business plan - pan intercultural arts · risk analysis 13 6. financial control, analysis and...

BUSINESS PLAN 2019-2021

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1. Executive Summary 2

2. Background and History 4

3. The Marketplace for our Services 5

4. Detailed Development Plans 9

5. Risk Analysis 13

6. Financial Control, Analysis and Budgets 14

7. Income and Fundraising Strategy 16

8. Governance & Management 21

9. Marketing Strategy 23

Appendix 1 – Introduction to Pan Intercultural Arts’

work and services 34

Appendix 2 - Strengths, Weaknesses, Opportunities,

Threats (“SWOT”) analysis 36

Appendix 3 - What makes Pan so effective? 38

Contents

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Pan Intercultural arts: an executive summary

1.1 INTRODUCTIONPan Intercultural Arts (Pan) works across ethnic, cultural and faith boundaries to encourage understanding, integration

and empowerment throughout our diverse society. We run arts workshops, extended community programmes and

public events for those who are often not heard in society and we achieve results through the sustained process of

creativity rather than the production and presentation of performances.

This is ‘Arts for Social Change’ and not ‘Arts for Art’s sake’.

These projects:

» Empower individuals in marginalised communities

» Encourage social harmony through increased respect between communities

» Rehearse alternatives to negative futures faced by many people today.

» Bring fun and enjoyment to those whose lives have little of it

Our beneficiaries are our participants in these projects:

» unaccompanied minor asylum seekers (the Future projects)

» young adult refugees escaping from torture, conflict and prejudice (the Fortune projects)

» female survivors of trafficking living in safe houses (the Amies projects)

» young people close to criminality and violence, often in Pupil Referral Units (the Weapon of Choice projects)

Almost all of our participants experience anxiety and the effects of Post Traumatic Stress Disorder.

Each year we engage approximately 500 young people in creative development and leadership programmes and over

2000 audience members through performances and publications.

In the last year Pan delivered over 273,000 participant hours of workshops and events.

We invest in participants over long periods of time so that they can become strong, independent individuals and leave us

because they are ready to, not because the project ends.

Pan operates from its office near Russell Square. Our programmes and events are delivered through outreach work in

partner organisations’ centres or by hiring space in local community or cultural organisations. Pan has 4 permanent staff

and a pool of artist/facilitators employed per project.

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Pan also has a strong history of reacting to requests for projects across the world, in post-conflict and post natural

disaster zones, or where there is great social inequity. We train trainers who then take ownership of the work using their

knowledge of the cultures and languages of the participants. Initiatives include work in India, Pakistan, Sri Lanka, Myanmar,

South Sudan and Switzerland.

1.2 PAN’S VISION Pan’s vision is of a society in which the arts allow a vibrant and effective way of understanding others, of overcoming

obstacles and prejudice, of imagining new and possible paths to fulfilling futures and of enjoying the richness of a boundless

imagination.

1.3 PAN’S MISSION Pan’s mission is to engage with society’s cultural richness and complexity through the arts to inspire and implement social

change. Pan aims to help those who need such work and who do not have a voice in society. Pan helps participants to

build their confidence and helps them re-imagine paths for their lives. We aim to work with people from all cultures and

religions to encourage a world where we understand and respect each other’s lives and experiences, discovering the

possibilities of our rich society.

1.4 PAN’S HISTORY (see also Section 3, below, for an expanded narrative)

In 1986 Pan began as a research project into how to develop performing arts for a multi-ethnic and multi cultural society,

at The Commonwealth Institute in London and thereafter in a residency at Goldsmiths College, University of London.

This research, which included organising festivals, summer schools and many overseas collaborations, led to practical

engagement with groups where participants of many cultures found themselves together in difficult circumstances. Work

with young Victims of Torture, unaccompanied asylum seekers, youth close to criminality and, later, female survivors of

trafficking developed our Arts for Social Change identity which drives us today.

1.5 PAN’S OUTCOMES AND ACHIEVEMENTS : » Providing a sense of family and belonging for those who felt isolated

» Countless participants from challenging backgrounds moving to positive and fulfilling lives

» Delivering societal benefits of more harmonious communities through the healing power of the arts

When people are heard they don’t fight so much.

– Dr Mojisola Adebayo (associate artist)

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» Delivering workshops to over 10,000 participants

» Encouraging and training 50% of its artist-facilitator force to graduate from participants to employees

» Introducing the term intercultural to the UK arts world

» Partnerships/collaborations with important institutions on local, national and international levels

» Seeding and enriching Theatre for Development projects in India, Sri Lanka, South Sudan, Myanmar, Pakistan,

Switzerland inter alia.

» Performances and sharings from local community spaces to major arts venues (including London’s South

Bank, Place Theatre, Roundhouse, ICA, Tate Britain, Kings Place, British Library, V&A Museum) as well as in the

Netherlands, Germany, Nigeria, Kenya, Benin, Sierra Leone, Ghana, India.

» Creating a strong management and fundraising structure to underpin all the above

1.6 STRATEGIC ANALYSIS AND CHALLENGES For the past 30 years Pan has worked to address the need for intercultural dialogue and help bridge inequalities of

opportunities for marginalised and disadvantaged young people. 2019 marks a year of rising youth violence across UK

cities as well as an increasing international refugee crisis, creating social pressures and prejudices, and there has also

been an upsurge in human trafficking. Sadly there is no shortage of participants for Pan to support. This comes at a time

when individual donations and corporate funding are limited and trust and foundation funding has become increasingly

competitive due to 10 years of austerity.

At this point Pan has the experience, staff and networks to grow further but must be careful to ensure the organisational

systems and funding are in place to do so. To this end Pan will invest in support from funders such as provided by the

Lloyds Foundation (Peach Consultancy and the CAF Foundation) and will fully utilise help and advice from organisations

which exist to support charities, such as the Small Charities Coalition, NCVO, FSI, London Youth and Camden Knowledge

Quarter to enhance Pan’s efficiency and reach.

More information on our marketplace and challenges is contained in Sections 4 and 10.

1.7 FINANCIAL SUMMARY AND INCOME STRATEGY Pan’s turnover has grown steadily, but considerably, since inauguration in 1986 (53% in the last 10 years). Given the need

in society and Pan’s capacity to deliver more work, we plan to continue to grow steadily over the next 3 years. Historically

income has mostly been generated via applications to trusts and foundations. Recent research suggests such funding has

the biggest return for a charity such as Pan and will continue to be the focus of Pan’s income strategy. However in order

to create greater security, and secure unrestricted funding to grow our projects, Pan will work to spread our income

base to include more individual donations and support from corporate organisations.

Pan’s income strategy for the next 3 years is to:

» Continue to apply for funding from trusts, grants and foundations

» Increase income from donations from corporate organisations by 10-20% of total funding

» Increase earned income by 10%

» Use the support of Pan’s Development Committee to access corporate support

» Use the support of Pan’s Events Committee to raise donated income from events

More information on our financial history and income strategy is contained in Sections 7 & 8.

