Proposal to the Royal Borough of Kensington and Chelsea

Notting Hill Carnival 2018

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CONTENTS

Executive Summary ............................................................................................ 1

Introduction ........................................................................................................ 2

Project Timeline and Milestones ......................................................................... 4

Governance, Finance and Legal ........................................................................... 5

Marketing and Communications ....................................................................... 10

Operations ........................................................................................................ 13

Community Engagement .................................................................................. 21

Development and Partnerships ......................................................................... 22

Conclusions ....................................................................................................... 23

Appendix A: Directors/Trustees ........................................................................ 24

Appendix B: Governance Code .......................................................................... 27

Appendix C: Governance Structure .................................................................... 28

Appendix D: Advisory Council ........................................................................... 29

Appendix E - Audited Account ........................................................................... 31

Appendix F- Timeline and Milestones ................................................................ 54

Appendix G - Community Engagement ............................................................. 55

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EXECUTIVE SUMMARY

This expression of interest is submitted by Carnival Village Trust in response to the notice regarding the Notting Hill Carnival 2018 issued by the Royal Borough of Kensington and Chelsea in December 2017.

In summary, Carnival Village Trust:

§ is an incorporated and registered charity;

§ is a National Portfolio Organisation (“NPO”) for carnival arts funded by the Arts Council England (“ACE”);

§ has a board of directors/trustees who have the confidence of key funders;

§ has a board of directors/trustees that reflect all of the Carnival Arts Arenas;

§ has demonstrated sound governance in the operation of the charity and its subsidiary company;

§ has a strong track record of working in partnership to deliver its charitable objectives;

§ has the infrastructure of two buildings, the Tabernacle and the Yaa Centre, to provide year round support to its operations;

§ has permanent staff employed throughout the year;

§ has an exemplary track record of engaging with and supporting local communities;

§ is transparent in the management of its finances, sharing details with funders and published full audited accounts each year;

§ is committed to working with key stakeholders at a strategic and operational level to secure a safe, secure and enjoyable festival and an exemplary street arts event; and

§ has the capacity, competence and determination to deliver as expected by any funding agreement.

“We see Carnival as a …. summer festival of street parades and fancy costumes (or not-so-fancy costumes); music from sound system black boxes – here and there a steel band perhaps. Crowds – controlled and routed of course. Judges. Disputed judges’ decisions and then the thing starts all over again. It’s a time of hustle and a time for the small man to make a bread. Or lose a bread.”

Dr Pat Bishop 1

1

Pat Bishop, The Globalisation of Carnival Culture and its impact on the Carnival Diasporic People Today, The Inaugural Claudia Jones Carnival Memorial Lecture, The Victoria & Albert Museum, Carnival Village Trust, London, Friday 2nd October 2009.

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INTRODUCTION

Carnival Village Trust (“CVT”) was incorporated as a company limited by guarantee in September 2007 and is registered in England number 06368610. It is a registered charity number 1125536. It currently has one wholly-owned charity trading subsidiary, TabernacleW11 Ltd, which is registered in England number 07506117.

In consideration of this expression of interest, it has incorporated a second wholly-owned charity subsidiary, Notting Hill Carnival Ltd, which is registered in England number 11138258.

The Trust and its subsidiaries operate as a Group and publish detailed audited Group accounts as required by the Charity Commission. A copy of our Group accounts is attached as Appendix E. Biographies of trustees, directors and senior staff are attached as Appendix A. Our organisational structure is attached as Appendix C. More details are provided elsewhere in this document.

CVT is London’s Carnival Development Agency (“CDA”), funded by the Royal Borough of Kensington and Chelsea (“RBKC”) and Arts Council England (“ACE”) to deliver an integrated programme of carnival arts in two venues: Tabernacle and the Yaa Centre.

For many years, these two venues have been central communal spaces for the operational co-ordination and artistic showcasing of the Notting Hill Carnival (“the Carnival”) and its artistic expressions as well as being the ‘home’, meeting place and registered addresses of the five carnival arts arenas and London Notting Hill Carnival Enterprises Trust (“LNHCET”). Both venues have a long engagement with local communities using its spaces to display, showcase, meet and participate.

Notting Hill Carnival is a standout event in London’s cultural calendar. It is the largest celebration of Caribbean culture in Europe, visited by over a million Londoners and tourists each year. Carnival makes a significant contribution to London’s economy and its status as a culturally diverse global city. It stands alongside other international festivals such as the New Orleans’ Mardi Gras, Brazil’s Rio carnival, Toronto’s Caribana and New York’s Labor Day parade. It has helped define London as open, inclusive and progressive.

Though not a pre-Lenten festival in London, the Carnival is a ‘Diasporic Carnival’ that has its acknowledged parentage from the carnival in Trinidad & Tobago. It is the re-fashioned, re-distributed and re-interpreted Trinidad carnival that has developed into a quintessentially British event with its own unique characteristics.

Carnival 2017 threw into sharp relief several issues of major importance, affecting all stakeholders and constituencies that can only be addressed by a root and branch change process. Levels of anger, distrust, frustration and dissatisfaction are high and many individuals and organisations have taken up combative positions on some of these issues, adding to the

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complexity and myriad challenges that will face any organisation entrusted with the management of the event or its artistic development in 2018 and beyond.

Against this challenging backdrop, CVT is willing to embrace this change process and draft, consult and implement its own sustainable model, artistic framework and operational plans for the 2018 Carnival and beyond.

CVT believes that it is uniquely positioned through its capability, track record, secure funding for its core work and its pivotal role within the local and Carnival communities to provide the necessary governance, professional and event management expertise and artistic leadership to refashion the Carnival into an exemplar of a cultural street event. It can deliver this through a clear artistic vision supported by detailed plans and sound management for each of the following five overarching functions:

§ governance, finance and legal;

§ marketing, communication and promotion;

§ operations;

§ community engagement; and

§ development and partnerships.

This document presents an indicative approach with selected examples. More comprehensive and detailed plans covering the five overarching functions of this expression of interest will be formulated with strategic partners should we be successful.

In defining this indicative approach, we have considered, amongst other things, the following:

§ Notting Hill Carnival - London Assembly, Police and Crime Committee, January 2017;

§ RBKC residents survey on Notting Hill Carnival 2017;

§ Report by the Head of Culture and Special Projects on Notting Hill Carnival 2017;

§ Discussions at the Public Realm Scrutiny Committee on 18 December 2017;

§ Reclaim Our Carnival (“ROC”) Community Assembly on 25 September 2017;

§ RBKC Residents’ meeting on 30 October 2017;

§ Personal briefings and consultations with ROC;

§ Discussions with local agencies, individuals, Carnival participants and bands;

§ Support from two Carnival Arts Arenas;

§ Discussions with directors of London Street Events Ltd;

§ Redacted Movement Strategies reports 2016 and 2017.

