On behalf of the Board of Trustees, we are pleased to present our Report and Financial Statements for the year ended 31 March 2025.
The year 2024/25 marked significant strategic progress for Dance Base. A successful multi-year funding award from Creative Scotland, combined with sustained support from the City of Edinburgh Council, provided essential stability after a period of uncertainty for both the organisation and the wider sector.
In November, we said farewell to Jim Hollington after four years as Chief Executive and welcomed Jeanie Scott into the role. Together with Tony Mills’ ongoing artistic leadership, this new team brings fresh energy and vision, underpinned by clear strategic focus and a spirit of collaboration.
Our professional programme continues to thrive, while our public programme of diverse classes has grown—generating vital income for Dance Base and fair employment for more than 40 freelance dance teachers across the city. The Dance Base Festival programme has strengthened our international reputation as the home of dance during Edinburgh’s festivals. Specialist initiatives such as Dance for Parkinson’s and Dance in Hospitals continue to make a positive impact on health and wellbeing, and our two in-house companies, PRIME and Lothian Youth Dance Theatre (LYDC), inspire and entertain audiences of all ages in Edinburgh and beyond.
Securing core public funding and maintaining our ability to generate income remain critical to our sustainability. We extend heartfelt thanks to our growing community of Dance Base Friends and Patrons, whose individual contributions this year have been both welcome and vital.
We are grateful to our fellow Trustees for their steadfast support in guiding the organisation through challenging times for the cultural sector. Our final words of thanks go to the Dance Base team for their commitment and enthusiasm in delivering our vision and mission.
Looking ahead, our ambition remains high. With the security of multi-year funding and continued public and private support, we enter 2025/26 with confidence and renewed purpose.
The directors are pleased to present their annual report together with the financial statements for the year ended 31 March 2025.
The financial statements have been prepared in accordance with the accounting policies set out in note 1 to the financial statements and comply with the charity's Memorandum and Articles of Association, the Charities and Trustee Investment (Scotland) Act 2005, the Charities Accounts (Scotland) Regulations 2006 (as amended), the Companies Act 2006 and "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).
Dance Base is Scotland’s National Centre for Dance – a charity dedicated to helping dance flourish and transform lives across Scotland and beyond.
Since 1993, we have been at the heart of Scotland’s dance community, delivering a rich programme of activity from our award-winning, purpose-built home in Edinburgh’s Grassmarket since 2001.
Over the years, we have nurtured Scotland’s dance ecology, supported thousands of professional dancers, and created inclusive opportunities for public and community participation. Under the artistic leadership of Morag Deyes and now Tony Mills, we have built an international reputation as Scotland’s home of dance.
Working in partnership with peers, networks, funders, and sector support organisations, Dance Base continues to play a vital role in the wider arts and cultural landscape of Edinburgh and Scotland.
Our four unique studios host a broad range of classes, performances, international exchanges, and community projects – all delivered by a knowledgeable and passionate team.
In 2024/25, we collaborated with over 2,000 freelance teachers, artists, and creative professionals, engaging more than 57,000 participants and audience members through our core programmes:
For professional dance artists – from recent graduates to mid-career and established practitioners – we provide essential training, advice, opportunities, facilities, and platforms to build careers and develop work both nationally and internationally
For the public – we offer courses, classes, and workshops that give everyone in Edinburgh and the Lothians the chance to dance in an inclusive, non-competitive environment. From absolute beginners to seasoned dancers, we deliver over 60 classes each week across a wide variety of styles, alongside one-off workshops and events.
For people with neurological conditions, mental health challenges, or long-term illnesses – we provide specialist, inclusive programmes that improve health and wellbeing. Our engagement work in schools and communities also offers young people across the city opportunities to explore and develop their dance and performance skills.
Funding and resource
In April 2024, we submitted our Creative Scotland Multi-Year Funding application, underpinned by a new Business Plan for 2025–2028. The anticipated funding decision in August was delayed by the Scottish Government until January 2025, which inevitably impacted our usual forward-planning cycle.
The announcement in January brought welcome news: a funding award of £1.72 million over three years from Creative Scotland, alongside continued support from the City of Edinburgh Council at £50,000. This vital backing enabled us to prepare for the year ahead with confidence.
During 2024/25, we strengthened our capacity by recruiting a Marketing Manager, Eleanor Bally, in August, following the earlier appointment of a Fundraising Development Manager in 2023/24. These roles have been instrumental in launching new Marketing and Development Plans, including the introduction of an Ethical Fundraising Policy.
Professional programme
This year brought key changes to our Professional team, with Kirsty Sommerville stepping down as Head of Professional Programme in May 2024 and Marlous Lang-Peterse taking on the role in August. Some highlights from 2024/25 include:
Residency Programme
We supported over 30 paid and in-kind professional artist residencies, including: Malcolm Sutherland, Rob Heaslip, Paul Michael Henry and Pik Kei Wong, Dorine Mugisha, Skye Reynolds, Paul Burrows, Hannah Draper, Theiya Arts, Sarah Fadel and Liz Strange (Manipulate Arts Festival), Nicolette Macleod and Julia McGhee, Next Zone, Neo Vilakazi, Emily Nicholl and Robert Gallagher-Lyall, Patsy and MC Lafitte (Project X), Bethany Edwards and Tess Letham, Florence Logan and Romi Sarfaty, Maya Bodiley, Farah Saleh and collaborators, Merav Israel, Emma Jayne Park, Jack Webb, Marianella Desanti, Penny Chivas, Company Chordelia, PRIME, Marie-Gabrielle Koumenda, Christine Thynne and Robbie Synge, Eoin McKenzie, The Dimestop, and Curious Seed and Lung Ha Theatre.