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1.8 GOVERNANCE AND MANAGEMENT Pan is a charity and company limited by guarantee, governed by a Board of 12 Trustees and a Company Secretary, in

accordance with Pan’s Constitution. The Board meets 4 times a year, to oversee the charity’s operations, ensuring the

objectives are being met and all necessary policies are in place (such as Child and Vulnerable Adult Protection Policies,

Diversity and Equality Policies, Health and Safety, Financial Practices etc, etc.). They oversee staffing and management

and ensure the charity is being efficiently managed in line with Charity Commission recommendations. At each meeting

Pan’s Treasurer presents Pan’s quarterly management accounts and the Artistic Director updates on Pan’s creative work.

More information on our governance and management is contained is contained in Section 9.

1.9 NEW STRATEGIC OBJECTIVES 2019-2021After in depth review of Pan’s work over the previous years, and of the external environment and challenges it faces, the

trustees have formulated the following five strategic objectives for the period 2019-2021:

1. To secure and enable strong continuity of Pan’s core work in London with its 3 main areas;

a. working with young migrants, asylum seekers and refugees,

b. working with survivors of trafficking and human slavery

c. working with young people close to criminality and violence

2. Developing new streams of arts-based work to react to ongoing needs in society which affect marginalised and

disadvantaged groups.

3. To raise the profile of Pan’s work with influencers and donors to maximise its influence and funding and to achieve

social change through increased and improved communications.

4. To maintain and strengthen Pan’s administration and governance so that there are sufficient staff and experience to

fulfil our legal duties, our need for reliable funding streams, appropriate premises and equipment.

5. Secure and develop a permanent “home base” facility for providing a significant proportion of our sessions. This would

include office, storage and working spaces.

More information on how we will deliver these strategic objectives is contained in Section 5.

I can’t believe it - I have worked with three of these children for two years and they have spoken and participated more in this first session with you

than in my entire time with them.– Child Psychologist, Lausanne

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Pan Intercultural arts: The background and history

2.0 THE SPARK Pan was formed in 1986 when a group of artists from many ethnicities met at The Commonwealth Institute to research

how theatre could meet the needs of a multi-racial and increasingly intermixed UK population. Its research was invited

into Goldsmiths’ College for a 3 year residency which led to international and inter-cultural workshops to understand

and gain from the many background theatre traditions of the peoples of the UK. Performances were created and toured

nationally and internationally and workshops were taken into schools, colleges and universities.

Through this work the term “intercultural” was first applied to the arts in the UK and Pan’s festival of other intercultural

work from around the world, Interface, brought it into current use.

2.1 NEW DIRECTIONSAs the work was seen by other governmental and non governmental organisations, its value as a highly accessible means

of facing social challenges was realised and quickly developed into the company’s new direction and raison d’être. Work

with Camden Equalities Unit, the Medical Foundation for the Care of Victims of Torture and the British Council soon

took off.

Pilot Projects were delivered for:

» working with communities where race-based violence was rife; Increase the Peace & Race for Peace

» using drama for conflict resolution with young Victims of Torture

» establishing a Theatre for Development project- Vidya - in the slums of Ahmedabad, India

And so the company quickly used its intercultural knowledge and sensitivity to work in tougher, grittier situations. It

became an Arts for Social Change*1 company using Forum Theatre, Theatre for Development and community arts to

work with people from multiple backgrounds, many severely marginalised and disadvantaged. Interculturalism expanded

its meaning to give everyone a voice.

2.2 THE BIRTH OF WOCThe work on arts against violence brought many groups together for a major festival, There Ain’t No Black in the

Union Jack, at Hackney Empire exploring the prejudice which leads to isolation and potential violence. From this two

participants emerged who took the work forward to where it is today in Weapon of Choice, using forum theatre with

those close to criminality and failed by education.

1 Arts for Social Change is the use of the arts not just for the production of enjoyable work, but for a process of empowerment of individuals,

reflection on social issues, and re-imagination of how things could be different. Not Arts for Art’s sake, but Arts for Others’ Sake.

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2.3 FORTUNE & FUTURE EMERGEThe work with Victims of Torture moved out of the Medical Foundation for the Care of Victims of Torture (now Freedom

from Torture) and formed a group of young adults - Fortune - and a group of child participants - Future. These names,

chosen by participants, are still used by the two groups today. The groups have spread to take in participants from other

refugee organisations and hundreds of young people have passed through them, going on to find their place in society

and some returning to take up roles as mentors and facilitators in our projects. Although focussed on the process of

rediscovering creativity, confidence and self expression, performances do emerge from the work and these have been

seen at the South Bank, University of The Arts, Rose Bruford College and other places.

2.4 AMIES (FRENCH FOR ‘FEMALE FRIENDS’) APPEARSIn 2012 we noticed that many female participants were uncomfortable around men and this led to a realisation that they

may have been trafficked, and the establishment of the Amies projects which work to help survivors of trafficking re-

imagine their lives and aim for more positive futures. Amies achieves more than 60% success rate in getting participants

onto at least the first steps towards employment, education or training. A further off-shoot of Amies has been the Amies

Freedom Choir which gives tremendous uplift to its participants, and sings beautifully! It has appeared at The Old Bailey,

Kings Place, City Hall, Tate Britain, the Tutu Foundation conference and many others.

2.5 OVERSEAS Following the success of the Vidya project in India (still running, independently, after 18 years) Pan was invited by the

British Council, International Labour Organisation, UNDP, Red Cross and other organisations to seed arts projects in

areas where community trauma is a block to development. We only carry these out on invitation, and for short periods

to enable local artists to learn and develop their own work. Post natural disaster areas include Sri Lanka and Myanmar;

post conflict areas include South Sudan, Pakistan and Sri Lanka. Other seeding work has taken place in Switzerland and

Pan worked in the Calais Jungle’s Good Chance Theatre in 2016.

2.6 ADVOCACYWith all the knowledge and experience of the work described above Pan has always been well placed to advocate for

this type of work and has spoken in countless conferences, seminars and meetings. To access the decision makers who

can implement better conditions for our participants and who can back the use of arts in this field Pan recently began

producing a series of podcasts to explore the kind of work we do and the need for change.

Amies has brought me courage, listening to how others have

overcome problems.– Amies participant

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Strategic analysis of our business environment

3.1 WHO ARE OUR CUSTOMERS/CLIENTS?In order to achieve our strategic objectives Pan works with the following groups of people:

PARTICIPANTS ON OUR CREATIVE PROGRAMMES

Participants are the main focus of our work as our success in supporting them is the main criteria in determining our

success as an organisation. Participants are young refugees, unaccompanied minors, young people at risk of the effects of

youth violence/social exclusion, or female survivors of trafficking. The majority are aged between 16-25 but our female

survivors of trafficking programmes accept older participants. Most of our participants live in London or the towns

where we have seeded new work such as Birmingham, Oxford and Kent.

New participants become involved with Pan through referrals from partners or the young people’s own social networks.

Additionally, Pan actively recruits by offering workshops at appropriate organisations such as the Refugee Council, the

Red Cross and in schools and pupil referral units.

Sadly there is no shortage of potential participants to support. However it is important that Pan is sensitive to the

changing needs of vulnerable people in society and ensures that those most in need of help are reached. To this end, it

is part of all job descriptions that staff should be aware of the social environment in which they work and keep updated

on issues and current policy changes. Pan’s participants are frequently the most dispossessed, least vocal and often most

‘invisible’ people in society and to ensure we find them requires networking with other providers and understanding the

challenging environments in which they often live.

