El Bushra, the project fostered connection, cultural pride, and collective joy. Funded by Arts Council England, Shubbak Festival, and the Enjoolata Foundation, BPT ran 12 theatre and script-development workshops in the Spring. Each session combined food and storytelling, creating a space for sharing traditions, memories, and creative ideas. 18 Arabic community members participated in the first stages of this exciting new project, sharing lived experience around Mabrouk - forming friendships, gaining confidence, connecting with playful resilience. We collaborated with the Trust for Developing Communities to include a support worker, ensuring participants felt safe and free to play. “ _**This project helped me realise that I’m not alone in my struggles and that my story matters. It gave me the confidence to share parts of myself I’ve kept hidden for so long. I’m grateful for this space, and I now feel more connected to my roots and the people around me.**_ ” Mabrouk Participant 18 Arabic community members participated in this Research and Development project[18] 18 Arabic community members participated in this Research and **----- Start of picture text -----**
11
**----- End of picture text -----**
Maya Rezk, part of the cast of Born and Bread, became Assistant Producer for Mabrouk and is being mentored to access pathways into further training. ‑ Suhayla El Bushra is writing a script, aiming to complete it by September 2025. This project ‑ reflects BPT’s commitment to co creation, cultural belonging, and empowering community voices through joyful, inclusive theatre. **Brighton People’s Theatre Annual Report April 2024 - March 2025** ## **Hawk in the Valley** **In Autumn 2024, BPT convened a steering committee of Whitehawk residents to shape a new community theatre project.** The group selected local artist Jools Voce, and chose “Opportunity” as the project’s theme. They named the project Hawk in the Valley. The project was funded by the Estates 25 Together, they co-created a 15-minute theatre piece inspired by the idea of a bus journey through Whitehawk, using participants' stories and experiences. The piece was performed in April to an invited audience of 25 family, friends and partners, followed by a shared meal and discussion about future development. The project was funded by the Estates Development Budget, and ran from January to April 2025 and focused on residents across East Brighton—including Whitehawk, Bristol Estate, and Manor Farm. 15 Friends & family saw the original sharing “ _**I only came in the room to be nosy, but I got involved as it was so much fu,n and now I can’t wait to do it again.**_ ” Jools held 15 community conversations at a range of local venues, including cafés, GP surgeries, the Royal Sussex County Hospital, and the Whitehawk bus garage. From these, she formed a core group who took part in 12 weekly workshops and 2 rehearsals at Robert Lodge on Monday mornings. Participant feedback “ _**It brought us together - laughing together.**_ ” Participant feedback “ _**We arrived as different people from different backgrounds, just like people on a bus, but unlike people on a bus, we got to know each other and gelled together as a group.**_ ” “ _**The enthusiasm was infectious, and the energy on stage was incredible.**_ ” Audience feedback Participant feedback 12 We held 15 community conversation sessions with local residents **Brighton People’s Theatre Annual Report April 2024 - March 2025** **I absolutely love the weekly workshops. They are so varied and interesting, I learn a lot but also have such a laugh when I am there. I feel like I can play as an adult which doesn’t happen often.