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PROJECT TIMELINE AND MILESTONES

We have set out elsewhere in this document details of key considerations to be taken into account when formulating a project timeline and appropriate milestones. Should we secure a funding agreement for the organisation and management of the Carnival we will use project management methodology to ensure that workstreams are identified, time constraints established and milestones set. We have the benefit of individuals with Prince 2 and Six Sigma project management qualifications and experience to ensure that we can rapidly develop a comprehensive project plan that assists the delivery of a safe and effective Carnival.

There are as ever assumptions that at this stage we have made in preparing a draft plan:

§ RBKC will confirm its decision about any funding agreement as set out in its timetable;

§ Other Strategic Partners will conclude agreements on the new funding arrangements for 2018; such agreements to be based on the level of funding provided in 2017 to support Carnival;

§ Strategic Partners will agree and abide by clear lines of accountability and responsibility;

§ Documentation will be provided to ensure a smooth handover from LNHCET;

§ Strategic Partners will cooperate fully with each other and CVT to achieve any agreed milestones.

A copy of our draft project plan incorporating timelines and milestones is attached as Appendix F. This has been developed on the basis of information available in the public domain and from our own experiences of Carnival organisation.

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GOVERNANCE, FINANCE AND LEGAL

Strategic overview of the event

Carnival encompasses the extremes of performance culture; not being a singular art form but an integrated framework for live performances in public spaces that are rooted in a diversity of art forms involving the human body, space and time through Music, Mas, Movement & Mayhem.

CVT sees Carnival as a free festival with complex influences & practices2 that attract a diverse mix of audiences and participants. Applied concurrently, these deceptively unrelated components irretrievably altered the form, aesthetics, demographics and performance of the Carnival, changing it from a cutting-edge creative crucible where heritage, innovation & excellence are celebrated to a market-driven, manufactured commodity performed as improvised bacchanalia and introspective performance.

What constitutes the event’s artistic expressions are often “a tawdry repetitive imitation of a feathers and beads Las Vegas showgirl, or …… a participant in a bland museum diorama of Africa, as lifeless and bloodless as a pictorial National Geographic tour….” (Peter Minshall)

What constitutes a successful Carnival is overcoming the Metropolitan Police Service (“MPS”) ‘tipping points’ of crowd density & serious criminality; public perception of terrorism; inclement weather and poor visibility to witness the performances.

CVT will challenge these perceptions with our signature messages that will define our overview of the event and champion our vision to support unity and artistic excellence:

§ Street Art NOT Street Party

§ Participate NOT Spectate

Qualifications of Directors

The trustees of CVT, directors of TabernacleW11 and key staff of the charity are detailed in Appendix A.

Ian Comfort and Alan Edwards are both lawyers with current practising certificates and have a good understanding of company and charity law. The Directors are able to demonstrate the

2 The popularity of soca, bashment & Zouk; the credit crunch and austerity; threats of terrorism; computer-aided design; complex & unprecedented operational challenges; the social network & digital marketing of participating groups; the making of costumes in ‘Camps’ being overtaken by made-to-order costumes; the popularity of synthetic fabrics, fishing rods, beads & feathers; the emergence of the entrepreneurial Band Leader; the attraction of ‘all-inclusive’ services on the road; the dominance of T-shirts & Fun/Dutty Mas & the fitness craze with Zumba & aerobics.

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exercise of their general duties as set out in sections 170-177 of the Companies Act 2016 (“the Act”) by:

§ Acting in the company's best interests, taking everything they think relevant into account before making any decision.

§ Abiding by the company's constitution (“Articles”) and decisions taken under it.

§ Being open and honest, and remembering that the company's property belongs to it and, as a charity, to its beneficiaries.

§ Being diligent, careful and well informed about the company's affairs using any special skills or experience available.

§ Ensuring that the company keeps records of its decisions through written reports and minutes.

§ Ensuring that its scheme of delegation is clear and remaining responsible for the work it gives to others.

§ Avoiding situations where conflicts of interest and/or loyalty arise and having in place a clear procedure for early disclosure of any potential conflict.

§ Seeking external advice where necessary and making best use of its external auditors and other professionals to assist it in managing its affairs.

Of particular importance to the trustees and directors is the need to foster the company's business relationships with funders, suppliers, customers and others, the impact of the company's operations on the community and the environment, and the desirability of the company maintaining a reputation for high standards of business conduct3.

Governance statement and structure

CVT believes that good governance in a charity is fundamental to its success. The foundation of good governance is rooted in compliance by trustees of their legal, fiduciary and regulatory responsibilities. CVT has adopted the Charity Governance Code published by the Charity Commission4. A summary is attached as Appendix B. The Code has proved useful in helping CVT trustees to be effective in their role and will be applied to the governing structure as detailed in Appendix C. This will ensure that the management of Carnival is robust and efficient, benefiting from being part of a more experienced and professional corporate entity and being underpinned by genuine engagement with communities, networks and participants.

3 Section 172 Companies Act 2006 4 https://www.charitygovernancecode.org/en

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In order to manage the particular risks associated with the Carnival, and in line with guidance issued by the Charity Commission, CVT has established a subsidiary company, Notting Hill Carnival Ltd (“NHC”), which will act as the legal vehicle for Carnival operations.

The Board of NHC will comprise three of CVT’s Trustees and two co-opted community members chosen, post-award of any funding agreement, following an open invitation for nominations or applications and selected by a nominations committee established by CVT.

The co-opted directors shall have the appropriate experience and expertise required of other directors and, all being equal, ensure representation by gender and age.

This Board will be supported by an Advisory Council (“the Council”) of up to eleven members, made up of Carnival arts representatives, community and cultural interests representatives, specialist advisers and a Sankofa Arena with an option to widen public engagement and participation by co-opting individuals or nominees whose experience and knowledge will maximise the diversity and capacity of the Board.

The composition and draft terms of reference for the Council are set out in Appendix D.

A skills audit will be undertaken of the appointees of the Council with a view to filling any gaps and to ensure a diverse and inclusive Council. On award of any funding agreement, CVT will launch a major publicity and media programme to announce the new arrangements for Carnival 2018 and to invite interest, nominations and applications for the various positions: paid, advisory and voluntary.

The NHC Board will also be supported by an Executive Board. This board will be the second tier for the management of Carnival, comprising senior members of staff employed by the CVT Group. Each member will have specific roles and responsibilities for the management of Carnival, some mirroring the Council’s designated representative and having overall oversight and lead responsibility for that constituency and that advisor.