Conversely our participants are a hugely creative, diverse group of young people, offering many talents and much potential. This

affords Pan a massive opportunity to help them be expressive via a range of arts-based activities leading to unique interactive-

plays, films and multi-media performances. In this process participants develop the personal and social skills to move-on with

their lives. Some stay with Pan to become peer-mentors and have the opportunity to shadow Pan artists and train as Artist

Facilitators. Half of Pan’s paid Artist Facilitators were once participants, they are an integral part of the Charity.

PARTNER ORGANISATIONS

In the delivery of our programmes we frequently partner, or work closely with, other people or organisations in our

sector. It is recognised that partnership working can lead to efficiencies, extensions and improvements in our offer to

participants. At a minimal level we work to procure additional services such as room hire and catering, taking advantage

of special rates and support, but Pan also formally shares some responsibility for the delivery of programmes with

organisations who are key to reaching and helping those most in need. This is the case with the Medaille Trust which runs

safehouses for female survivors of trafficking and with pupil referral units when working with young people are risk of

the effects of youth violence..

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Those working in our sector generally recognise the complexity of needs present when young people are traumatised

or have social disadvantage. In this context ‘multi-agency’ support is recommended to help transcend barriers to positive

development. Increasingly, when Pan is engaged to offer our creative programmes, our artists are asked to sign-post our

participants to additional agencies to ensure they receive holistic support. Pan is very well placed to deliver this role

as in the process of taking part in our activities participants develop trusting relationships and are able to share social/

personal problems with the Pan staff even when it would be difficult to share with other social services. Pan can provide

the bridge to access wider support and opportunities.

Partnership working is mutually beneficial and Pan is supported by referrals for advice, sector knowledge and potential

new work by a range of organisations. It does also have its challenges, for example the charity-arts sector is poorly funded

and unstable and Pan has to be wary of the effects of cultural shifts, staff changes and financial uncertainty in partner

organisations.

In recent years Pan has, however been grateful for the partnership and support from the following organisations:

The Refugee Council, The Red Cross, Freedom from Torture, Elatt (educational & learning resources), the Medaille

Trust, Pegasus Theatre, Oakland Young Peoples Centre, Praxis Community Projects, ECPAT, Camden Centre for Learning,

Haverstock School, Hampstead School, Beachcroft AP Academy, Acland Burghley School, Laura Devine Solicitors, Juvenis,

Leap Confronting Conflict, the Horniman Museum, Rose Bruford College and University of the Arts London.

AUDIENCES/CONTACTS/INFLUENCERS

In addition to the impact of our work on our participants and partners, Pan’s work has the potential to inform and

affect the thinking of all those who experience it as audience members. It is possible to come across Pan’s work via

performances, podcasts, talks, events or the Pan website. All these media invite personal interaction and consideration

into the possibilities of social change. Pan’s methods of helping people and the creative output of our young people are

very powerful. Pan recognises its role in voicing the need for intercultural expression and advocating for a society that

supports young people at difficult points in their lives for the benefit of themselves and our communities.

3.2 THE SECTOR IN WHICH WE OPERATE

ANALYSIS OF THE SECTOR IN WHICH WE OPERATE

Pan is a charity and company limited by guarantee working across the arts and social provision sectors. Charitable

status is fitting for an organisation such as Pan which provides necessary support for vulnerable people and has

very limited commercial means of making money. As a charity there are supportive structures, (such as gift aid,

and Charity Commission guidance) and a number of suitable trusts and foundations available to support the work

I like coming to Fortune because everyone has different ideas and different cultures. [...] Even if you

feel bad, everyone is there to make you feel better.– Fortune participant

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we do. Pan attracts support for both the artistic output and the social impact of the projects for individuals and

communities.

Straddling the arts and social sector attracts support from both sectors but care has to be taken to ensure Pan’s ‘arts

for social change’ purpose is clearly understood, especially as we support marginalised young people from different

communities with different experiences, strengths and challenges.

Pan’s charitable status has enabled funding from a range of national and local grants and foundations which exist to

support the same missions and have the same ethos as Pan. The neat fit of aims and objectives, clear guidelines and well

oiled application processes are designed to make the system of charity funding as streamlined as possible. However

funding from grants and foundations is usually very short term (between one and three years), with time-consuming

application and reporting processes and low success rates (often 10%). After a decade of global recession and austerity

measures there has been increased competition for the same pots of money whilst the need for support has grown.

Consequently Pan is working to spread our funding base to include support from individual donors and corporate

sponsorship.

There are no other organisations offering social theatre programmes the same as those Pan offers. However there

are other arts organisations providing creative activities for the young people we support. Due to the nature of Pan’s

programmes and the paucity of provision, Pan does not suffer from competition in attracting young people to the

projects but does compete for funding. This environment has created a greater need for partner working to reduce costs

and increase efficiency.

The current scenario for charity operations is at an interesting point. Following 10 years of austerity measures, there has

been less support for some of the poorest people in society; according to the Equality and Human Rights Commission

the picture is ‘bleak for the living standards of Britain’s most at risk and ‘forgotten’ groups of people’. A recent UN

report on poverty in the UK states ‘the costs of austerity’ are ‘falling disproportionately on the poor, women, ethnic

minorities, children, single parents, asylum seekers and people with disabilities’ (Philip Alston Nov 2018). The visibility

of, and dysfunctions caused by, the needs of the least advantaged in our communities are hard to ignore. As there is less

government support on offer, it is to be seen if more government funds will become available to support charities to

bridge the gaps in the coming months and years.

The situation surrounding Brexit is also a cause for uncertainty, as it affects government budgets and those of corporate

organisations, trusts and individual givers and makes it difficult to strategise and develop policy. Additionally the ethos of

the Brexit vote has led to the voicing of xenophobic and racist views, which have been unhelpful for the development

of cohesive, empathetic, diverse communities. In this environment the language around the refugee crisis has created an

unwelcome atmosphere in some sections of UK society and Pan has witnessed violence against our young participants

and worry and uncertainty about residence status after Brexit.

3.3 ORGANISATIONAL OPPORTUNITIES AND CHALLENGESPrevious Pan research, past experience and current advice from CAF Foundation consultancy concur that the best funding

sources for Pan are grants, trusts and foundations which are especially established to support charitable organisations

such as ours. However, the nature of this funding is short term, restricted, highly competitive and very time-consuming

to acquire and maintain.

Grant funding lends itself to employing mostly self-employed, part-time staff with annual or short-term, project-based

contracts. Whilst this allows Pan to be flexible and limits liabilities, it makes it harder to invest in staff and offer long-term

job security.

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Short term funding makes organisational growth difficult to support, especially as grant funding is project specific and

does not allow for additional income to accrue for organisational or project development. The lack of any surplus

means these funds provide little to invest in the growth of staff and organisational systems (such as financial operations,

evaluation, database, business planning, reporting and management or even research and project development).

Pan is a medium sized charity with 30 years’ experience. These two factors demonstrate some resilience and show the

charity is able to weather small fluctuations in financial fortunes and changes in the organisation and sector. Not being a

large charity allows for adaptability, for the ethos to be maintained, communications to be close and for the delivery and

systems to be cost effective. However not being a large, nationally-known, organisation does mean it is harder to garner

support and reach as many supporters.