Dance Base Emerging Bursary Scheme (DEBS)
Our long-running DEBS programme supported four artists in 2024/25 – Tsoi Huen Wong, Georgia Green, Tain McKinstray, and Jo Lindsay – with mentoring from Rob Heaslip, free professional classes, workshops, studio space, and two week-long residencies.
Scratch Nights
Our autumn and spring Scratch Nights attracted strong applications and sold-out audiences. The spring edition was curated and delivered in partnership with Hidden Door Festival and featured performances from Oxana Banshikova and Kirsten Newell, Florence Logan and Romi Sarfaty, Paul Michael Henry and Pik Kei Wong, and Taine McKinstray.
Dance Base Festival 2024
In our second year of partnership with Assembly, we delivered a full festival programme featuring 29 companies across 270 performances, reaching an audience of 10,579. Dance Base supported artists included Matthew Hawkins, Rob Heaslip, and Alan Greig, alongside performances from our in-house youth company LYDC and elder company PRIME.
Eadrainn / Between Us
The second year of our reciprocal residency collaboration with Dance Ireland (supported by the Scottish Government and the Irish Consulate) enabled Scottish artist Jack Anderson and Irish artist Tara Brandel to spend time in both Dance Ireland and Dance Base studios, with linked networking and performance events.
Skillz n Billz
Our sell-out breakin’ battle event in May welcomed an intergenerational audience and a vibrant community of breakers to Dance Base. The day-long battle was won by local artist Ilja Dubrovins (Iljarock) and was organised in collaboration with Dundee breaker Lee Crosby (DunLee). Judges from the UK and France joined to select the winner.
Live & Direct
Supported by Creative Scotland Targeted Funds, this Hip Hop Dance Development Week gave artists Nevil Jose, Dorine Mwesiga, and Lucia Jamous (Motherfunk Dimestop) the opportunity to develop and present new dance theatre work, with mentorship from Artistic Director Tony Mills.
Partnership with Edinburgh College
Dance Base supported Edinburgh College PASS final year students to work with choreographers Fleur Darkin and Emma Lewis-Jones, creating new work during a week-long residency before staging their performance at the Traverse.
Artist Advisory Group
Renewed in May 2025, the group welcomed back artists Alan Greig and Robbie Synge, and new members Dorine Mugisha, Jorja Follina, and Maya Bodily, to contribute to Dance Base’s professional programme through selection panels and four programme discussions.
Public programme
Following the implementation of a new class business model in 2023/24, our public class programme returned to strength in 2024/25 delivering over 60 classes each week and recording more than 38,000 attendances across the year. This activity provided regular employment for over 30 freelance dance teachers each term. Other public programme highlights include:
New class styles
We introduced exciting new styles including Bharatnatyam, Ballet Vintage, Intermediate Tap, Whacking, and Heels, alongside public workshops featuring Dabkeh Dance, Tap Grooves, and Hip Hop.
Accessibility
Increasing accessibility remained a priority in 2024/25: 40% of class attendances were booked on concession or over-60s tickets. Philanthropic donation enabled two strands of free Move into Dance classes for Vintage (over 60-years) and Youth (under 18-years) participants across four-week blocks to help welcome more people into dance and the Dance Base community.
Sunday Sessions
In 2024/25, we launched Sunday Sessions – a creative, supportive space for community-led initiatives and peer networks to deliver free or heavily subsidised classes. Highlights included Queer Moves, Little People! Big People! with Neil Callaghan, Contact Improvisation Jam, Out of Class (in partnership with Curious Seed), Whacking Open with Dorine Mugisha, and South Asian Dance Jam, among others.
Dare 2 Dance
Our annual Dare 2 Dance event took place in November, offering an action-packed commercial dance programme for 35 participants. Sessions included Commercial Choreo with Lorna Brown, Street Dance with Jo Richards, K-Pop with Natalie Divine, AfroBeats with Laura Mathana, Pop N Lock with Tony Mills, and House with Ashley Jack.
Dance Base Festive Shows 2024
Finally, our sold-out Dance Base Festive Shows on 9 and 10 December featured four performances with 320 dancers from 18 classes, alongside special appearances by our in-house companies PRIME and Lothian Youth Dance Company (LYDC).
Health, Wellbeing and Engagement
In 2024/25, this work was supported by core funding from the Edinburgh Health and Social Care Partnership through a THRIVE grant of £37,080. Combined with fundraising and Dance Base income, this enabled us to employ 17 freelance specialist practitioners and reach 1,122 participants across the city across core programmes and projects, including:
Dance for Parkinson’s Scotland
Now in its second decade, this programme offers weekly movement sessions with live music for people with Parkinson’s and their carers, enhancing quality of life, physical coordination, mental agility, and social connection. In 2024/25, we enriched the programme through a collaboration with Theiya Arts to introduce South Asian dance techniques; partnering with the Royal Conservatoire of Scotland (RCS) on an evaluative case study; contributing to research on dance and health with Roehampton University, St Andrews University, and RCS; and our lead artist, Jen Cunningham, who delivered specialist training in our Dance for Parkinson’s technique for peers at People Dancing’s UK annual conference in Coventry.