** **Brighton People’s Theatre Annual Report April 2024 - March 2025** 13 ## **Cultural Bridge Programme** In June 2024 English Theatre Leipzig (ETL) came to Brighton as part of the Cultural Bridge Programme funded by Arts Council England and the Goethe Institut. Their team of 4 spent a week with the BPT team, observing our approach to co-creating. They participated in two workshops (Drop-In and Songbird Cafe) and then were given a warm welcome by our BPT members; going on a local history tour with Alan, making an Iranian tile with Monir, and having a homemade curry with Aditi. In October 2024, the BPT team visited Leipzig and took part in an R&D for English Theatre Leipzig’s Anthropocene. This was a fantastic opportunity to share practice across borders, and begin to think about how our work can have influence further afield. ## **People’s Theatre Training** Our first ever People’s Theatre Training took place at ACCA at Sussex University in July 2024. We were joined by theatre directors and producers from across the UK and Ireland. Over 4 days we shared our approach to co-creating theatre; from the process we use to enable our members to choose a theme to explore, to the highs and lows of production week. “ _**Absolutely jam-packed of concrete, useful tools and examples of care-driven, thoughtful practice when directing co-creative work.**_ ” Training Participant **Brighton People’s Theatre Annual Report April 2024 - March 2025** 14 ## **Funding and Finance** **In our third financial accounting period as a registered charity, BPT had:** - **Income of £178,031** - **Expenditure of £169,976** - **Just under 3 months running costs of £19,000 held in reserves** Whilst the overall financial climate for small arts charities like ours has been challenging this year, we are incredibly grateful for all the income we have received from our funders and from people who have been to see our shows or attended our workshops. We are also very grateful for the in-kind support that we received from our partners, in particular the Trust for Developing Communities and ACCA. There was a slight fall in our percentage of earned income, down to 10.2% from 13.5% last year. We are very grateful for the continued support from the Paul Hamlyn Foundation and Arts Council England without which we would not have been able to operate over the last 12 months. We are also grateful to the Garfield Weston Foundation, the Enjoolata Foundation, the East Brighton Trust, the City Council’s Estate Development Budget, Shubbak Festival and Brighton Dome and Festival for supporting us with a range of small grants and commissions. We have also launched a new regular giving scheme known as the BPT 100. This is our way of involving people who want to support our work in sustaining the activity of the charity through regular monthly donations. We are hoping to grow this over the coming years. Our full annual accounts are available on request and on the Charity Commission website. ## **Trustee statement** The trustees present their report with the financial statements of the charity for the year ended 31st March 2025. The trustees have adopted the provisions of Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January 2019). ## **Public benefits** Brighton People’s Theatre recognises and celebrates the creativity inherent in everyone. We want to build and sustain mutually beneficial, collaborative relationships with people living in the city. We place a special emphasis on involving those who have had the fewest opportunities to make and consume publicly funded culture. We believe in the intrinsic value of the arts and culture and want to