It is undoubtedly true that Pan’s major asset is the diverse, creative, resilient, people we work with. Their talent and

commitment results in engaging, intercultural performances, events and films. When shared with society at large these

offer enjoyment, cultural sharing, are thought provoking and are of a high quality. This artistic output is hugely affecting

and can have a major influence on audiences and stakeholders.

The nature of Pan’s events does also pose challenges as the purpose of Pan’s creative workshops is always in the

therapeutic benefits of taking part and the creative output/performances are offshoots of that. There are times when it

is not appropriate for participants to share their work publically and this can be unpredictable. This makes it difficult to

plan the public-facing aspect of Pan’s work.

Pan does however have other organisational assets. Pan’s Artistic Director is a well respected, published authority on

social-theatre techniques. He lectures at the University of East Anglia, Goldsmiths University London, SOAS and Rose

Bruford College. He also works for the British Council internationally to set-up projects to enable communities to

overcome trauma, conflict or oppression.

Pan has a highly skilled team of Arts Facilitators, half of whom came to Pan as participants and who went on to train and

become paid staff.

The charity is well supported by a strong board of 12 trustees who bring professional experience in law, accountancy,

public health, the arts, counseling, youth charity communications, advocacy for creative industries and finance.

Fundraising and networking are also supported by our Development Committee, a body of professional volunteers who

work to run events, network on Pan’s behalf and help implement our Corporate Strategy.

An organisational SWOT analysis is also contained in Appendix 2.

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Pan’s detailed development plan

4.1 STRATEGIC OBJECTIVESAfter in depth review of Pan’s work over the previous years, and of the external environment and challenges it faces, the

trustees have formulated the following five strategic objectives for the period 2019-2021:

1. To secure and enable strong continuity of Pan’s core work in London with its three main areas;

a. working with young migrants, asylum seekers and refugees

b. working with survivors of trafficking and human slavery

c. working with young people close to criminality and violence

This is the centre of Pan’s work and there is a need to have secure, ongoing funding and sufficient committed and able

artists to run them.

From this core work Pan can develop Pan’s seeding of arts for social change projects in towns and cities across the UK

through our Expansion Programme.

2. Developing new streams of arts-based work to react to ongoing needs in society which affect marginalised and

disadvantaged groups. These could include:

a. Establishing a stream of work with male survivors of trafficking

b. Researching and devising methodologies to build bridges between migrant and host communities, for wider

replication in areas where prejudices prevail

c. Creating short films by young people to understand the pressures they face

d. Creating projects which provide ongoing provision for our participants when they have completed the period

allowed by our funding agreements

3. To raise the profile of Pan’s work with influencers and donors through increased and improved communications. This

can be partly achieved through developing advocacy streams for Pan’s work so that the multiple experiences of working

in this sector can inform decision makers and policies.

4. To maintain and strengthen Pan’s administration and governance so that there are sufficient staff and experience to

fulfil our legal duties, our need for reliable funding streams, appropriate premises and equipment. This will be fulfilled

through relevant training and appointment of staff, auditing the skills of Trustees and making appropriate additions and

strategic use of the skills of our Development Committee and Events Committee. In the financial year 2019-20 Pan plans

to appoint a Company Manager to enhance organisational strength.

5. Find and develop a “home base” facility for providing a significant proportion of our sessions.

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Today I felt worried about things but after playing and being together with the

group I feel much better, thank you!– Future participant

At present Pan travels to where the work is. This has some advantages geographically but the cost of renting venues or

of relying on a partner to provide consistent space where participants feel safe and secure, means that a centre for the

majority of our projects would have considerable advantages:

» we could guarantee our participants when and where all sessions would take place, without the risk of being

moved elsewhere because of our collaborators’ other needs

» having our own space would bring a greater sense of community and ownership of the work in a Pan centre.

» It would be easier to keep and maintain equipment for our work in one space (lights, sound, instruments etc)

» we would no longer have to pay venue hire, which often increases mid-project and outstrips available budgets

» there would be some potential income from renting out the space to other organisations

» our administration centre, offices etc , would be in close proximity to our work

2019/20 Aprl May June July August September October November December January February March

Objective 1

Continuity of Pan’s core

work areas

Summer break

Objective 2Maintain and strengthen admin and governance

Objective 3

Raise Pan’s profile with

influencers and donors

Objective 4

Develop new streams of

work

Objective 5

Find and develop a “home

base”

4.2 DETAILED OBJECTIVES AND TIMETABLE - YEAR 1

Ongoing work in all project areas led by Project Directors and

artist-facilitators

Finalise potential new

areas of work with

project directors

Pilot and assess

new areas ofv

work 1

New post of Company Manager appointed

New trustee(s) with finance and business experience appointed

Pan’s new policy to bid for Corporate Funds isv launched

Ongoing budgeting, planning & fundraising throughout the year

Identify parameters

for a new home base

with users and staff

New communications strategy building on podcasts and

advocacy developing throughout the year

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2019/20 Aprl May June July August September October November December January February March

Objective 1

Continuity of Pan’s core

work areas

Summer break

Objective 2Maintain and strengthen admin and governance

Objective 3

Raise Pan’s profile with

influencers and donors

Objective 4

Develop new streams of

work

Objective 5

Find and develop a “home

base”

Further trustee appointments from Reach consultancy

Fundraising event organised by Events Committee

Pilot and assess new areas of work 2

Chair of trustees steps down, to be replaced from within the Board

Initiate research into properties

suitable for a new base

New communications strategy building on podcasts and advocacy developing throughout the year

Review and revision of the working of the Development Committee

and Events Committee at completion of its first year

Ongoing work in all project areas led by Project Directors and artist-facilitators

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Risk analysis

Risk Likelihood Impact Total

Risk

Management/Control/c Lead

Inability to raise sufficient funds for charity activities and operational costs

M H H » Fundraising strategy designed; volume, quality

and results of applications monitored

» Effective budgetary management

» Minimise core costs

» Limit activities according to funds available

Trustee Board

Development Manager

Artistic Director

Charitable objectives not achieved

L H M » Undertake consultations, feedback groups

and gain external feedback on work

» Collect data on outcomes and outputs and

evaluate effectiveness of all projects and

operations

» Trustees and Pan staff to have in-depth

understanding of the sector and participants’

needs. This to be maintained by good

consultation and communication within Pan

and with stakeholders and others in the field.

» Provide effective staff appraisal, support and

training

Development Manager

Pan Project Directors

Trustees

Artistic Director

Inadequate governance

L H M » Trustee Board to have appropriate range of

skills and experience

» Trustees to have a knowledge of the

charity sector and an understanding of the

environments and circumstances effecting

participants

» Trustees to be well trained and aware of best

practice according to Charity Commission

guidelines

Trustee Board

Poor strategic and operational management

M M M » Planning for operational management has

been built into Pan operational policies (as

described in the Pan Handbook and in the

Business Plan)

» Operational capacity will be reviewed each

year

» Trustee Board to monitor delivery and

performance

Trustee Board

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Risk Likelihood Impact Total

Risk

Management/Control/c Lead

Lack of profile and engagement with stakeholders

M M M » Implementation of Marketing and

Communications Strategy

» Utilise support of Development Committee

» Identify wider range of partnerships and

multi-agency collaborative working

» Develop Pan’s role in advocacy via new

programme of Podcasts

Trustee Board

Development Manager

Marketing and Communications Officer

Artistic Director

Insufficient organisational infrastructure or capacity

M M M » Infrastructure and development built into

Business Plan

» Organisational capacity to be enhanced by

employment of new staff (in the first case -

Company Manager)

» Working to attain London Youth Bronze

Award

» Trustees to systematically review capacity and

strategies

» Identify new potential premises

Trustee Board

Development Manager

Pan Staff

Difficulties in identifying key areas of need for new work

L M L » All Pan staff/Trustees to be attuned to the

social environment and needs of young

people

» Awareness of how Pan’s core ‘offer‘ and USP

in arts for social change can be deployed.