Dance in Hospitals
We deliver group dance activities in hospital settings, particularly older adult, mental health, and rehabilitation wards. In 2024/25, funding from NHS Lothian Charity (Tonic Arts) and NHS Lothian supported classes for elderly in-patients at East Lothian Community Hospital and the Western General Hospital.
Inclusive dance classes
Our weekly inclusive classes for people with disabilities and their carers are led by expert artists trained to support diverse and complex needs. This year, we also ran a summer workshop at Foresters High School for young disabled students and delivered a short-term project with St Crispin’s School, culminating in a performance at the Dance Festival.
Lifelines
Launched in 2024 with funding from City of Edinburgh Council, Lifelines offered weekly dance classes and a social café for isolated adults with mental health challenges. Referrals for the class came through project partners including the Grassmarket Community Project and Edinburgh Old Town Development Trust which further increased reach and access.
Lothian Youth Dance Company (LYDC)
Our in-house youth company auditions annually providing a unique opportunity for ambitious 14–20-year-olds in the city to take part in intensive dance training, residencies, and performances. In 2024/25, the company of 17 young dancers participated in workshops and two week-long residencies with choreographers Marc Brew and Abby Warrilow to create new work which was performed during Dance Base Festival as part of the Edinburgh Fringe; Glasgow’s Go Dance Festival and YDance’s Destinations.
East Side Moves
Commissioned by the City of Edinburgh Council Wider Achievement and Lifelong Learning, this one-off youth project was aimed at supporting local P6 and P7 pupils preparing for the transition to high school through the delivery of mixed classes at Northfield Community Centre.
Summer Rumble 2024
Our second summer showcase celebrated work and achievement across our health, wellbeing and engagement programmes, and featured performances from PRIME, LYDC, our inclusive classes, Lifelines, and guest artists from Alan Greig’s Community Company X.
Financial review
2024/25 marked the final year of Creative Scotland’s regular extension funding, under which Dance Base delivered an agreed annual plan. We are grateful for the continued support of Creative Scotland, the City of Edinburgh Council, charitable trusts, and individual donors who contributed to our work this year.
Core public funding remained stable, with Dance Base receiving £408,333 from Creative Scotland (unchanged from 2023/24) and £50,000 from the City of Edinburgh Council (also unchanged).
Other public funding sources declined seeing a reduction to £50,416 (from £59,710 in 2023/24). Income from trusts and foundations dropped significantly to £37,706 compared to £137,560 in the previous year, largely in relation to support of our performance programme.
Our revised public class teaching model, introduced in 2023/24, continued to perform well. Under this model, Dance Base provides studio space, marketing, and ticketing for independent teachers rather than employing them directly. This approach generated £133,325 from Dance Base’s share of class sales (up from £110,268 in 2023/24) and £49,866 in studio rental fees (up from £40,436).
Charitable donations increased to £24,827 (from £10,495), and venue hire income remained steady at £80,387 (compared to £85,446), despite the mid-year loss of a major hire partner, Rose Bruford College.
Bringing marketing in-house raised administrative costs slightly to £213,293 (from £194,857), but replaced previous year consulting costs. Careful cost control also lowered premises expenses to £156,508 (from £189,435).
Our priority throughout the year was to maintain stable income and manage expenditure during a period of sector and leadership transition. We focused on controlling organisational costs within safe and legal limits, increasing marketing to boost class sales, and sustaining our artistic and creative programme. Expenditure on artistic and creative activities rose to £404,287 (from £379,387), reflecting our commitment to supporting Scotland’s dance sector and dance-related careers.
As at 31 March 2025, total charity funds stood at £707,462 (2024: £974,067), comprising £580,701 in restricted reserves (2024: £841,663), including £516,459 (2024: £767,502) relating to the Grassmarket dance centre, originally funded in the majority by the Scottish Arts Council. Under the grant terms, the Arts Council held a standard security over the property, transferred to Creative Scotland on 1 July 2010.
Unrestricted reserves total £126,761 (2024: £132,404), of which £nil is included in designated (2024: £3,923).
Reserves policy
The directors recognise their corporate responsibility to ensure that the company has sufficient reserves to fund present and future liabilities. It is Dance Base’s current policy to hold a minimum of three months' operating costs in unrestricted 'free' reserves; this is current estimated at £250,000.
Unrestricted free reserves (unrestricted funds less designated funds and fixed assets) at 31 March 2025 were £101,095 (£92,087 in 2024), which does not meet the current policy. Creative Scotland Multi-Year Funding for the period 2025-2028 gives the organisation security to build capacity for income generation and fundraising over 2026 - 2028, with a view to building towards this level by 2028/29.
Financial outlook
Dance Base has secured a confirmed three-year funding settlement from Creative Scotland for 2025–2028. This includes an uplift of £70,100 in 2025/26, followed by an additional £15,318 in both 2026/27 and 2027/28. This increase reverses the organisation’s long-term real-terms decline in funding since 2008 and provides additional capacity over the period. Core funding from the City of Edinburgh Council is also maintained at £50,000 per annum, with support secured in principle until March 2027.
While this settlement strengthens Dance Base’s financial position, inflation and rising energy and employment costs continue to erode the benefit of these increases. As a result, the uplift has not been sufficient to expand creative or artistic programme delivery in 2025, nor does it offset potential reductions in other public funding streams, such as those supporting health, wellbeing, and engagement initiatives.
As part of its 2025–2028 business plan, Dance Base has set a strategic aim to build organisational capacity and resilience for long-term financial sustainability. To achieve this, the organisation will review expenditure, grow self-generated income, and further develop fundraising and philanthropy.