extend this value to as many people as possible. We also want to democratise the way the arts are funded, produced and consumed in the UK. ## **Governing document** Brighton People’s Theatre is a registered Charitable Incorporated Organisation (CIO) and is governed by its constitution. ## **Reference and Administration details** **Registered Charity** 1196082 **Number** **Registered Office** The Old Courthouse 118 Church Street Brighton BN1 1UD F1 CRT Limited Flat 24 Wellingtonia Court Laine Close Brighton BN1 6TD **Independent examiner** 15 **Brighton People’s Theatre Annual Report April 2024 - March 2025** ## **Interview with...** **What is your name?** Amro Tabari. **How old are you?** 39 years old. **Where do you live?** In Brighton. ## **What is your job?** I am a renewable energy engineer. I also volunteer in multiple locations, including Oxfam on North Street and with GoodGym. **How did you first find out about BPT?** I found out about BPT through Instagram after coming across one of their posts. **What were your first impressions?** My first impression of BPT was very positive. It came across as an inclusive, community-focused, and genuinely welcoming space. It felt like a place where people could come together with no previous knowledge or experience of creating theatre, while still being relaxed, supported, and accessible. ## **What have you done with BPT?** I have been involved in several acting workshops and have recently been cast as part of a production scheduled for 2026. **What impact has BPT had on your life?** BPT has had a very positive impact on my life. It has helped me confidently answer the question, “What do you do for fun?, something I’m very proud of. I can now say that I am an amateur theatre actor and a member of BPT. It has also helped me express myself better in everyday life. As someone whose life includes a form of activism, theatre training has given me the confidence and energy to face crowds, share my thoughts publicly and loudly, and stand my ground. On top of that, it’s simply a lot of fun. **Before you joined BPT had you ever done anything like this before?** No, I hadn’t done anything like this before. Being part of BPT encouraged me to apply for extra roles in film productions, which I wouldn’t have considered previously. **Is there anything else you want to say?** I am always grateful for the opportunities BPT has given me, especially being able to stand on stage and recite a poem that is 16 very dear to my heart, written by Mahmoud Darwish. **Brighton People’s Theatre Annual Report April 2024 - March 2025** ## **Interview with...** **What is your name?** Deeksha Billa. **How old are you?** 25 years old. **Where do you live?** I live in Brighton. **What is your job?** I’m working as an Assistant Reception Manager at a hotel. **How did you first find out about BPT?** I found out about BPT through an Instagram post shared by a mutual friend about their drop-in workshops. **What were your first impressions?** My first impression was that this was a community of genuinely talented, warm, and welcoming people. **What have you done with BPT?** I’ve been involved in The Songbird Café and The Museum of Life. **What impact has BPT had on your life?** Theatre has always been an important part of my life. It’s where I reset. BPT gave me that space again. A space that was just for me, where I could be creative without pressure. It felt safe, comfortable, and energising. I walked in excited every time and walked out lighter, smiling, and genuinely happy. **Before you joined BPT had you ever done anything like this before?