» Use of good communications and

relationships to ensure Pan is aware of

realities and possibilities

» Maintain a good network of partner

organisations

Trustee Board

Pan Staff

This project has really taught us to listen to listen to each other and respect other people’s

opinions without swearing and shouting.– WoC participant

20

Financial analysis

6.1 FIVE YEAR INCOME AND EXPENDITURE HISTORY FOR PANWhilst Pan’s income has varied, four of the past five years have ended with a surplus

2013/14

£

Actual

2014/2015

£

Actual

2015/2016

£

Actual

2016-2017

£

Actual

2017-2018

£

Actual

Total Income £167,372 £202,479 £274,950 £294,093 £284,131

Total Expenditure £182,542 £197,425 £256,810 £288366 £306,282

Surplus/Deficit -£15,170 £5,054 £18,140 £5,727 -£22,151

Reserves £58,418 £64,217 £83,107 £88,834 £66,683

The deficit of 2014-15 was due to 3 large funds from Youth Music £29,971, Tudor Trust £32,000 and BBC Children in

Need being received in April rather than March.

The large surplus of 2015-16 was due to unrestricted funding being raised via events run by Pan’s Development Committee.

The deficit in 2017-2018 was a result of donated income from a Pan event (Trial and Error), and a grant payment from

John Lyons (£22,000), being received in 2018-19 instead of 2017-18.

6.2 THREE YEAR BUDGET FOR PANBudget Headings/Years Budget

2019/20

Budget

2020/21

Budget

2021/22

Non statutory grant income £220,940 £231,440 £224,637

Statutory grant income £73,328 £58,590 £59,000

Earned income £9,000 £10,000 £11,000

Non grant income:

a donations

b events

c corporate

e other

£38,300

£8,000

£18,000

£9,000

£3,300

£42,300

£9,000

£20,000

£10,000

£3,300

£49,300

£10,000

£25,000

£11,000

£3,300

21

Notes:

Other non grant income includes bank

deposits and government tax credits

Total Income: £341,568 £342,330 £343,937

Expenditure:

Salary costs £103,445 £103,445 £103,445

Project costs:

Weapon of Choice workshops £25,000 £25,000 £25,000

Weapon of Choice Theatre Group £37,500 £37,500 £37,000

Refugee Youth Arts (Future) £30,000 £30,000 £30,000

Refugee Youth Arts (Fortune) £22,000 £22,000 £22,320

Refugee Youth Arts (Amies London) £38,116 £46,000 £46,000

Refugee Youth Arts (Amies Freedom

Choir)

£32,455 £35,000 £35,000

Refugee Youth Arts (Amies Alumnae

Choir)

£9,000 £9,000 £9,000

Core costs

Rent £9840 £9840 £9840

Rates £950 £950 £950

Elec/water £1860 £1860 £1860

Insurance £2350 £2350 £2350

Telephone £1760 £1760 £1760

Accountancy Services £1620 £1620 £1620

Independent Examination £4370 £4370 £4370

IT £2300 £2300 £2300

When we look at individuals who saw the project through, their behaviour and achievement records over

12 weeks - the last few are almost unrecognisable. – School Director of Access and Inclusion about WOC

22

Stationery £2090 £2090 £2090

Bank Charges £360 £360 £360

Cleaning £720 £720 £720

Minibus £2860 £2860 £2860

Equipment £2650 £2650 £2650

Misc Expenses £340 £340 £340

Total Expenditure: £341,015 £341,015 £342,015

Surplus/(Deficit) for the Year £553 £315 £922

6.3 RESERVESIn accordance with Pan’s Reserves Policy, reserves of £50,000 - £100,000 are maintained each year.

The policy states:

The trustees aim is to maintain Pan’s Unrestricted Funds reserves at a level that will allow Pan to weather fluctuations

in the level of operational activity and income. This is deemed to be in the range of £50,000 to £100,000, equivalent to

approximately 3 - 6 months operating expenditure in the event of a wind-up of the charity’s operations.

Additionally, the trustees will seek to designate funds within the Unrestricted Funds reserve to a minimum of £10,000 to

support Strategic Development.

6.4 MAIN BUDGET ASSUMPTIONSInflation on costs will be assessed each year and budgets will be adapted as necessary.

We will not commit to new projects until new sources of funding have been confirmed.

Amies is about friendship, a group of people coming together becoming one family, being

supportive. Friendship and love is what I find here.– Amies participant

24

Income and fundraising strategy

7.1 INTRODUCTION

FUNDRAISING POLICY:

Pan aims to raise sufficient funding to enable the charitable activities and organisational stability outlined above. We aim

for most of the funding to be raised from trusts, foundations and government funding which exists to help us in our

mission. Additionally, we aim to extend our funding from individual donors and corporate support with the help of the

newly formed Development Committee and the Events Committee. In all fundraising we will ensure the ethos of our

organisation is represented.

ETHICS POLICY:

The Trustees of Pan Intercultural Arts shall regularly review its income to ensure that any money from sources considered

inappropriate or unethical should not be accepted.

As a general rule Pan will not accept money from organisations which generate income from the sale of tobacco

or alcohol, given that a large part of our work is with young people and we should not be seen to promote such

consumption. However the trustees recognise there are other possible unsuitable sources of income and that due

diligence is necessary to ascertain whether the acceptance of money from such sources would either be assumed to

support activities which are against Pan’s ethics, or would bring Pan’s name into disrepute.

Staff and trustees will therefore consider on a case by case basis whether displaying a donor’s logo or having our name

linked to a particular donor could in any way damage the trust which participants and the public should have in us.

Pan will follow all Charity Commission and regulatory guidance on best practice and treat all donors with respect.

25

7.2 CURRENT FUNDING HISTORY AND POSITIONOver the past 30 years 85 -100% of Pan’s funding has been provided by grants from trusts and foundations. Major funders

are listed below.

GRANT AND FOUNDATION FUNDERS 2016-2019

Funder 2016-2017 2017 - 2018 2018 - 2019

Young Londoners Fund £20,630

Esmée Fairbairn Trust£43,500

£38,500

Tudor Trust £32,000 £32,000 £33,000

BBC Children in Need £33,125 £34,118 £36,148

Youth Music £29,963 £29,963 £34,926

Henry Smith Trust £25,000 £25,000 £25,000

Heritage Lottery Fund £43,500 £38,500 £22,950

St. Andrew Holborn Trust £13,000 £9,505 £11,000

Lloyds Bank Foundation £25,000

John Lyon’s Charity £22,000 £22,000 £22,000

Bromley Trust £15,000

Persula Foundation £10,000

A B Charitable Trust £10,000

Comic Relief £48,331 £24,335

Maingot Trust £10,000

I was like a little child with a door in front of me. Amies opened it for me to go inside, and there was a hero who is helping me walk towards my dreams.