Alongside commitments to Fair Work and sustainability targets, prudent financial management will be critical throughout this planning period. Our goal is to return to surplus in 2025/26 and begin rebuilding reserves over the longer term.
Investment Powers
Under the Memorandum and Articles of Association, the charity has the power to invest in any way the directors wish. In current circumstances, all of the funds not immediately required are kept in interest bearing accounts with easy or short-term access.
Risk management
The Board of Trustees regularly reviews the major strategic, business, and operational risks facing Dance Base. Our planning process identifies key risks arising from organisational priorities and activities, assessing both likelihood and potential impact to determine appropriate mitigation measures. Risk analysis is considered by the Board on a quarterly basis, with actions monitored and updated throughout the year.
Financial risks associated with delivering the annual programme are examined in detail by the Finance Committee and the Board as part of the annual budget approval process.
For 2024/25, the principal risks identified fell into six categories, each with associated mitigation steps:
1. Financial
Mitigation: Maintain strong relationships with funders; implement an income generation strategy; ensure robust budgeting and financial management; maximise income from the building and programme.
2. Human Impact
Mitigation: Provide clear and supportive line management; consult strategically with freelance artists; maintain strong communication with teachers; advocate for increased support for dance.
3. Strategic Direction
Mitigation: Engage stakeholders in strategy development; hold regular inter-departmental strategy meetings; utilise the Board and senior management team to monitor progress.
4. Governance
Mitigation: Ensure compliance with the UK Corporate Governance Code; provide board training; apply rigorous trustee selection and induction processes; conduct regular skills audits; implement succession planning.
5. Systems and Processes
Mitigation: Deliver staff training; maintain and update cyber security measures.
6. Compliance
Mitigation: Review all policies and procedures regularly at Board level; maintain memberships of relevant bodies; ensure professional and legal advice is available to senior management.
Our 2025–2028 business plan sets out seven strategic priorities:
Support Scotland-based dance artists to build successful, sustainable careers at home and internationally.
Expand access to the creative, physical, social, and emotional benefits of dance for people across the Edinburgh City Region.
Grow audiences for dance within the Edinburgh City Region.
Futureproof our world-class building for the next 25 years, including capital development.
Strengthen organisational capacity and resilience to ensure financial, social, and environmental sustainability across all aspects of our work.
Develop strategic partnerships that contribute to Scotland’s dance ecology.
Provide sector leadership within dance in Scotland.
Our creative and business objectives for 2025/26, aligned to these priorities, include:
Managing delivery against a lower Creative Scotland award than requested (£536,900 against an ask of £607,000).
Maintaining employment, professional development, and performance opportunities for freelance dance artists and choreographers.
Preserving and, where possible, increasing access to public dance classes and opportunities across Edinburgh and the Lothians.
Continuing specialist health, wellbeing, and engagement programmes through targeted fundraising and partnership working.
Increasing organisational capacity, including the recruitment of an Operations Manager during the year.
Managing core costs in a challenging trading environment through efficiency measures and a review of procurement and supply chains.
Implementing a board skills review, alongside recruitment and succession planning.
Developing a revised timeline for capital investment and building development plans, as our landmark building approaches its 25th anniversary in 2026.
Dance Base Limited is a Scottish registered company limited by guarantee and governed by its Memorandum and Articles of Association dated 28 March 1994, amended on 7 September 2023. It is registered as a charity with the Office of the Scottish Charity Regulator. Members of the company may be directors and such other persons approved by the directors. All directors who are also members, and each agree to contribute £10 in the event of the charity winding up.
Reference and administrative details
Scottish Charity number: SC022512
Company registration number: SC145736
Registered Office
14- 16 Grassmarket, Edinburgh EHI 2JU (also Principal Office)
Auditors
Thomson Cooper Accountants, 3 Castle Court, Carnegie Campus, Dunfermline, KY11 8PB
Principle Bankers
Bank of Scotland
Solicitors
Anderson Strathern Solicitors, 58 Morrison St, Edinburgh EH3 8BP
Directors
The directors of the charitable company (the charity) are its trustees for the purpose of charity law. Throughout this report they are collectively referred to as the directors.
The directors serving during the year and since the year end were as follows:
Paul Fitzpatrick
Alice McGrath
Jill Breingan
Joan Lopez Cleville
Cate Nelson-Shaw
Donald Simpson
Holly Wagner
Jane Mcfadzean
Andrew Brownlie
Christine Devaney
Wendy Timmons
Councillor Margaret Graham Appointed 17 October 2025
Lorna Finley Resigned 11 April 2024
Councillor Val Walker Deceased 17 April 2025
Chief Executive Officers:
Jim Hollington (to 15 November 2024)
Jeanie Scott (from 8 November 2024)
Appointment of directors
New board members are recruited by a nominations committee through public advertisement; applicants are provided with a full pack of company information which includes the business plan, current and future budgets, staff information, Board responsibilities and the most recent audited accounts. The Nominations Committee of the Board is responsible for the process of recruitment and appointment, using a current audit of Board skills. The composition of the Board is a regular item on the Board agenda.
As set out in the Articles of Association, the Board has to appoint one or two of their members to be Chair / co-Chairs at such time and at such periods as they see fit. One director has to be appointed from the City of Edinburgh Council and up to 12 further elected directors. Elected directors are invited to serve an initial 3-year term of office. At the end of this term, they may be eligible for one further term. This may be extended for a restricted period and in specific circumstances at the Board's discretion.
