for the Period Ended 31 October 2022
Profit and loss | |
Balance sheet | |
Additional notes | |
Community Interest Report |
for the Period Ended
2022 | 13 months to 31 October 2021 | |
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| £ | £ |
Turnover: | | |
Cost of sales: | ( | ( |
Gross profit(or loss): | | |
Administrative expenses: | ( | ( |
Operating profit(or loss): | ( | |
Profit(or loss) before tax: | ( | |
Profit(or loss) for the financial year: | ( | |
As at
Notes | 2022 | 13 months to 31 October 2021 | |
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| £ | £ | |
Current assets | |||
Cash at bank and in hand: | | | |
Total current assets: | | | |
Net current assets (liabilities): | | | |
Total assets less current liabilities: | | | |
Accruals and deferred income: | ( | ( | |
Total net assets (liabilities): | | | |
Members' funds | |||
Profit and loss account: | | | |
Total members' funds: | | |
The notes form part of these financial statements
This report was approved by the board of directors on
and signed on behalf of the board by:
Name:
Status: Director
The notes form part of these financial statements
for the Period Ended 31 October 2022
Basis of measurement and preparation
for the Period Ended 31 October 2022
2022 | 13 months to 31 October 2021 | |
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Average number of employees during the period | | |
The company runs regular LGBTQ+ community events run online and in-person in accessible venues. During the financial year 2021-2022, Queer House Party CIC has run many parties, streamed online with free access for anyone to join. All of the parties have had a graded ticket pricing structure, from free up to £15, so that all of the queer community are able to attend regardless of income.All of our in-house events during this period provided some if not all of this range of access services; BSL, audio description and live captioning for any d/Deaf/disabled attendees. This has been particularly impactful in advocating for greater accessibility within the live events scene - we’ve become a focal point for other organisations that run events to come to for advice and support in the technicalities of live streaming. We have also run smaller events with fewer access services for a more intimate setting which helped enable people with sensory sensitivity to attend without getting overwhelmed. The DJs and producers who run the events gave numerous interviews and media engagement, all with the aim of advocating for accessible LGBTQ+ events that centred issues such as LGBTQ+ mental health and economic fragility and intersectional issues such as racism and prejudice against migrants. We also spoke out about misogyny and racism in the police and the impact of the current economic condition on people’s lives. During this period, Queer House Party’s commitment to booking at least one disabled performer for our main events has contributed to a growing movement which aims to platform non-able bodied performers. This year we were able to advocate for the importance of providing access services on our biggest platform to date. We were invited on an arena tour with Years & Years and were able to ensure that these events provide BSL interpretation. With us on tour came Max Marchewicz, QHP’s in house interpreter, to Wembley OVO Arena, Manchester Arena, Brighton Centre and more.We were able to expose ourselves and spread our messages of solidarity to trans people and migrants to new audiences as we performed at festivals across the UK and Europe. Sziget, Boomtown, Dublin Pride, WIlderness. We were able to continue our support for causes that align with the ethos of Queer House Party by fundraising at our events, campaign or performing at external fundraising events, online or in person. These included Stonewall Housing, Cybertease, Tonic Housing, Ukraine LGBTQ people and Calais Appeal. During this time we diversified our fundraising tactics and released a compilation album called Now That’s What I Call QHP, which raised money for Calais Appeal and brought together queer and trans producers from our community.
The company’s stakeholders are attendees of our events, both in-person and online, performers that we book and people that we engage with via our social media activity and our participation in external events such as other cultural events, demonstrations and protests. We received feedback consistently over the period via social media platforms Instagram and Facebook from our stakeholders. As our range of events and diversity of geographic location really expanded during this time there was lots of feedback to consider. Most of these were resoundingly positive, and our social media reach grew to over 25,000 people during this period. We received direct feedback from performers and promoters before and after events, and used this to adapt our work to better reflect the needs of artists. We invested in new technology for our streaming set up to increase the quality, we made different uses of space so that attendees had more options, such as sober spaces and quiet spaces. We booked DJs and performers from outside of the demographic that we usually would.
There were no other transactions or arrangements in connection with the remuneration of directors, or compensation for director’s loss of office, which require to be disclosed.
No transfer of assets other than for full consideration
This report was approved by the board of directors on
13 October 2023
And signed on behalf of the board by:
Name: Seren John-Wood
Status: Director