– Amies participant

26

7.3 FUNDING ANALYSIS & OUTLINE STRATEGYPan has a history of being successfully supported by a range of trusts and foundations as outlined above. This funding

source is considered to be the most suitable for Pan because:

» External research proves it to have the biggest return on investment

» Pan has expertise in applying for such funds

» Pan’s charitable status and activities do not allow the organisation to earn large amounts of income

» Pan has contacts and networks which support such applications

We intend to apply to trusts and foundations which have previously funded Pan and which we know are supportive of

our work. Where possible we shall apply for grants which are long-term, or at least cover multiple project years, as short

term funding is inefficient, needing a large investment of time.

(NB amounts for each project are noted in 7.2, above)

In the next 3 years Pan intends to apply for funding to the organisations listed in the chart below. For details of the size

of grants please see budget information in section 7.

Project Funder Confirmed Funder Unconfirmed

Amies LondonLloyds Bank Foundation

Bromley TrustComic Relief

Amies Alumnae Choir Maingot Trust Andrew Lloyd Webber Foundation

Amies Choir

Youth Music

Worshipful Company of Makers of Playing

Cards

Arts Council England

Weapon of Choice In-Schools

projects

John Lyon’s Charity

Young Westminster Foundation

St. Andrew Holborn and Stafford

Charities

Young Westminster Foundation

Young Camden Foundation

Weapon of Choice Theatre Group Young Londoners Fund

Future BBC Children in Need

Fortune Heritage Lottery Fund

Core costs

Trusthouse Charitable Foundation

City Bridge Trust

Big Lottery

Paul Hamlyn Foundation

In addition to applications to the above funders, Pan plans to raise support and new income from corporate organisations.

This will be achieved by extending our networks and communication through support from Pan’s voluntary Development

Committee. Pan will use introductions to build relationships with potentially supportive organisations, identified through

their CSR or sustainability policies and local or personal connections to Pan. (See Pan’s Corporate Strategy). It is

understood that such relationships take time to build and do not rapidly lead to financial support. However, following

27

consultancy from the CAF Foundation, Pan’s Trustees believe it would be valuable to pursue corporate support and

review the approach after a year.

Pan will also work with our voluntary Events Committee to raise increasing amounts of unrestricted funding through

events such as the performances of Trial and Error at the Old Bailey in March 2019 and an Art Auction in October 2019.

KEY FUNDRAISING ACTIVITIES

The Development Officer will raise funds from grants and funding bodies as listed above which will involve:

» researching the funding environment,

» researching potential funders,

» maintaining relationships with current and potential funders,

» writing and submitting funding applications

» ensuring Pan has a suitable data-base of information and resources about its work to enable application writing

(e.g. accessible data on past and current outputs and outcomes, case-studies, images and participant and

stakeholder feedback).

The Development Officer will, on an on-going basis, study the business environment and take advantage of any

opportunities to build relationships with corporate organisations which offer support. This will involve researching

suitable organisations and working with Pan’s Development Committee to build the relationships they instigate via

meetings, conversations, invitations to events, presentations or take-up of Pan’s Corporate Package.

Additionally, the Development Officer will guide and support the Events Committtee in the planning and running of

fundraising events for Pan, providing them with key information about Pan’s needs, capacity and appropriateness of

activities. All events will be approved by the Board of Trustees.

The Development Officer will be supported by the Artistic Director and Project Managers in the writing of applications.

They will be responsible for providing information about Pan’s work to enable applications. The Artistic Director will

oversee Pan’s overall Development Strategy

The Development Committee: This is a new voluntary body which exists to help Pan make new relationships and

connections in the corporate environment. The principal role of members is to make individual connections and

introductions enabling Pan to receive funding and services from corporate organisations. Each member aims to make

a minimum of 2 introductions per year leading to a significant growth in Pan’s corporate income (estimated to be 10%

per year).

Development Committee members will support Pan by networking on Pan’s behalf, advocating about the work and

raising Pan’s profile. They will also support the Events Committee by communicating about Pan events, inviting their

networks to them and, if possible, attending them themselves.

The Development Committee will be overseen by the Development Officer and Board of Trustees.

The Events Committee: The Events Committee is new voluntary group which exists to devise and run 1-2 fundraising

events per year with an aim of raising £24,000 in 2018-19, £26,000 in 2019-20 and £29,000 in 2020-21 (figures include

donations). They will be supported in this by Pan staff, and the Development Committee and overseen by the Development

Officer and Board of Trustees.

28

Governance and management

Pan was established as a new company limited by guarantee in September 1986 and is a registered charity.

8.1 ORGANISATIONAL INFORMATIONCompany Number : 2051893

Charity Number : 295324

Company Formed : 1986

Registered Address : 32 O’Donnell Court, Brunswick Square, London WC1N1NX

The objects for which Pan Intercultural Arts has been established are outlined in the charity’s constitution. (Please see

Memorandum & Articles of Association document, available on our website www.pan-arts.net).

Pan is governed by its Company Constitution and a Board of Directors who meet quarterly.

8.2 TRUSTEES AND DIRECTORS

SUSANNA ROOK - CHAIR

Susanna is experienced as a group worker with Freedom from Torture, supporting asylum seekers and refugees. She has

previously worked as a primary school teacher with expertise in special needs.

HEATHER FOKERD - TREASURER

Heather is the director/owner of Lordship Consultancy Ltd, which provides financial services to schools. She became

a chartered accountant after studying Business Management. Heather brings both financial and business acumen to

the Board.

JUMOKÉ FASHOLA

Jumoké Fashola is a radio broadcaster for BBC London, currently presenting “Inspirit with Jumoké Fashola”, on BBC

Radio London. As such she brings knowledge of the media world. She is a professional singer, media trainer and keen

supporter of youth issues.

29

BILL GUTTERIDGE

Bill is a retired NHS doctor. He brings to the Board knowledge of how local and public sector organisations and

government operate and interact with each other and has experience of work with asylum seekers and refugees.

RIEL KARMY-JONES QC

Riel was a theatre director for ten years and is now a barrister at Red Lion Chambers. She specialises in cases of human

trafficking, serious sexual offences and terrorism.

ALISON MEYRIC-HUGHES

Alison is a retired university lecturer, most recently working on the Cultural Policy and Arts Management MA programme,

which she founded at City University London.

TIM MOLONEY QC

Tim is a barrister at Doughty Street Chambers, London, specialising in crime, control orders and administrative law. He

advises on legal matters to staff and participants.

DR SITA SCHUTT

Sita is the director of Prospero World, a London-based charity promoting positive social change through community-

based activity and public education and supporting philanthropy and NGOs.

BRIAN ST LOUIS QC

Brian is a barrister working at Fifteen New Bridge Street, London, specialising in murder, firearms, sex offences, fraud and

actions against the police.

TAKUDZWA MUKIWA

Taku works for the Terrence Higgins Trust’s delivery of national HIV prevention social marketing campaigns. Responsibilities

include managing the delivery of England’s National HIV Prevention Programme, HIV Prevention England, and leading

ongoing strategic innovation of HIV prevention and sexual health promotion practice in line with the needs of those

most affected by HIV and poor sexual health.