Directors' induction and training
All new directors are invited to come and meet senior staff before their first Board meeting as part of their familiarisation and induction process. All directors are encouraged to attend appropriate external training events to assist in effective understanding and undertaking of their role.
Pay policy
The directors consider that the board of directors, the Chief Executive and the Artistic Director comprise the key management personnel of the charity in charge of directing and controlling, running, and operating the organisation on a day-to- day basis. All directors give of their time freely and no director received remuneration in the year. Details of directors' expenses are disclosed in note 3 to the accounts.
Directors are guided by the annual change in the CPI and the current financial position of the organisation when determining staff remuneration. Dance Base is also a Real Living Wage accredited organization. A 10% increase for those receiving real living wage, and a 7% increase for all other staff was implemented in April 2024.
The directors, who also act as trustees for the charitable activities of Dance Base Limited are responsible for preparing the Directors' Report and the financial statements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).
Company Law requires the directors to prepare financial statements for each financial year which give a true and fair view of the state of affairs of the charity and of the incoming resources and application of resources, including the income and expenditure, of the charitable company for that year.
In preparing these financial statements, the directors are required to:
- select suitable accounting policies and then apply them consistently;
- observe the methods and principles in the Charities SORP;
- make judgements and estimates that are reasonable and prudent;
- state whether applicable UK Accounting Standards have been followed, subject to any material departures disclosed and explained in the financial statements; and
- prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charity will continue in operation.
The directors are responsible for keeping adequate accounting records that disclose with reasonable accuracy at any time the financial position of the charity and enable them to ensure that the financial statements comply with the Charities and Trustee Investment (Scotland) Act 2005, the Charities Accounts (Scotland) Regulations 2006 (as amended) and the Companies Act 2006. They are also responsible for safeguarding the assets of the charity and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.
In accordance with the company's articles, a resolution proposing that Thomson Cooper be reappointed as auditor of the company will be put at a General Meeting.
The directors' report was approved by the Board of Directors.
Opinion
We have audited the financial statements of Dance Base Limited (the ‘charity’) for the year ended 31 March 2025 which comprise the statement of financial activities, the balance sheet, the statement of cash flows and notes to the financial statements, including significant accounting policies. The financial reporting framework that has been applied in their preparation is applicable law and United Kingdom Accounting Standards, including Financial Reporting Standard 102 The Financial Reporting Standard applicable in the UK and Republic of Ireland (United Kingdom Generally Accepted Accounting Practice).
In our opinion, the financial statements:
Basis for opinion
We conducted our audit in accordance with International Standards on Auditing (UK) (ISAs (UK)) and applicable law. Our responsibilities under those standards are further described in the Auditor's responsibilities for the audit of the financial statements section of our report. We are independent of the charity in accordance with the ethical requirements that are relevant to our audit of the financial statements in the UK, including the FRC’s Ethical Standard, and we have fulfilled our other ethical responsibilities in accordance with these requirements. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion.
In auditing the financial statements, we have concluded that directors use of the going concern basis of accounting in the preparation of the financial statements is appropriate.
Based on the work we have performed, we have not identified any material uncertainties relating to events or conditions that, individually or collectively, may cast significant doubt on the charity's ability to continue as a going concern for a period of at least twelve months from when the financial statements are authorised for issue.
Our responsibilities and the responsibilities of the directors with respect to going concern are described in the relevant sections of this report.
Other information
The other information comprises the information included in the annual report other than the financial statements and our auditor's report thereon. The directors are responsible for the other information contained within the annual report. Our opinion on the financial statements does not cover the other information and we do not express any form of assurance conclusion thereon. Our responsibility is to read the other information and, in doing so, consider whether the other information is materially inconsistent with the financial statements or our knowledge obtained in the course of the audit, or otherwise appears to be materially misstated. If we identify such material inconsistencies or apparent material misstatements, we are required to determine whether this gives rise to a material misstatement in the financial statements themselves. If, based on the work we have performed, we conclude that there is a material misstatement of this other information, we are required to report that fact.
We have nothing to report in this regard.
We have nothing to report in respect of the following matters in relation to which the Charities Accounts (Scotland) Regulations 2006 requires us to report to you if, in our opinion:
the information given in the financial statements is inconsistent in any material respect with the directors' report; or
proper accounting records have not been kept; or
the financial statements are not in agreement with the accounting records; or
we have not received all the information and explanations we require for our audit.
As explained more fully in the statement of directors' responsibilities, the directors are responsible for the preparation of the financial statements and for being satisfied that they give a true and fair view, and for such internal control as the directors determine is necessary to enable the preparation of financial statements that are free from material misstatement, whether due to fraud or error. In preparing the financial statements, the directors are responsible for assessing the charity’s ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless the directors either intend to liquidate the charitable company or to cease operations, or have no realistic alternative but to do so.
We have been appointed as auditor under section 44(1)(c) of the Charities and Trustee Investment (Scotland) Act 2005 and report in accordance with the Act and relevant regulations made or having effect thereunder.
Our objectives are to obtain reasonable assurance about whether the financial statements as a whole are free from material misstatement, whether due to fraud or error, and to issue an auditor's report that includes our opinion. Reasonable assurance is a high level of assurance but is not a guarantee that an audit conducted in accordance with ISAs (UK) will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of these financial statements.
The extent to which our procedures are capable of detecting irregularities, including fraud, is detailed below.