** Yes. I’ve been involved in theatre since I was 12. I’ve performed in Broadway-style school productions, professional stage theatre, and street theatre during my undergraduate years. Theatre has always been part of how I express myself. **Is there anything else you want to say?** Tuesday evenings are non-negotiable for me now. Wherever I am, that time is blocked for BPT. Being part of a show, committing to the process, and moving through multiple workshops where we brainstormed, acted, sang, laughed, and fully lived those two hours has been genuinely special. I’m very grateful to be part of it. **----- Start of picture text -----**
17
**----- End of picture text -----**
**Brighton People’s Theatre Annual Report April 2024 - March 2025** **Connect with us on social:** ## **@brightonpeoplestheatre** **@brightonpeoplestheatre @brightonpeoplestheatre @brightonpeoplestheatre** Sign up to our mailing list via: **brightonpeoplestheatre.org** Contact us via: **hello@brightonpeoplestheatre.org** **Thanks to our funders and supporters:** 18 ftEC*lSTYAiKb CHARITY YI'.MW¥ 11g*D•I CHARITY ri CRT Limst¢ 1#24 Welllntyou* IEULS_Q_F TIILFINAN IALSTA Rep￿rI Ébf Tyuskns Stthlem¢iil itrf Flnintl*l Adh.hl N¥1• ttb tb¢ V•xtkn151*t•M*ts 7 iu 13 R¥ I>VTHE tRL. 2S 7711, t￿$1￿￿. rTre%tnt ihelr IW the fin￿1￿¢ of th¢ Ih&r*ty f¢ir IIK, v£#r 3E M•th ?IY15. Th pplicil)k io Llidritlcl PT IJ t¥All8tiimiitiB the wJy% we m•ke Ih¢a¢r¢ and wt tell of thr¢#y. f￿ IK# rity. P¥blic heR*nt 34h.. llt+.i¢i'% [iinlirryJ Ihai they tekyrrd 10 tht Kuld￿£¢ the (￿llY Commi%swrfi'4 gtntial pthI1￿￿e￿rtlt ￿lILlI riview5￿8 Ihi. L-.harbly'% ain> and d>jLX(ives atta m the plwii)iA4 1?f (ulllrL' ilItIviii¥*,. ACHJKVllMVJ¥T AND P¥PJORMAYCE C'h&rliil)le artlwltt¢ llie Llvi#ilcLI is¥iisJl rL'IKkn. thchrd 49 Iti aiwrndii, 5t*$ out ￿. a¥11%'iti¢sthuth& Ih¢ P¢r1￿1. TINANftsL Ifr",W rpl*ts iTrl' £1) •54 11P4 Surp￿5 ¢12) thi$kn d* r¢9erv¢¥ bnjtikilil fm io l¢aw¢ l.I1..)5) Iv b¢ ilff1¢41 iorv2rd. ,liwii! 11.15 h Iles"5&uAt+&a TUBO ¢1 £19.￿￿ * ¢ov¥ of oipwrW*kxdsns wi. Ihi¥ ￿lI41¥m wi¥ stt th¢¢lwky tmknisl) * cir (¢)ari14bie In(ryr&t￿ ¢ornwyl 11 Ili¢ poliL) ol. the cli.If41i W ¥aw••I th¢ re*¥¢s Of 3 M￿11)% atÉLua¢ ¥wJl￿ v)st& ia£¢to approxmw¢l> *)11¥30. FiJllsRE pwtr aty set thii in ilie &iachc4 STMVCI"URtr,. CbO¥'*'RT4ANCE AND WAf8AqF.NT 1kn4th¥ity &¥4illL)Ikd by I¥¥gi¢m￿￿84￿-Yfi*ettI. a d¢4lyf D 31 MARC 2U ¢rnucnix& fX)VtshANCÈ Il&NAGEMELYT rtti4thd tsn 8th Cknbw 20211s*Cb*tMbl¢ IA¢wwed Organkth (CIO) ol Bright￿ Prtopl¢¥ Thj r*J¢ ac thi the >• d*. A￿O￿of iharit) ￿l￿tte5. 41wty r4*Yene4 iht ¢harilV tn141e¢ bJ.In ¥tlcciiDg ipdi¥ithwh tr ¥Witttoieol *5 tn*k tl% thwh) have. r* t¢) th¥ $klUs, hb￿￿￿L.￿¥vl'.l￿d t<4&.a [w ￿. ¢ffffliye of the CIQ. I&MthY•l tT*JSteA }.Ihw* h* I ch2rRs tru•u. 1f the MDni*r Lylls beloii" rhis th¢ mis) .4i1 Iinl} to ull* dixrits. MIS￿. spwinl 4 thji'ii) Illi%le¢ i() Aw.. I',K Ill i¥llis￿ H 29 PMkiiiii114' M%wl A SP¥mlVk& I'lirtlll i.li I':i-.knh M M￿1 17,'1• •41 l) 014¥* F LIY4U I•￿. l>*r IX.'..%¥('I? Fl L111" i t&r) I'LV 31 AND DFTAILS "SYATF.MgNT 'rKusi L'ÈSF kE.13VOY4lblLmES 1111siet'.5 lebTA)051è1e fr¢"IKWinx the of ta* on4 th6 fitt•tteiAI 4ldiem•AL4 applic8hl¢ la44'",ittd [￿lI￿lA￿* A*wAnii*StMd•Td3 WDlknl Kis)p¢kffi Cttn¢rntl> A4Mvrth¥ Praclik*l. Th* lÉlW ap.plit4bk Iv thuriiii% ki Lt¥lTrMI *d Wolty tha ChifiiJe< Aty 1111, CbarÉy IAciouiFh: A•wtsi Tnattciil vfa¥ ibhtch .¥1%¢ A IIIIL Ilk viTh of of Of th• awlty at5d of the In¥o[ll￿A r&wsr¢ts (A. rE*JIXW inL"l￿d4* lh¢ #d.