Last year I used to hide behind the sofa. Now I can stand up

and speak to an audience.– Fortune participant

30

RIGVI RAMNAUTH

Rigvi is the Business Management Lead for Insurance & Wealth, Group Transformation, at Lloyds Bank, with particular

interest in empowering women and disadvantaged communities.

CHARLOTTE MINVIELLE

Charlotte is a Senior Business Development Manager at WaterAid UK, specialised in corporate partnerships. She is

interested in international development and sustainability.

8.3 MANAGEMENT AND STAFF

STAFF ORGANISATION STRUCTURE

Board of Directors

Meets quarterly for overall management

and financial control

Artistic Director

Planning and development of projects,

recruitment and funding

Development Officer

Fundraising, development,

reporting

Project Leaders

Induction, trainings, planning and

implementation of projects and evaluations

Facilitators and Peer facilitators

Implementation of projects

Consultants

Support in fundraising and PR

Administration and

Communication Officer

Running of offices, policies,

financial daily control, communication

Project Volunteers and Placements

Support in delivering projects

31

ARTISTIC DIRECTOR - JOHN MARTIN

John co-founded the company and has been its artistic director throughout its life. John trained at Bristol University and

the Ecole Jacques Lecoq and after performing in London, Paris and New York, has directed over sixty productions in nine

countries.

He is a visiting lecturer at many universities and professor at Rose Bruford College of Performance, specialising in

creativity, improvisation and theatre for development.

He has established and trained many theatre companies and seeded theatre for development organisations around

the world. He speaks frequently on the value of theatre in society and is the author of many articles and plays and The

Intercultural Performance Handbook (2004), The Theatre for Development Handbook (2010), with Adebayo and Mehta.

DEVELOPMENT OFFICER - SUE MURRAY

Sue has previously worked as an Education Officer for both the Ambassador Theatre Company and Science Museum,

having also worked as a Primary School Teacher and ESOL teacher for refugees at West Thames College, London. She

came to Pan after being impressed by its impact whilst studying for an MA in Culture, Policy and Management at City,

University of London.

KEY STAFF DEVELOPMENTS

Pan plans to imminently recruit a Company Manager to take responsibility for running company operations. The role

will cost Pan £27,620 per annum and will be appointed when funding is available. As Pan has grown in the past 3 years

and plans more growth for the next 3 years it will become increasingly difficult for the Artistic Director, Development

Officer and Administration and Communication Officer to cover all company management tasks.

This new role would enable the Administration and Communication Officer to take more responsibility for communications

and for the Development Officer to maximise grant funding and work with the Development Committee and Events

committee to extend non-grant income.

Pan has a policy of enabling participants to become peer mentors during programmes. Some mentors have the interest

and potential to become Artist Facilitators on Pan’s programmes, so project budgets include appropriate resources to

enable such training as the project develops.

Pan offers all Trainee Facilitators additional training sessions depending on their needs and availability of funding. Over the

next 2-3 years, in line with our Strategic Objectives, we aim to extend such opportunities additional to project workshops.

Enhancing the training depends on increased organisational capacity within Pan as well as a new funding stream.

32

Marketing strategy

OUR AUDIENCES, WHAT WE WANT TO TELL THEM AND HOW WE COMMUNICATE:

Audience Key Selling Points / Message Channel

Participants /

beneficiaries

» Pan provides services which help participants improve and

trust their creativity, communication and expression. This

enables them to better imagine and plan their futures.

» Our programmes bring personal joy, friendship and

fulfilment

» Taster workshops

» Networking & word of

mouth

» Website

» active outreach to care

organisations and agencies

Current Donors

and Supporters

» We offer an original and effective way of significantly

impacting lives of some of the most marginalised and

disadvantaged in society

» Pan is a leading expert in this field with a high success rate

» We need corporate, statutory and private donors to sustain

our work in an increasingly difficult funding environment

» Newsletter

» Twitter

» Public Events

» Conference presentations

» Blogs

» Podcasts

New donors and

Supporters

» Our approach of using the arts to help marginalised and

disadvantaged people reflect on and re-imagine their lives is

original, exciting, enjoyable and successful

» The arts are a power to transform people’s lives

» We need corporate, statutory and private donors to sustain

our work in an increasingly difficult funding environment

» Social Media

» Performances and events

» introductions through

development committee and

other contacts

» Printed material distribution

General Audience » We have an original and meaningful way of using the

arts to reach and impact lives of some of society’s most

disadvantaged people. It makes sense to use and develop

their creativity to re-imagine their lives and project ways of

achieving their goals.

» We advocate for refugees, trafficked women and young

people’s rights. We want to inform the general public about

their difficulties and how we can help them to overcome

trauma and social barriers through our imaginative and

innovative methods

» There is a strong Return on Social Investment message

around our work. Helping our clients makes them financially

strong members of society rather than being a cost to it

» Performances and events,

» Printed materials

» press and media

» published articles

33


Press » We have a unique approach to helping marginalised and

disadvantaged people overcome obstacles and realise their

potentials

» We have extensive experience of the challenges faced by

our participants and the success stories due to our work.


people’s rights. We want to inform the general public about

their difficulties and how we can help them to overcome

trauma and social barriers.




» Social Media

» direct contact

» website

» blogs

» podcasts

Similar

Organisations

» We want to collaborate with other organisations to

develop and expand the work

» We have a wealth of experience to share and can train

artists and youth/social workers to seed new projects with

partners and devise programmes for their situations

» Website,

» Social Media,

» Newsletter

» active advocacy

Partner

Organisations

» We want to collaborate with other organisations to

develop and expand the work

» We have experience of developing projects to suit partners’

needs and train their staff to execute and continue them

beyond our intervention

» Website,

» Social Media,

» Newsletter

» active advocacy

Corporate

Sector

» Our programmes help develop social harmony, tackle

prejudice and have social inclusion at their heart. These are

all elements of a more vibrant and successful economy.

» Our projects have an excellent return on social investment

by bringing people into social activity so that they are not

dependent on state benefits

» Given the above we are an excellent area for Corporate

Social Responsibility support

» We have many skills in our organisation which are useful in

the business environment

» We provide opportunities for employees in corporate

organisations to engage in wider social benefits beyond the

confines of their roles and workplace

» Website

» Corporate package

» introductions through our

donors

» introductions through

members of our

development committee and

trustees

The support Amies gives me physically and mentally, is incredible. [...] I feel joy

inside like I have never known in my life.– Amies participant

34


Key decision

makers

» Arts for Social Change works! Our methodology is

engaging, effective and should be rolled out in more areas

where help for our target groups is needed. We have

experience in doing this


people’s rights. We want to engage and inform key decision

makers in order to facilitate appropriate policy development




» Podcast

» networking at events

» presentations at conferences

» advocacy

35

Appendix I: introduction to pan’s work

FOUNDED IN 1986 AT THE COMMONWEALTH INSTITUTE, LONDON, AS A RESEARCH PROJECT AND ESTABLISHED AS A CHARITY FOR INTERCULTURAL RESEARCH AND PERFORMANCE

Residency as a research ensemble in Goldsmiths’ College, London, from which it

» led research visits to India

» established the Commonwealth Theatre Laboratory in Bhopal

» ran intensive summer schools to deepen the knowledge of intercultural performance

Residency at Holborn Centre for Performing Arts, Camden

» Intercultural story-telling performances at Commonwealth Institute and for British Council tours of West

Africa and India

» Organised 2nd Commonwealth Theatre laboratory in Kingston, Jamaica

» Intercultural Arts Festival in London - Interface

Residency at City Lit, Camden

» Established Arts against Race Violence Strand

» Established Arts for Victims of Torture

» Established the Vidya slum theatre project in Ahmedabad India.