Financial transparency

CVT shares its Group management accounts with its key funders and is transparent about its financial dealings. It files full audited accounts with both Companies House and the Charity

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Commission. The Group accounts incorporate the accounts of any subsidiary. The Directors do not agree with use of the small company exemption. A copy of the latest draft audited accounts for the Group are attached as Appendix E.

As an example of its transparency, in 2016, the trustees became concerned about financial irregularities. They engaged new accountants to investigate their concerns. As a result, a significant, sophisticated and systematic fraud was identified. The trustees immediately reported this fraud as a serious incident to the Charity Commission and also alerted key funders, including RBKC. The trustees kept the Commission and funders informed and worked with the police to ensure a prosecution. The trustees continue to work with authorities to recover the loss. Most of this loss was from TabernacleW11, which was set up to protect the charity, as far as possible, from any significant risks.

Budget Management

The CVT Board agrees a budget each year and monitors this through monthly management accounts. These are shared with key funders. Variances are addressed to ensure that end of year outturn is as planned. Staff are aware of income and expenditure budgets and take steps to achieve income targets and where necessary, cost reductions.

Financial plans for 2018 and beyond

At this stage, CVT is unable to provide a comprehensive breakdown of the budget needed to provide a financially sustainable Carnival for 2017 and that meets the agreed objectives including safety and artistic content. Initial research indicates that previous organisers have required around £1 million to provide operations, infrastructure, stewarding, event management, insurance, licences and communications. We will work with the Strategic Partners to agree the new funding arrangements for 2018 and to ensure that a detailed budget is in place by the end of February 2018.

For 2018, time is too short to enable a sponsorship and fund-raising strategy to have guaranteed impact. In these circumstances, CVT’s success in Carnival would be dependent on a guaranteed baseline funding similar to the level of public funding as was allocated to LNHCET and its associated contracts in 2017. We anticipate that public funding will be supplemented by sponsorship and grants from various bodies.

CVT has already had an indication that grant funding would be made available to employ a full time corporate fundraiser who will lead on securing significant sponsorship for Carnival. Our aim is that over a three-year period we would significantly reduce, if not remove, our ongoing need for public funding.

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Management of supplier and personnel contracts, including training programmes

Both CVT and its subsidiary TabernacleW11 Ltd, manage a significant number of supplier contracts. Tenders and competitive quotes are used to get the best mix of quality and cost. Contracts are monitored to ensure compliance and where necessary action is taken where suppliers are failing to deliver. The Group also engages staff both directly as employees and on contracts of service. It has in place appropriate personnel contracts and terms and conditions of service. The Group ensures that all individuals employed are required to undertake mandatory in-house training in aspects of health and safety management, equality and diversity, safeguarding, data protection and customer care.

Confirmation of feedback mechanisms

Over a number of years, CVT trustees and senior staff have met regularly with members and officers of RBKC in a Partnership Board. This has proved to be effective in managing relationships and providing feedback. CVT can confirm that it will ensure that similar effective feedback mechanisms are in place with the Strategic Partners Group (“SPG”) and Operational and Safety Planning Group (“OSPG”). These mechanisms need to be agreed by all partners and cannot be detailed in this document. CVT can also confirm that it will ensure attendance at all multi-agency operational meetings either through its staff, trustees or both.

Confirmation of lines of decision making throughout the year and assurance that the “on the day” structure and channels of liaison and communication are robust.

The governance structure set out in Appendix C provides for lines of decision making that will be in place throughout the year. A clear scheme of delegation will be in place alongside any terms of reference. CVT recognises that it is essential that there is an “on the day” structure and channels of liaison and communication that are agreed between all partners. CVT is keen to replicate the command structure adopted by the Metropolitan Police Service (“MPS”) and local authority and will agree how it will operate on the day with all key partners.

CVT can confirm that it will have staff, directors and trustees available on the day that are not encumbered by other commitments.

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MARKETING AND COMMUNICATIONS

Communications expertise and facilities

CVT benefits from having the Tabernacle, in RBKC, and the Yaa Centre, in the City of Westminster. Both operate throughout the year and have permanent staff. Members of staff regularly deal with enquiries regarding the Carnival, as the Tabernacle is the registered office of LNHCET, although they do not have a physical presence on site. Tabernacle benefits from a staffed reception to greet visitors and ensure that enquiries are dealt with efficiently and effectively.

The two venues have hosted meetings, seminars and conferences on Carnival and are currently used as a base by the five Carnival Arts Arenas5. CVT has websites for each of its venues, publishes newsletters, regular online updates and promotional material. It has established its own Carnival Radio and TV station, which came into operation in 2016 and regularly feature live feeds on Facebook.

CVT has communications expertise in-house. A recent successful funding application has enhanced this by enabling the employment of a member of staff responsible for digital media and marketing from the beginning of March 2018.

CVT does not underestimate the additional communications expertise and capacity required to be proactive and responsive to the media interest in Carnival. We have had preliminary discussions with Four Communications6, a leading independent, integrated communications agency, that has indicated that it can provide the comprehensive support that would be required. This includes stake-holder mapping and engagement strategy; year round press office and corporate communications; crisis management; government relations; messaging workshops for performers, participants and carnivalists; media partnerships; sponsorship strategies and media management as well as specialist publicity in culture, destination/travel, music, community/BAME/youth media.

How messages, information, and intent in planning to facilitate the event will be relayed in 2018

Extensive media interest and public scrutiny are anticipated with the public announcement of the new arrangements and governance for Carnival. CVT will initiate a comprehensive media

5 British Association of Steelbands (BAS), Association of Calypsonians UK (ABC/ACUK), British Association of Static Sound Systems (BASS), Carnival Arts and Masquerade Foundation(CAMF), Caribbean Music Association (CMA) 6 The agency has a track record in delivering campaigns on a community, London-wide, national, regional and international scale. With expertise in BAME community work, it is also in a position to deliver a comprehensive marketing campaign targeting key stakeholders including carnivalists, residents, non-carnivalists, local businesses and visitors.

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and publicity campaign to demonstrate its capability to deliver a safe, secure and artistically successful Carnival, highlighting the new features that will deliver this goal.

CVT’s community engagement and outreach strategy will underpin this campaign with special features to ensure that all messages, information and announcements reach their intended targets.

For each targeted constituency, CVT will develop a programme to reach out using digital and social media, assemblies, announcements and open days.