¥pthJlEvr4 of the 4*arhy for thar rytJ¢AI. lfi thts%e e￿e the ththTr1s ryittlipks in the C'h&rity NORP. The res￿%)51￿1* l<)T k¢L'piiig pr¥pei acwtsiiIiob ftt*Jil% iihi¢h Qi5¢1oye with K¢urn¢y ut any iiryTr& 141'I1IL ch￿) aiid to enthk kni t•* the thTr¢ial ¢ompty L>Yariii¥ Twth%iblt tht aMet8 of thr &x ￿*￿¥ rt*x4Mble stw lor Ihc PreVL*kn￿ avd pwvvdl bj. thl.thc M•rd *fIru4￿ on. . /0/ 112& - and818￿#d 115 ￿h￿irby. T() TRL.STEE N PEOPLF.T TH£ XE Cln ltrdEw*de*t*wlarV8 TtpDrt l•lkn ithteej fsl Bn¥hiDn Pewe's TIEeoire CIO l¥q￿rt tr*th* dwlty kn15k£s oj my txsoipatlrkn o* the of Ejri¥htO￿ Pcipkn T1￿111¢ CIO {lkn Itu4) fbr ihe 31 Mv£& X)25. b•8ls of rnpo ￿the Clwiti¢s AÉI 205 1 (Ihr ALI'I. I rwrt io èf my tX4minaiion 4Jl' tht 'lni41'& 4[ jiplllll% i,'IlliLII un&Y 145 of tk Atl '.irtd ottt ex&niaalion I have fx)IIowtd all appliiah5¢ ty th• L* Cothrni%iif)n undL'r S¢sthM 14J(SXb} ofihe A¥t. I h4l¥L LniiipILI¢TI Ifw CXthii%MliiA, l tlwt Iiia*ri#l ma#ers q¥n¢ k* my •ltrntii>n in e4)Ym•￿ wdh th ouptID8 tW4xds wen, ktO in ofth¢ l¢uA as requir¢d IJO of th•Aa: 4)r the nni with those re￿￿. i%r the •crount% d() twi tfjmpl> wtsI1 ilit apJiLiL.thk. rc4uiltlI¥i5l￿ ivii£crtiiii& rom Ind crnttnl x)I' a¢C4>lJnis.￿'I ui ihL C"h3riiies IArLoiiiFib XeF￿1ts> R¢g¥l•tw IW (thr ￿4￿11CM¥ni Thai lh¥ ili¢t)uni$ 8iv¢ o Mie and I￿# view wb*h 1% JiiK a nia#tt as pthof a# irrfl¢p¢vAlttts •xwnitiatl¢ I l>ave iiwlki￿1S 4n¢J have o)171L' aLJ'u>S TkpiHh¢T ¢7lJllets m £onTrvcfion ￿ Iih the to wh￿h att#nrK4fft £hu#kt bo draw) in thi$ reiwi lit orts I1Tr elbknl I pwr uad<4¥taDthn8¥Jl th<. a¥Luuiiis 10 krf tta¢hed. Chrktwbhff TrKY FCA DC*A F¢IP FI CRT Llmlwd Fl•t 24 Cwf I￿1￿¢ C103e BNI 6TD 'S'fHF. ATFM¥.ftrt iiFFI LAft ÉNDE 41. ACTIV T9ts1 YCY)MS: AND ENDOWMEYT8 PROM An PK¥ects l.-¥'elll¥ i? ).￿3} 150.34? I￿.1￿dI1)l.a¢l7Vk7tj 1781)11 ISJ.. 8XPENDIYIIRF. of* 4W4 6,710 I lJ91 Supwri 61.U79 1J4,912 FW37 2,670 102 121 61 Nf,T INC.OYIUried fuiids Rtstriatd lui?ds Jl.3Ji TOTAI. FL'ND lit. wvre wov¢J bv lknrd of Tntsrte4 *thrl*l for oil TJ 14ektoll. Dji ACCOblY'fiNL IYA.ICiKI ke¥$#￿d 1kntli￿ èiipIIL'Hlilc io tlwllR wifts r1￿•￿*4* 4ieportin4 2111 I 'llic IlttY•ew ha¥c ￿(.￿ lili"ii.IYL'Il iinkn tht hlstork•l ¥4M¢ t Èli iiie Tht thui thrTC ￿t the ih¥ii*f• • ic* ¢ontintrL' liraiil% ljiilli ￿1)l.￿#￿t￿ *é th 18aKi¢5 Iw¢ b¢vT irtli*ilLxI il.. In¢rAY• a#Th *iiv#i¢s tllFtha￿¢ of lh* cli',llxl¥ ￿ obJ¢t•A lo yw ID whicth Ihej dre riciivabk. ¢4rt#iMty o( Tt¢typt *¢ ¢4ri rTL .Th#&)w Iw5 ¢fjndffion4 whlL* ift1￿ b¢ th¢ L4wity Iws ¥*iilmrN. No *pffj¢i¥(kd Èn tht xr¥i¢•p by vobJbtctTs. ¥."¥pepJi¢ur* L1*bili¢￿$ rL'LiJsni<¢d w exptndniv¢ as ￿￿on 45 there is ty li&Jl N ertsr#¢liYt f thl vblI￿*￿ 14n be mu*wtd Jriiably. ￿.1￿ndI1Urr 1% aCCOWLtsd &Lsiual.. basis apd hii hv¢ii Ll4ts%ili¢¢J Jx•dlw xs¥pt¢¥al- all Lthl rl.1￿11￿j 10 Ili¥ ¢Alllgry. Whue L*Tr¥Ot bc ,4treL TS uttri15Ut4,d t4) p￿￿1￿r ￿v¢ been all04a￿'$j 10 I￿1¥￿114 ￿ # b&%is %w¥i¥Wrt with the ii%c or fl%e4 •M¢15 ¢051S ¢?1'¢4nKsble off 4)vw thc¥ us¢t¥l tcthwini( lifr 48 fi)Ilows: 1'¢¥7)putery4*- 3 yebrs btrJighi1S IndNvJdiio1 rn(*¢ lh￿ 17JO or ￿￿94T• cJpkn4lised at Fuiid lJn¢K5WKltil f¥00 b¢ Fif 51¢¢4￿tt willi Illi obfftuii'¥% 4Mth¢ l•*•H•l lurJi15 ys#d tt51flLl¥Yl piura•s %¥iihitk th• fjbjtr.tl i)t' th¢ Lh4rii>. VOTr ' i'o Ilkffil ACCOUNTING POUCILS. T4it'. Ib*rdy ￿11•&1 1*MIf￿1 ￿lILlI￿.. C'(JIT1ri￿1t1lWlts p•y*bi* p•wloR 2024 INCY)MR FX¢MI CHARITAMX AtrivThi 'tITksh()p Art Prvl¢¢ts (alOIII AA PmFcis and Events 11.191 21229 129 17J IkLyL4rerxii¢d. InLlwJed h the•bove. ate as follw Atts Ctyys¢ll PA￿l- Born Ilitthj A￿eth￿r41 . l.tiiJi.iK C'uliuT•I t¥￿¥¢ ArsCffli1)￿il l."ii,,Ixiitl- Mabrwk Wvrkshop AnNCoun4il Fnb14)IiJ- I h£ SoD4bir(l LACC R&D 4thd Ili)ve. Liw LuunLiI ( tsV4￿[all0n Fwd l ('ily (.rJ'aniil . L5kn11t% Dti'tlopn ri•IN￿ I li>ve ('n! [.1￿1]¢11- hl•trfouk I lic l..nii*>14t4 l.JJUA4a I￿, lJULilIL Insiilui W6511111 W14 lan Ask*wCb¥xpbl¢ Tn A l.aLy Tare Tf stK Th¢ PAUI f-lThi Iiilvii l..ou￿￿11lL¥I Po$knx* So&lLI) 1rn51 L£thimunK> &'rJuM IIIiiTy Tb¢Jts¢ *ni*mity ol"Ilrighlw- Inwrnship ?1 J34 11.5¥3 7YJ 836 129.)11 H•rnl En3J¢Jl•tr Fou•dthi (1￿￿￿ 27MI ih.4J5 pi. c.'HAJU I'AIII.I. AIYIiIi'IF¢4 1 1)4 1 (Je¢ JK*e.l?. 1$4.912 lJ4.