for the Period Ended 29 February 2024
Directors report | |
Profit and loss | |
Balance sheet | |
Additional notes | |
Community Interest Report |
Directors' report period ended
The directors present their report with the financial statements of the company for the period ended 29 February 2024
Directors
The directors shown below have held office during the whole of the period from
1 March 2023
to
29 February 2024
The above report has been prepared in accordance with the special provisions in part 15 of the Companies Act 2006
This report was approved by the board of directors on
And signed on behalf of the board by:
Name:
Status: Director
for the Period Ended
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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 29 February 2024
Basis of measurement and preparation
Turnover policy
for the Period Ended 29 February 2024
2024 | 2023 | |
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Average number of employees during the period |
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This year, Compass Presents’ creative work has expanded, with larger projects being undertaken, and a bigger network of other organisations and creatives becoming involved in our work through paid work, internships, and development opportunities. Following our sell-out run of Monty Python & The FOLEY Grail the previous year, we returned to the Wardrobe Theatre to premier a new expanded screening of ‘Mulholland Drive’. The screening featured original dance performances from local contemporary dancers, and began with improvisation by groups of dancers from the Bristol Lindy Hop scene, some of whom were performing for the very first time. We worked with a young emerging producer on costume and stage management, and a trainee hired via Babbasa, an organisation that works with young people of colour in inner city Bristol, providing them with their first opportunities in the creative industry. We went on to work with this trainee on multiple other projects across the year, and she has now gone on to secure paid employment at the Bristol Beacon, a music venue and arts organisation. We successfully applied for a project grant from Bristol City Council and WECA (West of England Combined Authority)’s ‘High Streets Recovery and Renewal Programme’ to run a series of free public events that use arts and culture to increase footfall to local businesses in key areas of Bristol. For our first High Streets event, we created a new show format, a theatrical walking tour along the street which visited different businesses, with performances and food samples provided throughout. This format was created in response to the stipulations of the funding, but was hugely successful, and has now been repeated by us and emulated by others since. The show took place on Stapleton Road, one of the longest roads of independent businesses outside of London, and a diverse area representing multiple cultures. The show was made in collaboration with local business owners and performers, and successfully brought more people from across Bristol to the area, with business owners confirming that they had seen many return customers since the event. For this and following events, we also built on our existing networks of volunteers, and had many local people volunteer for our events throughout the summer. They received free training, meals, and tickets to an independent cinema as thanks for their hard work, and some then went on to do some paid evaluation work for us following the events. Our other Summer events came under the ‘Bristol Summer of Film Takeover’ umbrella, focussing on community engagement, family screenings, and archive film. Cycle Cinema was a large scale outdoor weekend of film screenings, powered partly through stationary bikes pedalled by the audience themselves. In the lead up to the event, we recruited a team of local people who feel underserved by city centre culture to act as our community curators. The curators were invited to interactive sessions where we introduced them to film curation, and together chose what titles would be screened. This was a new kind of collaboration with community members, and allowed us to confidently present some titles that were different from the cult offerings Compass usually screens. Community curators marketed the event to their peers, expanding the reach of our work, and many of them also chose to introduce the films, developing their skills as curators and presenting films to audiences. In July, we also produced an expanded screening of iconic music documentary Summer of Soul, with musical performances and a free funk and soul afterparty. The event sold out, and brought a new audience and lively atmosphere to our underground car park venue below The Galleries shopping centre. A new collaboration with community organisation Freestyle CIC led to the creation of the ‘Four Pillars of Hip Hop’ event celebrating 50 years of Hip Hop. There were multiple arts events and family friendly activities throughout the day, representing a new type of collaboration and developing families as a new audience for Compass’ work. We also ran 16mm film workshops, providing the public with a free opportunity to physically handle and edit 16mm film, alongside expanded screenings of an archive 16mm film with live music by Surgeon’s Girl. Through this collaboration with a well known artist, and with local experimental film collective BEEF, we expanded the reach of our archive events and welcomed new audiences to our screenings. A commission from the BFI led to Compass producing a short film to launch their Powell and Pressburger season. This allowed us to further develop our relationship with local emerging filmmakers and artists, and for our work to reach a larger national platform as the film featured at independent cinemas across the UK during the season. It also increased our reach via social media and allowed us to develop our reputation nationally for producing original video work. The summer again saw our annual tent and area at Shambala festival. This event regularly extends our creative community, and through programming work we come into contact with a huge range of artists via applications to the festival, and through those who come to perform. These connections enrich our work across the year, and gives us a national intake of new community members , both as creatives and audiences via festival attendees. We also ran our Teleconfusions interactive installation at Balter festival, and brought it to Magnetic Fields festival in Rajasthan this year for the second time. This enriched our international connections and widened our creative network, and working as part of these festivals ensures we continue to engage with a wide variety of artistic disciplines. In November 2023, we ran a fundraiser party at a local community space, which raised funds to support the company’s core costs in between funded projects. It was also an opportunity to celebrate a busy year with all of the artists, producers, suppliers, and audiences who’d been a part of our events. Compass directors engaged in CPD through attendance of Shambala’s area manager’s weekend, which focussed on sustainability and climate justice. This followed the launch of Shamabala’s Climate Manifesto, and learnings from this training have filtered through into our own practice as an organisation, to benefit our staff, team, and audience. Within this year, Compass was invited to speak at conferences and industry meetings, widening our networks within film, education, archive, and academic sectors. Director Tara Sachdeva gave a talk on the future of the cinema experience for an industry conference, and continued our longstanding relationship with The Box archives through taking part in their Reimagining the Film Archive event. At the end of the year, Compass secured funding from Bristol City Council to go towards organisational development and developing our own paid network of local people from underserved groups, who will advise us on the direction of our work. This will lead us into a year of organisational development and consolidation, in which we will expand our work with different communities across Bristol.