Sponsorship approach and plan

CVT’s goal is to make the Carnival increasingly less dependent on public funding under its stewardship. We have an early indication that grant funding would be made available to enable the employment of a full-time fundraiser who will lead on sponsor engagement. This will be supported by the sponsorship division of Four Communications PLC, which has a track record in securing sponsorship for cultural events. A development programme to achieve this will be produced that will include:

§ Being the corporate lead and co-ordinator to seek sponsorship and support in kind for the whole of Carnival.

§ Acting as the conduit for funding provided by the Arts Council England and other charitable bodies that contribute money to participate in Carnival.

§ Targeting corporate sponsors and donors for key standalone aspects of Carnival - Naming rights, Innovative Performances, Celebrations of 2018 Milestones and Anniversaries and Key strategic sites.

Internal communications with all bands, sound systems and Carnivalists

All communications and engagement with bands, sounds systems and Carnivalists will be direct and not through any intervening body. The existing Carnival Arts Arenas have a key role to play but will not have an automatic right to representation on the Council nor be the gatekeepers for engagement and participation in the Carnival or with CVT. All participants in Carnival will have direct access to the CVT staff employed to manage the event.

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A published strategy and plan for all Carnival Weekend public communications

CVT will develop and publish a comprehensive marketing and communications strategy and action plans to relay its messages, information and plans paying attention to a strategy for any issues arising during the three days of Carnival.

The strategy will ensure that our messages are received, understood and supported by the local community, performers, participants and the public. A major feature of this strategy is the promotion of a number of key ‘wins’; new features of the Carnival that will demonstrate the operational, cultural and political independence of the new organising body and sign post positive developments for the years ahead.

Our marketing strategy will include the updating of our comprehensive interactive website making it a user friendly, content laden website with multiple calls to action with a library of carnival arts information, details of the 2018 Carnival, links to sites of our creative partners, statutory agencies and performers. The website will have intermediate and pre-entry platforms that can be linked to those of our partners and stakeholders.

The strategy will specifically seek to:

§ influence the public messages

§ give assurances to all stakeholders

§ attract sponsors to the new beginning

§ inform about the benefits of the planned changes

§ provide regular updates, postings and media releases

§ respond promptly and appropriately to any emergencies.

Both venues managed by CVT will be central communal contact points for all related Carnival activities with the lead taken by the Tabernacle. The reception of the Tabernacle will act as the first port of call for handling enquiries and requests for information and, during Carnival, will house the operational and management centre for the three days of Carnival.

Board members and senior staff will be media trained and individuals designated as spokespersons and the voices of Carnival, accessible to the media throughout the year and specifically, 24 - 7, the three days of Carnival and for five days after.

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OPERATIONS

CVT notes that the planning assumption is that security and safety planning criteria remain the same as 2017 and that the operational issues and challenges identified in debriefs from Carnival 2017 are addressed, with a particular focus on the Carnival procession. We will ensure that the brief given to our staff or consultants will include the planning assumptions and the operational issues and challenges for the past three years.

Provide comprehensive event management

CVT is aware that much of the events management for Carnival 2017 was undertaken by London Street Events (“LSE”), funded by the Strategic Partners. CVT is also aware of the tension that appears to have developed between LSE and LNHCET; an apparent lack of accountability. For Carnival 2018 and beyond to be managed effectively, there must be clear lines of accountability in place. CVT will consider both the strengths and weaknesses of outsourcing aspects of event management as well as developing the capacity to deliver in-house through its own people.

Immediately after award of any funding agreement, CVT will initiate its operational planning for 2018 by:

§ Reviewing the security and safety planning criteria of 2017;

§ Identifying the operational issues and challenges in 2017;

§ Requesting unredacted copies of the Movement Strategies Reports of 2016 and 2017;

§ Convening meetings with leads on the OSPG;

§ Seeking hand over meetings with LNHCET and LSE;

§ Convening two Carnival Assemblies – Residents/Public and Carnival Participants - focusing on planned and aspirational features for 2018, operational issues and challenges.

In consultation with key stakeholders, CVT will the draft a comprehensive Event Management and Operational Plan (“the Plan”) for 2018, which will include:

§ lines of decision making;

§ method statements;

§ new features;

§ risk assessments and risk management approach;

§ insurance and licences;

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§ contingency planning;

§ “on the day” structure and channels of liaison; and

§ Event Liaison Team representation.

We note the current dates set for delivery of the Plan (9 February 2018) and for consideration by the OSPG (14 February 2018) and are concerned that these target dates leave little time after notification of funding agreement to work collaboratively to develop a comprehensive and meaningful plan. We would want to discuss this deadline with partners to see if it could be moved by a week or so in order that detailed work can be carried out. However, if this is not possible we will ensure delivery by the deadline. We will not hesitate in making radical changes where such reviews indicate the need for change.

Based on current challenges the Plan will target the processional route, entry and egress points, features for each day, stewarding and route marshalling, sound systems locations and presence on the days of Carnival, band and production support.

Over the years of its involvement in Carnival as a CDA, CVT has considered recurring issues that feature in the operational planning of Carnival and cited as challenges. These considerations will be developed into firstly, an aspirational proposal and if deemed to be worthy of further study, into a fully costed and planned proposal that would form an agenda item of the first Assemblies. As they demand substantial changes that many may not be prepared to consider, the proposal is to put all the aspirational proposals on the table to gauge the responses of all stakeholders and participants and to identify what can be implemented in the limited timescale for implementation.

CVT will develop:

§ The Judging Zone;

§ World Music Stage on Powis Square; and

§ Panorama on Emslie Horniman’s Pleasance.

However, the programming and management of all three will be reviewed so that they are integrated into CVT’s revised artistic focus of the Carnival 2018.

CVT will also review two features of Carnival - the Press Launch and the Opening Ceremony. These events have been embarrassments for the Carnival and in our planning, we will take active steps to professionalise them and invest them with sufficient status and quality to appeal to a world audience that befits a major street festival in Europe.

To tackle the contributory factors that could impact on the event being a safe and secure one as well as a showcase of the excellence in Carnival Arts, there are many changes that merit

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further discussions with participants. Options for reconfiguration of Carnival will be consulted on including:

§ Maintaining the traditional approach - keeping the current configuration and plans.

§ The designation of Sunday as Children’s Day with exclusive participation reserved for children and teenagers for part of the day or the whole day.

§ The designation of Monday as The Carnival Parade with exclusive participation of performing bands.

§ The division of Sunday into 3 event segments: J’Ouvert; Children’s Parade; Fun Mas and Static Sound Systems.

§ Making Sunday the exclusive day for Sound Systems and Monday exclusive day for Mas Bands only.

In addition, as artistic excellence should be one of the main criterion for eligibility to participate in Carnival we would want to ensure that:

§ Performing bands will be eligible to participate if they fulfil the criteria set by CVT.