•12 70 1¢8 %8? VPPt)ItT U)SI .%￿ppO￿ w¥rs,"#*W•t kn *¢ folkns: T4 Jndtrwd¢i>i ExwYiir* 13rtv¢m•Ke ¢051S. O(1 ij TAbSI'E'ES' IILML,h"IItA"I'I￿y AIYD BENEIPITS There trL4tres' KW4wicro1iwi vr * tthL4its k¥ )L4r JI IAw.h 242J ¥Jty li* th•TrnQY c*thd Ji 30>. 31 ￿,14. Q74 ,479 6.fy01 1,ti92 7&328 1,652 Th¢ Mumbwof #wl¥rym durlD8 the peri%KI iym 4 W: 4 employm fwiv¢d Lniolwi)¥'lLlS ill exryArf£OQm. STAFF CO%'IN- jOne15 Tht thw.lty tty ￿T<()¥￿7L1 *Té Arti￿1￿ Dffe¢trt. IxMlb]i *5¥s £35.914. )htrARATIV%STA"rLMKNT Trl.fvIA.YC.'tAI..4iii&lTIF4 f102• re%lrirt¢d L)&*M41thy •r*ii'jikn. 97,127 SJ f.XPENi>fTifftE ON 4,679 7.163 ch¥n￿lI1t Ilfliviiies Ali I'rl)l¥Cts tsnd EYth)t% 96.?0 46.737 141&17 102 115 1SlJ]6 14F.T INcfJM 12 4,199 RgcoNCILIA TIQN OV FUNIJS Ti>t•l Ibnd.% f6)rw￿4 19,086 19,086 T()TAL FUN0$ CARRIED FORWAAII 19.U¥K TA￿611)￿ &'L¥+'.D ASSF.T5 Culli￿ttr Ai i Awil 2024 •d31 Z025 .%ots I)F.PRECIATION Ai l Awil ZO24 11 March 2025 iIKI ￿￿•00￿ VALVE 31 ￿￿￿11 20J? At31 klw¢b )J124 P*iO EDJ I* DLYTI)IL&' ANIC)I514Ts PAIllN¢. Dlle Il'ITAth' (pI4t 2(124 1I4de Jh41 11. CIiXDIT(IR%: 4MI)UNYSVAuJf4C DUF. wi'fHI% IY4E VÉA IJ 45 li MUVET*ll".ST IN frIIND¥ At 1.424 rJesiynii¢(I fiirid . i05* 19.098 1.254 ML'4ifi iollow I, C47Wl¢tI - '111¥ S 2. Lo¥n¢il l-.i)¥lJiiil . ljorn . I,. l¥iixluE¢ • ¥ibaX•41¢d wllh 11Sii IIXI po(ylc i 3. g¥WILl¥I ￿lId Ili)tr• Cly CouiY¢il Thir41%po¢L IIJL411f (fmefly Win4budl Ywa¥ ￿￿or*I. 4. CJ£MJts¢ . Q61furul . Yo thw*l¥ lh¢ lip I￿11￿1￿￿￿[g kni*m*tHiiidly w*h fr.rt%lith withpo¥*wlih Arabi$ knilw In4b•* as th¥ lor Pwi* gT,4T+ %f+.Yl"S. 12. MOVEKENf IN FiIYI Iks. &F￿*S Ikvelopm£MI {l￿￿k iti f** V•Ntyl Tts tnabk ￿sId¢￿É5 Èa Wl*•lrtwk to c￿[¢*[￿ 7.ma￿o￿k *.'Tr¥kfJwth to embk PEq5k *ith herita¥e fr41111 ¢l¢Jbk ¢omrniinilHL? l# l•tifjP*¢ Tl* orksliops io infonjt ihewtilM¥ of ￿ LYixin&l smpt by playw'ri¥ilit %thIknEI.BMshrL -M¥5eum of l.ife. ¢•¥bk *YJtse iti th¢ £ity ID £￿¢￿¢*¢t uri¥iNI th)w *b(*A th¢ liuiiw txwl¢Ne 4)t" 4¢ityg from i(i.ui Rfr.LATED PARIV 13. 'riitt¢ *Rlai¢d the y¢afwd¢d il tdtsF*202S. ftEC*lSTYAiKb CHARITY YI'.MW¥ 11g*D•I CHARITY ri CRT Limst¢ 1#24 Welllntyou* IEULS_Q_F TIILFINAN IALSTA Rep￿rI Ébf Tyuskns Stthlem¢iil itrf Flnintl*l Adh.hl N¥1• ttb tb¢ V•xtkn151*t•M*ts 7 iu 13 R¥ I>VTHE tRL. 2S 7711, t￿$1￿￿. rTre%tnt ihelr IW the fin￿1￿¢ of th¢ Ih&r*ty f¢ir IIK, v£#r 3E M•th ?IY15. Th pplicil)k io Llidritlcl PT IJ t¥All8tiimiitiB the wJy% we m•ke Ih¢a¢r¢ and wt tell of thr¢#y. f￿ IK# rity. P¥blic heR*nt 34h.. llt+.i¢i'% [iinlirryJ Ihai they tekyrrd 10 tht Kuld￿£¢ the (￿llY Commi%swrfi'4 gtntial pthI1￿￿e￿rtlt ￿lILlI riview5￿8 Ihi. L-.harbly'% ain> and d>jLX(ives atta m the plwii)iA4 1?f (ulllrL' ilItIviii¥*,. ACHJKVllMVJ¥T AND P¥PJORMAYCE C'h&rliil)le artlwltt¢ llie Llvi#ilcLI is¥iisJl rL'IKkn. thchrd 49 Iti aiwrndii, 5t*$ out ￿. a¥11%'iti¢sthuth& Ih¢ P¢r1￿1. TINANftsL Ifr",W rpl*ts iTrl' £1) •54 11P4 Surp￿5 ¢12) thi$kn d* r¢9erv¢¥ bnjtikilil fm io l¢aw¢ l.I1..)5) Iv b¢ ilff1¢41 iorv2rd. ,liwii! 11.15 h Iles"5&uAt+&a TUBO ¢1 £19.￿￿ * ¢ov¥ of oipwrW*kxdsns wi. Ihi¥ ￿lI41¥m wi¥ stt th¢¢lwky tmknisl) * cir (¢)ari14bie In(ryr&t￿ ¢ornwyl 11 Ili¢ poliL) ol. the cli.If41i W ¥aw••I th¢ re*¥¢s Of 3 M￿11)% atÉLua¢ ¥wJl￿ v)st& ia£¢to approxmw¢l> *)11¥30. FiJllsRE pwtr aty set thii in ilie &iachc4 STMVCI"URtr,. CbO¥'*'RT4ANCE AND WAf8AqF.NT 1kn4th¥ity &¥4illL)Ikd by I¥¥gi¢m￿￿84￿-Yfi*ettI. a d¢4lyf D 31 MARC 2U ¢rnucnix& fX)VtshANCÈ Il&NAGEMELYT rtti4thd tsn 8th Cknbw 20211s*Cb*tMbl¢ IA¢wwed Organkth (CIO) ol Bright￿ Prtopl¢¥ Thj r*J¢ ac thi the >• d*. A￿O￿of iharit) ￿l￿tte5. 