Compass cic’s stakeholders include our audience; the local community, the artists and performers contributing to our events, local creatives that support in an r&d or consultancy role via the pm studio, local businesses providing services or advertising, local and national institutions (e.g. University of Leeds; Exeter; the West of England; Bristol, and Bath; Plymouth Arts College, City of Bristol college) with whom we have academic exchange and source volunteers and interns from, and for whom we provide mentorship. Also funding bodies providing sponsorship who disseminate our work and evaluations into the wider artistic/ cultural community, cultural/ arts organisations that donate in-kind goods, services or expertise , the company’s core team, wider networks and volunteer base. The pervasive media studio community, of which we are part, and affiliated creative and technological networks that spring from this community, are an important part of the cultural ecology of communities in which we operate. we benefit greatly from the high level of discourse available through contact with these networks. Peer and focus group consultation is the main method of consulting with key stakeholders. we additionally consult with key orgs and professionals that have experience or expertise in specific aspects of our artistic and organisational delivery as part of our r&d processes; artist/ academic contributors are often approached individually for consultation/ feedback. We also view our social media platforms as consultative tools. We have a dedicated e-communicator who tracks feedback on digital platforms to garner information and maintain excellence, and check we are achieving our internal goals and those set by our funders. partnership with youth training charity, and community groups via local authority community education, are both rich sources of diverse focus groups members and opportunities for community engagement. such diverse input into our events and processes ensures our output remains relevant and accessible. Increased activity enabled us this year to continue a previously successful scheme in which we recruited and worked with producers from diverse communities, including underserved nieghbours in Bristol, the LGBTQ+ community and other communities with protected characteristics. Depending ont he project and targeted audience development priority a producer is appointed to meet this need and represent htis priority audience through their lived experience and community knowledge. Continuing our new connection in India, and carrying out more in depth work with communities in our home town of Bristol, has brought us into contact with more professionals and creatives, and allowed us to deepen our existing links in both places, widening and enriching our community. The opinions and input of community and partner orgs are part of the backbone of the company’s ethos and practical procedure, and we try to implement or incorporate ideas from these sources at appropriate junctures, where they can have best impact. Strong new partnerships and a growth in our communities have been established this year, and are expected to increase as we develop our organisation through our pilot focus group model next year.
Any remuneration received was for work specifically dedicated to the artistic and community priorities of compass film cic, as laid out in our company memorandum and articles of association, and as outlined in our cic community pledge. Remuneration for work done by the management committee is complimented by in-kind donations of time. Duties associated with the company directorships were performed voluntarily. Other money paid to directors or any other company staff was reimbursal of expenses paid out by staff on behalf of the company as a cash flow mechanism, and is clearly accounted. Any profits arising out of this year’s activity have been ploughed back into the company activity and development. We have been able to maintain rent at the same level and grow our network of paid artists on specific events, helping to create value and work within the creative sector. We are now able to pay a greater diversity of staff for time to continue to grow the company. This financial year saw a continuation of our stable operating capacity. Our income and output grew, and next year we are aiming to undertake organisational development, in order to strengthen our position when we apply for core funding. Compass remains a solvent, well-run and well-governed company.
No transfer of assets other than for full consideration
This report was approved by the board of directors on
1 November 2024
And signed on behalf of the board by:
Name: Tara Sachdeva
Status: Director