§ Two criteria: past achievements and artistic quality.

§ Application will be by provision of proposals for performance along the route - plans, designs and presentation.

§ Selection will be by a desk top assessment of applications.

§ There will be a pre-judging of each’s participants progress as eligibility can be revoked if there is no evidence of artistic quality.

§ Artistic quality and performance will be judged.

§ A minimum score for excellence will be established.

§ Bands not achieving that score will lose their right to participate in the following year

§ CVT will review how cultural and artistic integrity of a performing group is determined.

With the greater emphasis on artistic quality as the main criterion for participation, CVT will seek sponsors to re-introduce features to recognise excellence, creativity and innovation in Mas, Music and Movement:

§ Participation/Development fees;

§ Prizes and Awards;

§ Pre-Carnival Gala;

§ Post-Carnival Award Ceremonies.

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How the Children's Day will be re-invigorated

CVT is fully aware of and understands the concerns about Carnival Sunday. In its current form, sadly, it cannot be referred to as Children’s Day. An urgent review will be made of how this day is used and how changes can lead to increased participation of children and young people. This review will focus on how each of the three elements of the day – J’Ouvert, Fun/Dutty Mas and Children’s Bands – impact on each other and the plans needed for ensuring the re-invigoration of Children’s Day.

CVT is also aware that decisions have been made by LNHCET for changes to be introduced in 2018 and these will be set aside so that a comprehensive engagement with all parties can be initiated and the issues re-visited.

However, CVT’s understanding is that:

§ Sunday’s activities, although including some children’s bands, has progressively become dominated by a celebration of Fun/Dutty Mas and T-shirts, where paint, powder, mud and chocolate have proved hugely popular with revellers but not with large sections of the local and Carnival community.

§ There is a plateauing of participation of children with most bands having no more than 20 children or less in costumes.

§ There is evidence of bands seeking to integrate both styles into their presentation but to the detriment of children and young people.

§ Children’s Mas must be elevated by celebrating achievements in design, participation and performance and generating greater subsidies in funding, sponsorship and expertise.

§ Improvements can be made by embracing good practice by some bands and making these practices more accessible to all bands.

CVT remains steadfast in its commitment to make Carnival Sunday a genuine platform for children and young people and will consult all parties on what can be introduced in 2018 to re-invigorate children’s participation.

CVT supports the delivery of the Cultural Educational Challenge and has developed a Carnival Education Partnership to bring Carnival organisations together to work within the quality principles for children and young people and reach the widest number of children and young people to participate in Carnival. CVT currently leads this Carnival Education Partnership, using its status as a leading voice in Carnival, to agree and implement programmes on how to invest in making the Children’s Carnival more accessible to children and young people; to produce a more consistent and culturally relevant offer from Carnival bands; to broker agreements on sharing expertise, production spaces and resources; to advise on safeguarding

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and to champion the promotion of excellence in the quality of Children’s costumes and performances.

CVT is also committed to embracing the Nurseries Carnival of the Children and Parent’s Carnival Association (“CAPCA”), which incorporates the junior panorama competition, as part of the programme of Carnival.

Co-ordination of the arenas to deliver a safer Carnival

CVT is aware of the current link between the Carnival Arts Arenas and LNHCET. That link has made it very difficult to engage with some Arenas who are loyal to LNHCET and oppose any change to the current arrangements. However, CVT provides significant funding for two Arenas, and as such has their support. CVT recognises the challenge of coordinating the Arenas, but is confident that through direct contact with participating bands and through its current contacts it will be able to move quickly to a new way of working that will ensure that the Arenas and their members contribute to the delivery of a safer Carnival.

A consistent presence throughout the year

CVT’s two venues remain open for 355 days of the year with closures only for Christmas. A consistent and skilled presence is guaranteed during the opening times of the venues and an unconditional commitment is given that skilled, experienced and fully briefed trustees, staff and volunteers will be present from the date of award of any funding agreement and certainly throughout February and March, when a significant amount of work needs to be undertaken.

To provide a detailed debrief statement post Carnival

CVT commits to providing a detailed debrief statement post Carnival. This statement will be informed by community engagement meetings held before and immediately after Carnival. We anticipate having a statement prepared and submitted by the end of September 2018, allowing time for informed consultation to take place.

Provision of stewarding plans

CVT is aware that stewarding is currently contracted out to the MacKenzie Arnold Group. As with event management, CVT will consider both the strengths and weaknesses of outsourcing aspects of stewarding as well as developing the capacity to deliver in-house through its own people. Community volunteering is key in the operational strategy of CVT. It will register with several agencies working with volunteers, the Mayor of London’s Team London, GLV, NCVO

pg. 18

and Volonteurope7 to recruit more volunteers and target local agencies, Job Centres and community organisations to encourage their members to volunteer.

In addition, CVT will identify good practice in the Carnival community and embrace it by promoting exemplars, certifying them and supporting bands to implement them into their own plans. This is similar to what CVT is able to offer Elimu Mas Academy by supporting their volunteer scheme, Mas Makers to attract volunteers wanting to assist in the planning and making of costumes and the production of performances.

This programme will be extended – Carnival Champions – to replicate the success of the Olympic Volunteer Scheme by encouraging more volunteering in Carnival, leading up to and during the event and targeting volunteers from local communities and deploying them in or near their areas of residence or with individual performing units.

CVT has the resources in place, as is demonstrated by this bid, to respond to apply in a timely manner for a grant to cover the cost and management of the stewarding contract.

An understanding of the Movement Strategies report 2016 and 2017 recommendations and all the actions arising

We have been able to access redacted copies of the Movement Strategies reports. We have the best understanding possible on the information provided of the recommendations and actions that need to be taken. We will be seeking unredacted copies of the reports should we secure a funding agreement.

Review Sound System locations in light of the new licensing policy in RBKC

CVT has a good understanding of the new licensing policy in RBKC and the implications for numbers gathering at sound systems particularly where they are close together. CVT is committed to working with the static sound systems and RBKC to review sound system locations to ensure compliance with licensing regulations, reflect changes agreed from our various reviews and introduction of new features for 2018, including the reinvigoration of Children’s Day.

Review stewarding at Sound Systems and of bands

CVT is aware of the RBKC licensing requirements for stewards at sound systems and in particular the requirement that:

7 https://volonteurope.eu/our-work/

pg. 19

§ where anyone at the event is carrying out a security function they shall be licensed by the Security Industry Authority; and

§ where stewards are being provided, the Police should be satisfied that staff are suitably trained and experienced in maintaining crowd control at the Carnival, by having agreed procedures with the Police, in advance.