We considered the opportunities and incentives that may exist within the organisation for fraud and identified the greatest potential for fraud in the following areas: existence and timing of recognition of income, posting of unusual journals along with complex transactions and non-compliance with laws and regulations. We discussed these risks with management, designed audit procedures to test the timing and existence of revenue, tested a sample of journals to confirm they were appropriate and inspected minutes from meetings held by management and trustees for any reference to breaches of laws and regulations. In addition, we reviewed areas of judgement for indicators of management bias to address these risks.
We identified areas of laws and regulations relevant to the Charity that could reasonably be expected to have a material effect on the financial statements from our sector experience through discussion with the officers and other management (as required by the auditing standards). We focused on specific laws and regulations which may have a direct material effect on the financial statements or operations of the charity,including the Charities and Trustee Investment (Scotland) Act 2005, regulation 8 of the Charities Accounts (Scotland) Regulations 2006 (as amended), employment laws and health and safety legislation.
We assessed the extent of compliance of the laws and regulations identified above by inspecting any legal correspondence and any correspondence from regulators and making enquiries of management.
We communicated identified laws and regulations and potential fraud risks throughout our team and remained alert to any indications of non-compliance or fraud throughout the audit. However the primary responsibility for the prevention and detection of fraud rests with the trustees. To address the risk of fraud we identified internal controls established to identify risk, performed analytical procedures to identify unusual movements, assessed any judgements and assumptions made in determining accounting estimates, reviewed journal entries for unusual transactions and identified related parties.
Owing to the inherent limitations of an audit, there is an unavoidable risk that we may not have detected some material misstatements in the financial statements, even though we have properly planned and performed our audit in accordance with auditing standards. We are not responsible for preventing non-compliance and cannot be expected to detect non-compliance with all laws and regulations.
These inherent limitations are particularly significant in the case of misstatement resulting from fraud as this may involve sophisticated schemes designed to avoid detection, including deliberate failure to record transactions, collusion or the provision of intentional misrepresentations
A further description of our responsibilities is available on the Financial Reporting Council’s website at: https://www.frc.org.uk/auditorsresponsibilities. This description forms part of our auditor's report.
Use of our report
This report is made solely to the charitable company's members, as a body, in accordance with Chapter 3 of Part 16 of the Companies Act 2006 and to the charity’s trustees, as a body, in accordance with Section 44(1) (c) of the Charities and Trustees Investment (Scotland) Act and regulation 10 of the Charities Accounts (Scotland) Regulations 2006. Our audit work has been undertaken so that we might state to the charity's trustees those matters we are required to state to them in an auditor's report and for no other purpose. To the fullest extent permitted by law, we do not accept or assume responsibility to anyone other than the charity and the charity’s trustees as a body, for our audit work, for this report, or for the opinions we have formed.
Thomson Cooper is eligible for appointment as auditor of the charity by virtue of its eligibility for appointment as auditor of a company under section 1212 of the Companies Act 2006.
The statement of financial activities includes all gains and losses recognised in the year. All income and expenditure derive from continuing activities.
Dance Base Limited is a private company limited by guarantee incorporated in Scotland. The registered office is 14-16 Grassmarket, Edinburgh, EH1 2JU.
The financial statements have been prepared in accordance with the charity's governing document, the Charities and Trustee Investment (Scotland) Act 2005, the Charities Accounts (Scotland) Regulations 2006 (as amended), the Companies Act 2006, FRS 102 “The Financial Reporting Standard applicable in the UK and Republic of Ireland” (“FRS 102”) and the Charities SORP "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). The charity is a Public Benefit Entity as defined by FRS 102.
Assets and liabilities are initially recognised at historical cost or transaction value unless otherwise stated in the relevant accounting policy note.
The financial statements are prepared in sterling, which is the functional currency of the charity. Monetary amounts in these financial statements are rounded to the nearest £.
In the year to 31 March 2025 the charity recorded a deficit of £266,605 (2024 : £224,726) of which £5,643 (2024 : surplus £27,709) related to the unrestricted reserve. At the balance sheet date, the charity had net assets of £707,462 however £580,701 relates to fixed assets and restricted reserves with £101,094 available as free reserves.
Funding has been secured from Creative Scotland for three years to 2028 and a strategic plan is in place to build operational capacity and resilience for long-term financial sustainability. Based on this at the time of approving the financial statements the trustees have a reasonable expectation that the charity has adequate resources to continue in operational existence for the next 12 months and the Trustees continue to adopt the going concern basis of accounting in preparing the financial statements.
The Charity has various types of funds which require to be separately disclosed as follows:-
Unrestricted funds are funds which are expendable at the discretion of the Board in furtherance of the objects of the charity.
Designated funds are unrestricted funds which are either:-
earmarked by the directors to be used for a particular purpose in the future;
or arise where a fixed asset has initially been acquired using a restricted fund and on acquisition of the asset there are no remaining restrictions: a designated fund is created to reflect the book value of the asset.
Restricted funds are funds to account for situations where a donor requires that a donation can only be spent on a particular purpose or where funds have been raised for a specific purpose. Related expenditure is identified to the fund, together with a fair reflection of support costs.
In the statement of financial activities and accompanying notes restricted income funds have been further sub-divided into: capital and non capital. The former represents restricted funds provided for capital projects, with the latter category representing all other restricted funds of the charity.
Income from donations and legacies comprises: all incoming resources from grants that provide core funding or are of a general nature, donations, legacies and sponsorships. Grants which do not have particular service requirements are included within this category of income. Income is recognised at such time as there is entitlement, it is probable that the income will be received and the amount can be measured with sufficient reliability. Income is only deferred where:
The donor specifies that the grant or donation may only be expended in future accounting periods or conditions imposed by the donor which must be met before the charity has unconditional entitlement to the grant or donation have not been attained. In such circumstances income is credited to deferred income and accounted for as a liability.