41wty r4*Yene4 iht ¢harilV tn141e¢ bJ.In ¥tlcciiDg ipdi¥ithwh tr ¥Witttoieol *5 tn*k tl% thwh) have. r* t¢) th¥ $klUs, hb￿￿￿L.￿¥vl'.l￿d t<4&.a [w ￿. ¢ffffliye of the CIQ. I&MthY•l tT*JSteA }.Ihw* h* I ch2rRs tru•u. 1f the MDni*r Lylls beloii" rhis th¢ mis) .4i1 Iinl} to ull* dixrits. MIS￿. spwinl 4 thji'ii) Illi%le¢ i() Aw.. I',K Ill i¥llis￿ H 29 PMkiiiii114' M%wl A SP¥mlVk& I'lirtlll i.li I':i-.knh M M￿1 17,'1• •41 l) 014¥* F LIY4U I•￿. l>*r IX.'..%¥('I? Fl L111" i t&r) I'LV 31 AND DFTAILS "SYATF.MgNT 'rKusi L'ÈSF kE.13VOY4lblLmES 1111siet'.5 lebTA)051è1e fr¢"IKWinx the of ta* on4 th6 fitt•tteiAI 4ldiem•AL4 applic8hl¢ la44'",ittd [￿lI￿lA￿* A*wAnii*StMd•Td3 WDlknl Kis)p¢kffi Cttn¢rntl> A4Mvrth¥ Praclik*l. Th* lÉlW ap.plit4bk Iv thuriiii% ki Lt¥lTrMI *d Wolty tha ChifiiJe< Aty 1111, CbarÉy IAciouiFh: A•wtsi Tnattciil vfa¥ ibhtch .¥1%¢ A IIIIL Ilk viTh of of Of th• awlty at5d of the In¥o[ll￿A r&wsr¢ts (A. rE*JIXW inL"l￿d4* lh¢ #d.¥pthJlEvr4 of the 4*arhy for thar rytJ¢AI. lfi thts%e e￿e the ththTr1s ryittlipks in the C'h&rity NORP. The res￿%)51￿1* l<)T k¢L'piiig pr¥pei acwtsiiIiob ftt*Jil% iihi¢h Qi5¢1oye with K¢urn¢y ut any iiryTr& 141'I1IL ch￿) aiid to enthk kni t•* the thTr¢ial ¢ompty L>Yariii¥ Twth%iblt tht aMet8 of thr &x ￿*￿¥ rt*x4Mble stw lor Ihc PreVL*kn￿ avd pwvvdl bj. thl.thc M•rd *fIru4￿ on. . /0/ 112& - and818￿#d 115 ￿h￿irby. T() TRL.STEE N PEOPLF.T TH£ XE Cln ltrdEw*de*t*wlarV8 TtpDrt l•lkn ithteej fsl Bn¥hiDn Pewe's TIEeoire CIO l¥q￿rt tr*th* dwlty kn15k£s oj my txsoipatlrkn o* the of Ejri¥htO￿ Pcipkn T1￿111¢ CIO {lkn Itu4) fbr ihe 31 Mv£& X)25. b•8ls of rnpo ￿the Clwiti¢s AÉI 205 1 (Ihr ALI'I. I rwrt io èf my tX4minaiion 4Jl' tht 'lni41'& 4[ jiplllll% i,'IlliLII un&Y 145 of tk Atl '.irtd ottt ex&niaalion I have fx)IIowtd all appliiah5¢ ty th• L* Cothrni%iif)n undL'r S¢sthM 14J(SXb} ofihe A¥t. I h4l¥L LniiipILI¢TI Ifw CXthii%MliiA, l tlwt Iiia*ri#l ma#ers q¥n¢ k* my •ltrntii>n in e4)Ym•￿ wdh th ouptID8 tW4xds wen, ktO in ofth¢ l¢uA as requir¢d IJO of th•Aa: 4)r the nni with those re￿￿. i%r the •crount% d() twi tfjmpl> wtsI1 ilit apJiLiL.thk. rc4uiltlI¥i5l￿ ivii£crtiiii& rom Ind crnttnl x)I' a¢C4>lJnis.￿'I ui ihL C"h3riiies IArLoiiiFib XeF￿1ts> R¢g¥l•tw IW (thr ￿4￿11CM¥ni Thai lh¥ ili¢t)uni$ 8iv¢ o Mie and I￿# view wb*h 1% JiiK a nia#tt as pthof a# irrfl¢p¢vAlttts •xwnitiatl¢ I l>ave iiwlki￿1S 4n¢J have o)171L' aLJ'u>S TkpiHh¢T ¢7lJllets m £onTrvcfion ￿ Iih the to wh￿h att#nrK4fft £hu#kt bo draw) in thi$ reiwi lit orts I1Tr elbknl I pwr uad<4¥taDthn8¥Jl th<. a¥Luuiiis 10 krf tta¢hed. Chrktwbhff TrKY FCA DC*A F¢IP FI CRT Llmlwd Fl•t 24 Cwf I￿1￿¢ C103e BNI 6TD 'S'fHF. ATFM¥.ftrt iiFFI LAft ÉNDE 41. ACTIV T9ts1 YCY)MS: AND ENDOWMEYT8 PROM An PK¥ects l.-¥'elll¥ i? ).￿3} 150.34? I￿.1￿dI1)l.a¢l7Vk7tj 1781)11 ISJ.. 8XPENDIYIIRF. of* 4W4 6,710 I lJ91 Supwri 61.U79 1J4,912 FW37 2,670 102 121 61 Nf,T INC.OYIUried fuiids Rtstriatd lui?ds Jl.3Ji TOTAI. FL'ND lit. wvre wov¢J bv lknrd of Tntsrte4 *thrl*l for oil TJ 14ektoll. Dji ACCOblY'fiNL IYA.ICiKI ke¥$#￿d 1kntli￿ èiipIIL'Hlilc io tlwllR wifts r1￿•￿*4* 4ieportin4 2111 I 'llic IlttY•ew ha¥c ￿(.￿ lili"ii.IYL'Il iinkn tht hlstork•l ¥4M¢ t Èli iiie Tht thui thrTC ￿t the ih¥ii*f• • ic* ¢ontintrL' liraiil% ljiilli ￿1)l.￿#￿t￿ *é th 18aKi¢5 Iw¢ b¢vT irtli*ilLxI il.. In¢rAY• a#Th *iiv#i¢s tllFtha￿¢ of lh* cli',llxl¥ ￿ obJ¢t•A lo yw ID whicth Ihej dre riciivabk. ¢4rt#iMty o( Tt¢typt *¢ ¢4ri rTL .Th#&)w Iw5 ¢fjndffion4 whlL* ift1￿ b¢ th¢ L4wity Iws ¥*iilmrN. No *pffj¢i¥(kd Èn tht xr¥i¢•p by vobJbtctTs. ¥."