CVT will work with the static sound systems and RBKC to review stewarding arrangements to ensure compliance with licensing regulations.

CVT will also review the stewarding of bands as part of its general review of stewarding and preparation of stewarding plans.

Full review of procession route and access points

CVT will engage with the Strategic Partners, MPS and Carnivalists to undertake a full review of the procession route and access points with the aim of improving safety, reinvigorating Children’s Day, improving audience reach and engagement, facilitating suitable performance spaces for performers and, as far as possible, unclogging the route.

Bands and Route Support

As has been previously mentioned, CVT is committed to ensuring that there are clear lines of communication and accountability for Carnival. To achieve this, it will:

§ manage the administration of all bands;

§ manage float passes including the co-ordination and provision of information requested by the police and any timescales stipulated;

§ manage and carry out health and safety briefings to all bands;

§ co-ordinate band liaison -including on the day contact details for contactable person(s), text messaging and GPS tracking functioning; and

§ document and agree diversion and contingency routes and demonstrate how these affect Carnival management and local impact on the day.

CVT has the infrastructure to be able to effectively and economically administer this support.

Production support

CVT will provide a base and support for each of the Arenas. If required, it is able to provide administration support for sound systems, including attending BASS meetings and producing

pg. 20

plans for sound systems. CVT will work with each of the Arenas to see how best they can develop their own capacity to be more effective as a coordinating body.

CVT will review the infrastructure for Carnival and in particular the structures such as the judging zone and stages on the footprint. These will be signed off by a qualified health and safety officer appointed by CVT.

CVT will review the on-the-day communications and see how best to provide reliable systems and devices that assure effective internal and external sharing of information. CVT has already approached Google to see how it might support with technological expertise.

pg. 21

COMMUNITY ENGAGEMENT

CVT has adopted the National Standards for Community Engagement agreed by the Scottish Government8 as the basis of good practice in engagement for Carnival. A draft Community Engagement Plan is provided as Appendix G. CVT is committed to formulating any plan with stakeholders and agreeing such plan with Strategic Partners. As such, it can only at this stage provide details of its overarching principles and strategy for engagement along with an indication of the type of engagement processes it will use. If successful with its expression of interest, CVT would wish to progress immediately to developing a plan for 2018 and having it published by the end of February 2018.

8 http://www.voicescotland.org.uk

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DEVELOPMENT AND PARTNERSHIPS

To demonstrate efforts to raise further support in kind and cash for 2018 (excluding the public agencies) and forward plans explaining how opportunities for 2019 and beyond will be maximised

We have addressed elsewhere in this document our funding strategy for 2018 and beyond and our approach to sponsorship.

CVT anticipates that with this new beginning, it will be able to generate interest among businesses, organisations and partners willing to support the changes being introduced.

Supported by a full-time fundraiser, a special programme of commercial and public engagement will be developed to maximise and build on this initial interest.

We envisage that some key features will include:

§ A promotion in 2018 – London is the Place for me – marking the 70th anniversary of the docking of the Empire Windrush and celebrating London as the Global City that stages THE Carnival.

§ Celebrities and local businesses signing up/Special T-shirts to support Carnival – I am Supporting Carnival.

§ Encouraging local artists to decorate and brand the route with their unique creations.

§ Funding/Charitable support to subsidise the participation of children and young persons

§ Support in kind for each novel feature being introduced in 2018, e.g. certified private toilet sites/vehicle tracking devices or to target key responsibilities e.g. pro bono specialist and technical advice and guidance.

pg. 23

CONCLUSIONS

CVT fully embraces three aspirational goals for the Carnival:

§ developing a sustainable model;

§ creating an artistic framework; and

§ devising operational plans.

These goals are underpinned by a vision to make the Carnival:

§ a safe, secure and enjoyable festival;

§ less dependent on public funding;

§ professionally and efficiently managed;

§ an exemplary street arts event; and

§ a showcase of artistic excellence in Carnival Arts.

If CVT secures a funding agreement to manage the Carnival, plans with goals, indicators, timelines and actions will be drafted to achieve these aspirations and vision. These plans will be refined through a robust, timely and inclusive engagement with all interested parties and relevant agencies.

CVT does not underestimate the challenges it will face in initiating the changes necessary to achieve these goals and vision but remains confident that they can be realised and buy-in can be achieved from a majority of stakeholders and participants.

In preparing this bid, CVT consulted a range of voices; some opposing, others sceptical and quite a few supportive and excited by what is possible.

CVT believes that no one is better placed to deliver this very challenging agenda, produce a successful event that will change the public perception of the event and nurture more positive responses from residents and local agencies.

Ian Comfort

Chair

Carnival Village Trust

18 January 2018

pg. 24

APPENDIX A: DIRECTORS/TRUSTEES

Ian Comfort (Chair) (CVT/TW11)

Ian has extensive experience of working as a chief officer for local authorities and academy trusts including a number of years as Director of Community Education for the Royal Borough of Kensington & Chelsea. In his role as Group Chief Executive of a large academy trust he was responsible, as a Government Accounting Officer, for an annual turnover of £300 million. In addition to his career in education, Ian is a barrister and currently chairs a number of regulatory tribunals. Ian has been involved in Carnival since 1980 and in addition to chairing the Carnival Village Trust, he has been chair of the Ebony Steelband Trust since 2003. His other board roles include executive chair of Cognus Ltd, an education services company and trustee and vice-chair of the Middlesex Learning Partnership.

Imani Douglas-Walker (CVT)

Recognising the importance of stronger resilient communities, Imani’s NED experience spans across housing, philanthropy, social regeneration, people and diversity and community engagement. Chair of a £3.8m philanthropic foundation, Genesis Community, Imani oversees the strategic remit to disperse grants within communities investing in organisations and individuals to develop capacity building skills to reduce poverty and increase entrepreneurial and employment opportunities for sustainable resilient communities and neighbours. Working as a freelancer, Imani has worked supporting hard to reach marginalised groups either educationally, socially and economically to rebuild their lives and advance within adverse times.