Investment income comprises interest receivable on cash balances held in interest bearing deposits and rental income receivable from investment property.
Income from charitable activities comprises income received under contract or where entitlement to grant funding is subject to particular service requirements. Such income is recognised as earned as the related services are provided. Income in this category principally relates to charges for the provision of dance classes and to income in connection with the hire of the charity's studio facilities. Income is deferred when hire income is received in respect of a future period or charges are made in advance of the event or services to which they relate.
Sponsorship in Kind and Donated Services and Facilities
Donated professional services and donated facilities are recognised as income when Dance Base has control over the item, any conditions associated with the donated item have been met, the receipt of economic benefit from the use by Dance Base of the item is probable and that economic benefit can be measured reliably. In accordance with the Charities SORP (FRS 102) general volunteer time is not recognised in the accounts.
On receipt, donated professional services and donated facilities are recognised on the basis of the value of the gift to the company. The value is the amount that the company would have been willing to pay to obtain services or facilities of equivalent economic benefit on the open market; a corresponding amount is then recognised as expenditure in the period of receipt.
Expenditure is recognised when a liability is incurred ie there is a legal or constructive obligation to make a payment to a third party, it is probable that settlement will be required and it can be measured reliably. Contractual arrangements are recognised as goods or services are supplied.
Expenditure is classified under the following activity headings:
Expenditure on raising funds which is the expenditure incurred in attracting grants and donations.
Expenditure on charitable activities which is the expenditure associated with the various activities in furtherance of Dance Base's objectives including those support costs and costs relating to the governance of the charity apportioned to charitable activities.
Support Costs
Support costs are those costs incurred to facilitate an activity. Support costs have been differentiated between governance costs and other support costs. Governance costs include those incurred in the governance of the charity and its assets and are primarily associated with constitutional and statutory requirements.
Support costs relating to a specific activity are allocated directly to that activity. Where support costs relate to several activities they have been apportioned as set out in note 10.
Individual fixed assets costing £1,000 or more are capitalised at cost. Tangible fixed assets are stated at cost, less depreciation.
Tangible fixed assets are depreciated on a straight line basis over their estimated useful lives as follows:-
Investment property is measured initially at cost. Investment property is subsequently revalued to its fair value at each reporting date and any changes in fair value are recognised in the Statement of Financial Activities including Income and Expenditure Account. Depreciation is not provided on investment property.
Grants for the Purchase of Fixed Assets
Grants received by the Charity which are specifically for the purchase of fixed assets are recognised as incoming resources in the Statement of Financial Activities when receivable. The relevant fund in which the net book value of assets so acquired is reflected is then reduced over the economic life of the asset in line with its depreciation.
At each reporting end date, the charity reviews the carrying amounts of its tangible assets to determine whether there is any indication that those assets have suffered an impairment loss. If any such indication exists, the recoverable amount of the asset is estimated in order to determine the extent of the impairment loss (if any).
This is cash and short term highly liquid investments with an original maturity date of three months or less.
The charity only has financial assets and financial liabilities that qualify as basic financial instruments. Basic financial instruments are initially measured at transaction value and subsequently measured at their settlement value.
Basic financial assets, which include debtors and cash and bank balances, are initially measured at transaction price including transaction costs and are subsequently carried at amortised cost using the effective interest method unless the arrangement constitutes a financing transaction, where the transaction is measured at the present value of the future receipts discounted at a market rate of interest. Financial assets classified as receivable within one year are not amortised.
Basic financial liabilities, including creditors and bank loans are initially recognised at transaction price unless the arrangement constitutes a financing transaction, where the debt instrument is measured at the present value of the future payments discounted at a market rate of interest. Financial liabilities classified as payable within one year are not amortised.
Debt instruments are subsequently carried at amortised cost, using the effective interest rate method.
Trade creditors are obligations to pay for goods or services that have been acquired in the ordinary course of operations from suppliers. Amounts payable are classified as current liabilities if payment is due within one year or less. If not, they are presented as non-current liabilities. Trade creditors are recognised initially at transaction price and subsequently measured at amortised cost using the effective interest method.
Financial liabilities are derecognised when the charity’s contractual obligations expire or are discharged or cancelled.
The cost of any unused holiday entitlement is recognised in the period in which the employee’s services are received.
Termination benefits are recognised immediately as an expense when the charity is demonstrably committed to terminate the employment of an employee or to provide termination benefits.
Payments to defined contribution retirement benefit schemes are charged as an expense as they fall due.
Pensions
The pension costs charged in the financial statements represent the contribution payable by the company during the year.
Grants
The charity received funding from the undernoted bodies during the current and previous year which are considered to be government grants as defined in the Charities SORP (FRS102).
Creative Scotland - Revenue
The City of Edinburgh Council - Revenue
Classes, workshops and show income
Venue hires
Investments
Sponsorship
Raising funds
Programme activities
Premises costs
Marketing
Admin
Legal and professional fees
Interest and charges
Salary costs have been allocated to activities on the basis of an estimate of the time spent by a particular member of staff on an activity. Other costs which cannot be directly allocated to a specific activity have been allocated to activities based on estimated usage.
The average monthly number of employees during the year was:
The trustees consider the Chief Executive and the Artistic Director to be key personnel. Total remuneration (gross salary, employer's national insurance and employer's pension contributions) paid to key management personnel was £120,143 (2024 - £106,903).