¥pepJi¢ur* L1*bili¢￿$ rL'LiJsni<¢d w exptndniv¢ as ￿￿on 45 there is ty li&Jl N ertsr#¢liYt f thl vblI￿*￿ 14n be mu*wtd Jriiably. ￿.1￿ndI1Urr 1% aCCOWLtsd &Lsiual.. basis apd hii hv¢ii Ll4ts%ili¢¢J Jx•dlw xs¥pt¢¥al- all Lthl rl.1￿11￿j 10 Ili¥ ¢Alllgry. Whue L*Tr¥Ot bc ,4treL TS uttri15Ut4,d t4) p￿￿1￿r ￿v¢ been all04a￿'$j 10 I￿1¥￿114 ￿ # b&%is %w¥i¥Wrt with the ii%c or fl%e4 •M¢15 ¢051S ¢?1'¢4nKsble off 4)vw thc¥ us¢t¥l tcthwini( lifr 48 fi)Ilows: 1'¢¥7)putery4*- 3 yebrs btrJighi1S IndNvJdiio1 rn(*¢ lh￿ 17JO or ￿￿94T• cJpkn4lised at Fuiid lJn¢K5WKltil f¥00 b¢ Fif 51¢¢4￿tt willi Illi obfftuii'¥% 4Mth¢ l•*•H•l lurJi15 ys#d tt51flLl¥Yl piura•s %¥iihitk th• fjbjtr.tl i)t' th¢ Lh4rii>. VOTr ' i'o Ilkffil ACCOUNTING POUCILS. T4it'. Ib*rdy ￿11•&1 1*MIf￿1 ￿lILlI￿.. C'(JIT1ri￿1t1lWlts p•y*bi* p•wloR 2024 INCY)MR FX¢MI CHARITAMX AtrivThi 'tITksh()p Art Prvl¢¢ts (alOIII AA PmFcis and Events 11.191 21229 129 17J IkLyL4rerxii¢d. InLlwJed h the•bove. ate as follw Atts Ctyys¢ll PA￿l- Born Ilitthj A￿eth￿r41 . l.tiiJi.iK C'uliuT•I t¥￿¥¢ ArsCffli1)￿il l."ii,,Ixiitl- Mabrwk Wvrkshop AnNCoun4il Fnb14)IiJ- I h£ SoD4bir(l LACC R&D 4thd Ili)ve. Liw LuunLiI ( tsV4￿[all0n Fwd l ('ily (.rJ'aniil . L5kn11t% Dti'tlopn ri•IN￿ I li>ve ('n! [.1￿1]¢11- hl•trfouk I lic l..nii*>14t4 l.JJUA4a I￿, lJULilIL Insiilui W6511111 W14 lan Ask*wCb¥xpbl¢ Tn A l.aLy Tare Tf stK Th¢ PAUI f-lThi Iiilvii l..ou￿￿11lL¥I Po$knx* So&lLI) 1rn51 L£thimunK> &'rJuM IIIiiTy Tb¢Jts¢ *ni*mity ol"Ilrighlw- Inwrnship ?1 J34 11.5¥3 7YJ 836 129.)11 H•rnl En3J¢Jl•tr Fou•dthi (1￿￿￿ 27MI ih.4J5 pi. c.'HAJU I'AIII.I. AIYIiIi'IF¢4 1 1)4 1 (Je¢ JK*e.l?. 1$4.912 lJ4.•12 70 1¢8 %8? VPPt)ItT U)SI .%￿ppO￿ w¥rs,"#*W•t kn *¢ folkns: T4 Jndtrwd¢i>i ExwYiir* 13rtv¢m•Ke ¢051S. O(1 ij TAbSI'E'ES' IILML,h"IItA"I'I￿y AIYD BENEIPITS There trL4tres' KW4wicro1iwi vr * tthL4its k¥ )L4r JI IAw.h 242J ¥Jty li* th•TrnQY c*thd Ji 30>. 31 ￿,14. Q74 ,479 6.fy01 1,ti92 7&328 1,652 Th¢ Mumbwof #wl¥rym durlD8 the peri%KI iym 4 W: 4 employm fwiv¢d Lniolwi)¥'lLlS ill exryArf£OQm. STAFF CO%'IN- jOne15 Tht thw.lty tty ￿T<()¥￿7L1 *Té Arti￿1￿ Dffe¢trt. IxMlb]i *5¥s £35.914. )htrARATIV%STA"rLMKNT Trl.fvIA.YC.'tAI..4iii&lTIF4 f102• re%lrirt¢d L)&*M41thy •r*ii'jikn. 97,127 SJ f.XPENi>fTifftE ON 4,679 7.163 ch¥n￿lI1t Ilfliviiies Ali I'rl)l¥Cts tsnd EYth)t% 96.?0 46.737 141&17 102 115 1SlJ]6 14F.T INcfJM 12 4,199 RgcoNCILIA TIQN OV FUNIJS Ti>t•l Ibnd.% f6)rw￿4 19,086 19,086 T()TAL FUN0$ CARRIED FORWAAII 19.U¥K TA￿611)￿ &'L¥+'.D ASSF.T5 Culli￿ttr Ai i Awil 2024 •d31 Z025 .%ots I)F.PRECIATION Ai l Awil ZO24 11 March 2025 iIKI ￿￿•00￿ VALVE 31 ￿￿￿11 20J? At31 klw¢b )J124 P*iO EDJ I* DLYTI)IL&' ANIC)I514Ts PAIllN¢. Dlle Il'ITAth' (pI4t 2(124 1I4de Jh41 11. CIiXDIT(IR%: 4MI)UNYSVAuJf4C DUF. wi'fHI% IY4E VÉA IJ 45 li MUVET*ll".ST IN frIIND¥ At 1.424 rJesiynii¢(I fiirid . i05* 19.098 1.254 ML'4ifi iollow I, C47Wl¢tI - '111¥ S 2. Lo¥n¢il l-.i)¥lJiiil . ljorn . I,. l¥iixluE¢ • ¥ibaX•41¢d wllh 11Sii IIXI po(ylc i 3. g¥WILl¥I ￿lId Ili)tr• Cly CouiY¢il Thir41%po¢L IIJL411f (fmefly Win4budl Ywa¥ ￿￿or*I. 4. CJ£MJts¢ . Q61furul . Yo thw*l¥ lh¢ lip I￿11￿1￿￿￿[g kni*m*tHiiidly w*h fr.rt%lith withpo¥*wlih Arabi$ knilw In4b•* as th¥ lor Pwi* gT,4T+ %f+.Yl"S. 12. MOVEKENf IN FiIYI Iks. &F￿*S Ikvelopm£MI {l￿￿k iti f** V•Ntyl Tts tnabk ￿sId¢￿É5 Èa Wl*•lrtwk to c￿[¢*[￿ 7.ma￿o￿k *.'Tr¥kfJwth to embk PEq5k *ith herita¥e fr41111 ¢l¢Jbk ¢omrniinilHL? l# l•tifjP*¢ Tl* orksliops io infonjt ihewtilM¥ of ￿ LYixin&l smpt by playw'ri¥ilit %thIknEI.BMshrL -M¥5eum of l.ife. ¢•¥bk *YJtse iti th¢ £ity ID £￿¢￿¢*¢t uri¥iNI th)w *b(*A th¢ liuiiw txwl¢Ne 4)t" 4¢ityg from i(i.ui Rfr.LATED PARIV 13. 'riitt¢ *Rlai¢d the y¢afwd¢d il tdtsF*202S.