Alan Edwards (CVT/TW11)

Alan is a partner in Russell-Cooke LLP (a top 100 legal firm). Until 1 September 2015 he was the founding and senior partner of Alan Edwards & Co until his firm merged with Russell Cooke. Alan is a director of Mangrove Community Y2K Ltd which is the company under which the Mangrove Steel Band operates. Alan chaired the Project Board which oversaw the successful development of the Yaa Centre as part of Carnival Village, which was delivered on budget and on time. Until December 2017, Alan had been a trustee of the Paddington Development Trust for many years and remains its legal adviser. Alan has been a board member of Kensington and Chelsea College ending his appointment in 2012 in the capacity of vice-chair. Alan sat on the Project Board which steered through the development and completion of the new Kensington and Chelsea College building in Hortensia Street. He was also one of the founding trustees of Action for Victims of Medical Accidents.

pg. 25

Mary Genis (CVT)

Mary has an impressive record of achievements and pioneering work in the arts that will enrich and widen the governance of the Carnival. She coordinated the One World Stage at WOMAD Reading for seven years from 1997 to 2003 and worked as the UK Cultural Olympiad Launch Co-ordinator. Mary’s other non-executive roles include previous roles as a board member for South Hill Park Arts Centre and Readipop music projects and current roles as a governor for Theale Primary CE School, chair of black mentoring charity Reading Refocus, trustee for the Jelly art group and a member of the Consortium Programme Board for the Museums Partnership Reading (ACE NPO). In 2017, she was awarded a Hall of Fame Lifetime Achievement Award from the British Association of Steelbands.

Tara Hobson (CVT staff)

Tara is the senior member of staff (Director) of CVT. She has over 20 years of global venue and event management experience working on large scale events such as British Summertime in Hyde Park, Wireless Festival and 8 years as an Event Manager at Earls Court. Tara also held the post of Filming & Events Manager at RBKC in 2012 with the focus of that position on the operational responsibilities of RBKC to facilitate Notting Hill Carnival. She has built strong and effective working relationships with key stakeholders such as Arts Council England, government agencies, Carnival bands and local authorities. Tara is qualified in health and safety management and holds the National Examination Board qualification in Occupational Safety and Health (NEBOSH).

Vincent John (CVT)

Vincent John is the Director of Procurement & Business Services at the University of Greenwich overseeing an annual budget of £35 million and the lead for the Procurement Shared Services network for the University of Greenwich, Trinity Laban University, Royal Borough of Greenwich, Greenwich Foundation for the Royal Naval College, Royal Parks and Royal Museums Greenwich. He is active in the third sector as director and trustee of several community organisations including Carnival-related posts as chairman, the Association of Calypsonians UK Ltd and trustee of Carnival Arts & Masquerade Foundation (CAMF).

Matthew Phillip (TW11 staff)

Matthew is the senior member of staff (Director) for Tabernacle TW11 He has a well-deserved reputation in the Carnival community as the inheritor of his father’s iconic mantle, an accomplished musician and a respected pioneer and leader in the development of Carnival in its myriad features and forms – artistic and operational. Significantly, he has brokered solid inter-generational relations among Carnivalists and practitioners and can build on this to drive the development of Carnival 2018 to greater and more inclusive heights.His notable successes include his development skills in attracting corporate and blue chip companies into Carnival

pg. 26

(Red Bull, Bloomberg News, One Tel); facilitating performances by the best of Carnival Arts (The Mighty Sparrow, David Rudder , Ella Andel, Andy Narell); promoting the art of pan in Glasgow, Mauritius and Reading and steering the development of Mangrove Steel Band to several musical accolades. His managerial skills are best exemplified by his success in increasing the profitability of the Tabernacle and making the venue a place of first choice for the local and Carnival communities.

Peter Richnell (TW11)

Peter owned and ran two very busy London gastropubs - The Havelock Tavern in W14 and The Earl Spencer in SW18 between 1996 and 2012 garnering great reviews and accolades with The Earl Spencer being awarded the Evening Standard Pub of The Year in 2004. Both pubs had turnovers just in excess of £1m annually at their peak and so required considerably more staffing and logistical management than the average. His hands-on style allowed him to be on top of the day to day running and created great loyalty from his staff. In an industry where it is largely unusual to see the same faces serving in the bar/restaurant and cooking in the kitchen from one years end to the next, this is noteworthy. He became adept at handling short-term, unexpected problems such as staffing issues when people were unable to work and key equipment failure. He also cultivated cordial relations with his suppliers of both goods and services who in turn could be relied on to help the smooth running of the businesses with prompt repairs to equipment and additional unscheduled deliveries. Needless to say, good customer relations were also of paramount importance.

Ansel Wong (CVT/TW11)

Ansel’s wide-ranging career has given him experience of working at the most senior levels through public and charitable sectors, including public appointments and senior management positions: Principal Race Relations Advisor to the GLC, chair of the Brent and Harrow Health Authority, Community Assessor to the Metropolitan Police Service, Deputy Education Officer of the London Borough of Lambeth and Company Secretary for Savile Row Academy. He has written and lectured widely on Carnival plus serving on several organisations involved in Carnival: band leader since 1980, mentor to over 10 Carnival bands, chair of the Notting Hill Carnival Trust & Interim Executive Committee member of ROC.

pg. 27

APPENDIX B: GOVERNANCE CODE

1. Organisational purpose

The board is clear about the charity’s aims and ensures that these are being delivered effectively and sustainably.

2. Leadership

Every charity is led by an effective board that provides strategic leadership in line with the charity’s aims and values.

3. Integrity

The board acts with integrity, adopting values and creating a culture which help achieve the organisation’s charitable purposes. The board is aware of the importance of the public’s confidence and trust in charities, and trustees undertake their duties accordingly.

4. Decision-making, risk and control

The board makes sure that its decision-making processes are informed, rigorous and timely and that effective delegation, control and risk assessment and management systems are set up and monitored.

5. Board effectiveness

The board works as an effective team, using the appropriate balance of skills, experience, backgrounds and knowledge to make informed decisions.

6. Diversity

The board’s approach to diversity supports its effectiveness, leadership and decision-making.

7. Openness and accountability

The board leads the organisation in being transparent and accountable. The charity is open in its work, unless there is good reason for it not to be.

pg. 28

APPENDIX C: GOVERNANCE STRUCTURE

CarnivalVillageTrust

TabernacleTW11Ltd

NottingHillCarnivalLtd

AdvisoryCouncil

RiskandSafetyCommittee

OperationsCommittee

FinanceCommittee

ExecutiveTeamCarnivalVillage

Group

StrategicPartnersGroup

multi-agencyfmeetings

OperationalandSafetyPlanning

Group

pg. 29

APPENDIX D: ADVISORY COUNCIL

The Advisory Council will comprise of up to eleven members made up of representatives of:

§ Carnival Arts (4);

§ Local and Carnival Community (2);

§ Skills and Specialisms (2); and

§ Pioneers (1)

CVT is committed to encouraging and promoting diversity within this Council. It is mindful that new leaders need to be identified and developed within the Carnival community. With this in mind, the Council can co-opt up to three individuals or nominees whose experience and knowledge will maximise the diversity and capability of the Council. Alongside this, CVT will encourage all who are nominating representatives to the Council to consider identifying and putting forward new leaders who can make a strong and informed contribution to the Carnival.