The company is a registered charity and accordingly is exempt from tax on income and gains falling within Section 505 of the Income and Corporation Taxes Act 1988 and section 252 of the Taxation Chargeable Gains Act 1992 to the extent that these are applied to its charitable objects. Accordingly, no provision is considered necessary for taxation.
The company's freehold land and buildings consists entirely of the dance studios at 14-16 Grassmarket, Edinburgh. A small (approximately 3.5% by floor space) part of the building is leased to a third party. Charities SORP (FRS 102) (Update Bulletin 2 published 5 October 2018) requires mixed use property to be separated between investment property (note 15) and property held for operational use.
The company granted a security over its freehold land and buildings to the Scottish Arts Council in respect of all obligations undertaken in terms of the funding agreement between the company and SAC. From 1 July 2010 this security has been transferred to Creative Scotland.
A valuation was carried out by J&E Shepherd Chartered Surveyors on 20 July 2020. The value of the property at this date was £265,000. The directors considered the value at 31 March 2024 is not materially different to the valuation carried out in July 2020.
The estimated historical cost of the property is £155,664.
Deferred income is included in the financial statements as follows:
Deferred income comprises programme income relating to future events together with the element of grant funding which the donor has either specified must be pent in a future period or where the donor has imposed various conditions in relation to the grant which have not been attained as at the balance sheet date.
The charity operates a defined contribution pension scheme for all qualifying employees. The assets of the scheme are held separately from those of the charity in an independently administered fund.
The restricted funds of the charity comprise the unexpended balances of donations and grants held on trust subject to specific conditions by donors as to how they may be used.
PRIME - individual donations enabling the company's weekly class to be delivered throughout the year and the creation of new work with choreographers.
Everybody Dance Now - this represents funding received in the previous year towards a programme of work with young disabled dancers in Edinburgh.
Great Feats - this represents funding from Creative Scotland and the Robertson Trust (plus several other trusts in the previous years) towards a programme of work with at-risk young people, encouraging them to adopt a creative, healthy and active lifestyle.
Lothian Youth Dance Company - a grant from the Ernest Hecht Charitable Foundation for four bursary places to be awarded to dancers from disadvantaged areas in the Lothians, as well as setting up a new Junior LYDC class.
Dance for Parkinson's Scotland - funding for a programme of dance for people with Parkinson's in
Edinburgh, Glasgow and eight other hubs across Scotland.
Sick Kids -this represents funding from the winding up of another dance charity towards a programme of support for children being discharged from hospital back to their homes in East Lothian.
Other - Gesture Exchange- a grant from the Scottish Refugee Council for a series of online classes aimed at refugees.
Foundation Scotland - a grant for essential upgrades to the broadband capacity and reach in the Grassmarket building, thus facilitating the live streaming of classes, performances and lectures from the venue.
Performing Arts Venues Relief Fund -The purpose of this fund was to support immediate and critical financial need in order for performing arts venues to remain solvent during the period of closure to the public and to plan for a sustainable return.
Fixed Asset - Land and Buildings (previously Grassmarket capital grants) this represents the Dance Studio and shop at Grassmarket Edinburgh.
CEC Community Grants - grants from City of Edinburgh Council for Sunday Sessions - community engagement sessions designed to welcome new communities into Dance Base and dance activities.
British Council - Lebanon Precipitate - a grant to support a programme of exchange activity between dance artists in Scotland and Senegal.
Sundancer – a fund supported by patrons that engages more people with dance.
Tonic Arts - Dance in Hospitals - funding from NHS Lothian Charity to support long term physical recovery.
Community Company - funding from City of Edinburgh Council and others to support a community dance company in Edinburgh Old Town.
Creative Scotland Targeted Fund – support from Creative Scotland for developing hip hop artists in Scotland.
East Side Moves - commissioned by the City of Edinburgh Council Wider Achievement and Lifelong Learning, this one-off youth project was aimed at supporting local P6 and P7 pupils preparing for the transition to high school through the delivery of mixed classes at Northfield Community Centre.
British Council Brazil - a grant to enable Dance Base to undertake research to inform potential development activity with dance partners in Brazil to benefit artists from both nations.
Fringe Fragments - partner contributions to the costs of presenting international artists at Fringe Fragments, a pitching platform showcasing UK and international dance talent in the Dance Festival programme 2024.
Transfer between funds
Where, in relation to a restricted fund, the terms of the funding agreement are such that it allows for a contribution to support costs, this contribution is accounted for as a transfer between restricted and unrestricted funds.
Incoming resources
Resources expended
Transfers
Incoming resources
Resources expended
Transfers
The unrestricted funds of the charity comprise the unexpended balances of donations and grants which are not subject to specific conditions by donors and grantors as to how they may be used. These include designated funds which have been set aside out of unrestricted funds by the trustees for specific purposes.
Purpose of Designated Funds
Digital Boost Grant - support to purchase IT hardware or software to increase business competitiveness from Scottish Government.
The company operates a defined contribution pension scheme. The scheme and its assets are held by independent managers. The pension charge for the year represents contributions payable by the company to the fund and amounted to £9,380 (2024 - £8,561).
There were no disclosable related party transactions during the year (2024 - none). None of the directors of the charity received any remuneration during the year or in the previous year for acting in the capacity of director. No travel expenses pertaining to the year were refunded to the directors (2024 : £nil).
The charity had no material debt during the year.