During the financial year, Hekayyatna CIC delivered 40 public events, workshops and gatherings, the majority in London, alongside programming in Cairo and Tunisia. The company's purpose is to platform the cultural production of communities from the SWANA (South West Asia and North Africa) region and the wider Global Majority, and to create spaces in which those communities can convene, exchange and be heard on their own terms. Activities in the period included public discussion events on migration, colonialism and the rise of the far right; a series of "Hekayyatna Asks" conversations addressing questions of land, ecology, language and identity; communal meals and supper clubs, including a Ramadan iftar and collaborations with independent food producers; craft and heritage workshops, including Palestinian tatreez embroidery and tile-motif design delivered in partnership with a public museum; film screenings; and an annual field trip bringing participants together with cultural practitioners abroad. These activities benefited the community in several ways. They provided accessible, low-cost or free cultural programming to diaspora audiences who are underserved by mainstream UK cultural institutions, and offered a setting in which participants could encounter their own histories represented with care rather than as subjects of study. They created paid opportunities for artists, cooks, musicians, facilitators and speakers from the communities the company serves. Partnerships with established cultural venues opened those institutions to audiences who do not typically use them, and brought community expertise into the interpretation of their collections. Discussion events created deliberative space on subjects of direct consequence to the company's beneficiaries, including migration policy and the treatment of minority communities in public life. Engagement grew substantially over the year. The company's mailing list grew by approximately 80%, and its social media following and website audience both increased significantly, with the majority of the audience based in the United Kingdom and a further substantial group across Egypt, Tunisia, France and the United States. Participant feedback was consistently positive, with attendees reporting that events were both socially warm and intellectually substantive. The company operated on a not-for-profit basis, with any surplus reinvested into future programming and into paying the practitioners and communities involved in its work.

The company's principal stakeholders are: the audiences and participants who attend its events, drawn primarily from SWANA and wider Global Majority communities in London and the artists, speakers, facilitators, musicians and cooks the company commissions and pays; the venue and institutional partners with whom it co-programmes, including museums and cultural organisations; and the mailing list and online community who follow the company's work without necessarily attending in person. Consultation with audiences and participants takes place through a feedback survey circulated after each event, inviting responses on the programme's content, format, setting, and accessibility, as well as what participants would like to see in future. Feedback is also gathered informally in conversations during and after events, which, for a company of this size and character, remains a substantial source of insight. Consultation with commissioned practitioners and with venue partners has been conducted on an ongoing informal basis through direct working relationships rather than through a structured process. Feedback received has been generally positive, with participants reporting that events were welcoming, well-hosted and substantive. Where participants have identified gaps, the company has sought to respond in subsequent programming. The company acknowledges that its consultation has to date been relatively informal and largely limited to post-event feedback. It intends to develop a more structured approach in the coming year, including consultation with its wider mailing list audience and with the practitioners it commissions.

A total of £35,146 was paid to directors for cost of work done during the year.

No transfer of assets other than for full consideration