Established Office in The Brunswick Centre, Camden

» published the Theatre for Development Handbook

» produced There Ain’t No Black in The Union Jack festival at Hackney Empire

» was called to impart methodologies for work in trauma zones after the Indian Ocean Tsunami, Sri Lanka

» Established work practices for Refugee Project, Metis’Arte , in Lausanne, Switzerland

» Called to train facilitators after the effects of Cyclone Nargis in Myanmar

» Established strand of work with Female Survivors of Trafficking – Amies

» Training programme and conference in Geneva for Arts in Conflict, with International Committee of the Red

Cross - ICRC

» Training programmes in Pakistan and Sri Lanka for using arts in post conflict societies

» Workshop programmes in the Jungle refugee camp in Calais, France

» Launch Expansion programme taking Pan’s work to new towns and cities in the UK.

36

Appendix II: ‘SWOT’ analysis with pan’s boarD

STRENGTHS, WEAKNESSES, OPPORTUNITIES, THREATS (“SWOT”) ANALYSIS WITH PAN’S BOARD

Strengths Weaknesses

» A rich portfolio of arts for social change projects

working with deprived communities in London.

» 5 funded projects currently running.

» Artistic Director who is a respected, published

authority on theatre for development.

» A unique, proven, well practised method.

» Strong partnerships with London Borough of Camden

social organisations and arts organisations in London.

» Strong relations with international, NGO and cultural

and academic organisations.

» A strong team of creative, dynamic and experienced

artists who are passionate about the work of the

organisation and are excellent advocates for the work.

» A well-situated office-space in the heart of Russell

Square, in the borough of Camden, which has pockets

of high deprivation as well as wealthy residents and a

wide range of businesses.

» A rich portfolio of past funding from well-known and

respected Trust and Foundations.

» Good accounting records and expert support.

» An engaging, current website and presence on social

media sites.

» Sufficient money for strategic development.

» Holding an appropriate level of reserves.

» A board of trustees with a useful broad skills-base,

links to potential major donors, theatre professionals,

The Old Bailey, Human Rights lawyers and Health

professionals.

» Strong evaluation reports for our projects, that

illustrate the impact and continued need of our

projects.

» A voluntary Development Committee working to

expand our funding streams

» Local, public knowledge of our work is limited and

could be strengthened with awareness-raising events.

» Few individual or major corporate donors.

» A lack of unrestricted funds available for core costs.

» Staff capacity is at its limit and most work on a part-

paid/part-voluntary basis.

» Short term funding means no aspect of work is secure

for long. The process involves constant re- applications

and report writing – made more complex for Pan due

to the number of small projects with multiple funders.

» Government cuts and reforms mean there are

more people who could benefit from our work, but

less capacity for partner organisations to assist in

recruitment.

» Some other London organisations in a similar field

have larger resources for carrying out work - e.g. Mac

UK, Only Connect, Counterpoint Arts and BAC.

37

Opportunities Threats

» Funders and partner organisations are looking to

offer more support outside London. Our Expansion

Programme enables Pan to reach more people and

gain more recognition for the work.

» Pan has recently created and is developing an online

audience for podcast, blog, e-newsletter and future

fundraising campaigns.

» Our Development Committee increased the number

of patrons and supporters of Pan. Their networks have

potential to enhance Pan’s reach and support.

» Utilising our trustees’ links to widen the network of

supporters.

» Brexit has made the public aware of issues due to a

rise in hate crime.

» Other organisations (such as the British Council

internationally, Oxfam in Arezzo, Italy and the Medaille

Trust in the UK) recognise Pan’s expertise and look to

make partnerships.

» The current financial climate means all statutory

grants are limited and could be further reduced.

» Securing funding from Trusts and Foundations is

becoming increasingly competitive.

» Core Funding and General Running Costs are difficult

to raise, as several funders do not support core costs.

» Growth of Pan has put pressure on staff.

» Brexit has created insecurities in relation to working

with refugees and European partners and our staff

members who are EU nationals.

38

Appendix III: what makes Pan so effective?

IT’S THE PEOPLE.

We are tremendously lucky to have a team of committed, experienced and brilliant artists, managers and volunteers who

inspire our participants to be creative, own their ideas, be proud of their achievements and imagine new possibilities in

their lives.

Approximately half our artist-facilitators were originally participants in our groups and understand the lives and challenges

of our beneficiary-participants.

THE PEOPLE AT PAN

THE ARTIST-FACILITATORS:

Adwoa Dickson – Project Director Amies, Amies

Freedom & Alumnae Choirs

Annabel Rook – Project Director Amies, Future

Debora Mina – Project Director Future

John Martin – Project Director Fortune

Zephryn Taitte – Project Director Weapon of Choice

Anna Samant – Facilitator Amies Freedom & Alumnae

Choirs

Bruno Correia – Facilitator Weapon of Choice

Dean Douglas-Wood – Facilitator Weapon of Choice

Ehireme Omoaka – Facilitator Weapon of Choice

Emmanuel Alisigwe – Facilitator Weapon of Choice,

Fortune, Future

Shamuna Rahman – Facilitator Amies Alumnae Choir

Shanti Sarkar – Facilitator Future

Sheyda O’Rang – Facilitator Fortune

Mita Pujara – Evaluator

Imogen Flower – Evaluator

THE MANAGEMENT:

Sue Murray – Development Officer

John Martin – Artistic Director

Melanie Anouf – Project Manager

Elisia Braglia – Administration and Communication

THE TRUSTEES (SEE ABOVE FOR BIO DATA SUMMARIES, SECTION 9.2)

Susanna Rook – Chair

Heather Fokerd – Treasurer

Alison Meyric-Hughes

Bill Gutteridge

Brian St Louis

Jumoke Fashola

Riel Karmy-Jones

Sita Schutt

Taku Mukiwa

Timothy Moloney

Rigvi Ramnauth

Charlotte Minvielle

John Martin – Company Secretary

39

PAN’S VOLUNTEERS

PROJECT VOLUNTEERS

Betsy Robertson

Rhiannon Parry

Abu Ansari

Nell Guy

PROFESSIONAL VOLUNTEERS

Pan’s Development Committee:

Ehsan Momin

Fabiola Marin

John Wallace

Maya Mehta

Mythily Katsaris

Nicola Fenn

Rachel Schwartz

Samina Zahir

Penny Richardson

PAN’S ADVISORS:Chris Brown

Melissa Milgate

Gerald Lidstone

Murray Shanks

Dallas Troy

Martin Woodward

Jill Grinstead

Pan Intercultural Artswww.pan-arts.net • @pan1986

A: 32 O’Donnell Court, Brunswick Square, London WC1N 1NXT: +44 (0)20 7833 2111 | E: [email protected]

Registered Charity No. 295324 | Company No. 02051893

I was broken in pieces, now I

can stand on my own feet

business plan - pan intercultural arts · risk analysis 13 6. financial control, analysis and...

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