The Council can also invite anyone to its meetings who has a specific skill, knowledge or experience for specific agenda items.

The membership of this Council will be agreed soon after the award of any funding agreement.

Nominees and appointees need to demonstrate an engagement, knowledge and expertise of Carnival as art and/or event.

Four Carnival Art forms - Mas, Calypso, Sound Systems & Steel bands – will be targeted from which the four representatives of Carnival Arts will be selected.

Invitations and nominations will be invited to select two individual advisors to represent the local and Carnival communities.

Two Specialist Advisors will be identified to fill any gaps in knowledge and expertise or to ensure adequate professional coverage of key functions of the governance of the Carnival.

The representative of Carnival’s pioneers and previous personnel will form a fifth constituency that CVT will convene and service. This will target a new community of interest –Sankofa9 - made up of former Carnival activists, participants and directors; maintaining operational, experiential and cultural continuity and benefitting from their experiences and expertise.

Each representative of these five constituencies will be selected to sit, initially, for one year with an option of renewal for three years.

For each representative, selection will be made according to role descriptors and selection criteria.

9 The Sankofa Bird: Remembering our past, to protect our future

pg. 30

The specific Terms of Reference of the Council are to advise the Carnival Board on:

§ The artistic, financial and operational management of Carnival.

§ Proposals for a secure, safe and sustainable model, operational plans and an artistic framework for Carnival.

§ Compliance with all regulations -statutory, advisory & good practice.

§ Due diligence and financial transparency.

§ Management of supplier and personnel contracts, including training/induction and professional development programmes.

§ Development and delivery of all policies and practices, including equality, diversity & inclusion, safeguarding, health & safety and sustainability.

§ The steps needed to optimise the support and facilitation from sponsors, regulatory and public authorities.

§ Regular and structured opportunities to foster and maintain public and stakeholder engagement with everyone involved in or affected by Carnival.

§ Contributing to regular reviews, evaluations and developments.

pg. 31

APPENDIX E - AUDITED ACCOUNT

DRAFT

Registered number: 06368610Charity number: 1125536

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CARNIVAL VILLAGE TRUST

Trustees' report and financial statements

For the Year Ended 31 March 2017

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Contents

Page

Reference and administrative details of the charity, its trustees and advisers 1

Trustees' report 2 - 5

Independent auditors' report 6 - 7

Consolidated statement of financial activities 8

Consolidated balance sheet 9

Company balance sheet 10

Consolidated statement of cash flows 11

Notes to the financial statements 12 - 22

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Reference and administrative details of the company, its trustees and advisersFor the Year Ended 31 March 2017

Trustees Mr I ComfortMs M GenisMr A WongMs I Walker-DouglasMr J Shabbaz (resigned 15 December 2015)Mr A EdwardsMr Vincent M JohnMs Genevive Stevens (appointed 1 June 2016, resigned 26 January 2017)

Company registered number

06368610

Charity registered number

1125536

Registered office

34-35 Powis Square, London, W11 2AY

Chief executive officer

Tara Hobson

Independent auditors

Williams Giles Limited, 12 Conqueror Court, Sittingbourne, Kent, ME10 5BH

Bankers

CAF Bank Ltd, 25 Kings Hill, West Malling, Kent, ME19 4JQ

Metro Bank, Unit 3, Fulham Broadway Retail Centre, SW16 1BW

Barclays Bank, 75 Kings Street, Hammersmith, London, W6 9HY

Page 1

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Trustees' reportFor the Year Ended 31 March 2017

The Trustees present their annual report together with the audited financial statements of for the year 1 April2016 to 31 March 2017. The Trustees confirm that the Annual Report and financial statements of the companycomply with the current statutory requirements, the requirements of the company's governing document and theprovisions of the Statement of Recommended Practice (SORP), applicable to charities preparing their accountsin accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102)(effective 1 January 2015) as amended by Update Bulletin 1 (effective 1 January 2015).

Since the company and the group qualifies as small under section 383, the strategic report required of mediumand large companies under The Companies Act 2006 (Strategic Report and Director's Report) Regulations 2013is not required.

Objectives and Activities

a. Charity Objects

The objects of the Trust as set out in its governing document are to advance the Arts to the benefit of the publicby but not limited to providing arts and community venues to facilitate activities such as but not limited to,Carnival Arts and combined arts to include dance, theatre, music, exhibitions, workshops and classes.

b. Charity Aims

The Trustees have complied with their duty in respect of section 4 of the 2006 Charities Act to have due regardsto guidance published by the Charity Commission on public benefit. The charity currently provides direct accessto the arts both within the local community and for audiences at the Tabernacle and Yaa Centre. Among others,the following are the main aims delivered by the Trust during this period, all linked to public benefit:

1. To operate and manage two vibrant, inclusive venues: the Tabernacle and the Yaa Centre. 2. Work with its partners and other carnival artists and organisations to deliver a variety of Carnival Arts

based activities 3. Provide annual grants to support the work of the Association of Calypsonians UK (ACUK), Ebony

Steelband Trust, Mangrove Community Y2K, and British Association of Steelbands 4. Promote and host an eclectic programme of Carnival Arts, arts events in dance, music, film, theatre,

exhibitions, workshops and classes 5. Promote and host a series of arts based workshops6. Promote the space for hire to statutory, community and private organisations7. Liaise with other cultural organisations on the delivery of collaborative artistic events and activities 8. Provide space to users on a hire basis thus ensuring the financial viability of the trust.

Page 2

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Trustees' report (continued)For the Year Ended 31 March 2017

Achievements and performance

Carnival Village manages two buildings, the Tabernacle (a multidisciplinary arts centre) and the Yaa Centre (acarnival arts development centre). It hosts two steel band organisations (Mangrove and Ebony) and theAssociation of Calypsonians UK (ACUK). The Trust grant aids the British Association of Steel Bands (BASS).

The Tabernacle runs a mixed programme including commercial and non-commercial music, dance, theatre,workshops and classes. They support the charity by hosting carnival arts events though out the year. The Trust not only supported the delivery of the artistic programme of the partners but also delivered a variedcarnival arts programme. Included in this programme are: • Continued support to of the Carnival Pioneers Day in partnership with Westway Trust. A family day

celebrating the contribution of Carnival pioneers to Notting Hill Carnival.

• In partnership with Elimu Mas Academy curating a series of free Carnival Arts workshops at the Yaa Centre, from large scale Mas making, traditional wire bending to learning how to walk on stilts like the Moko Jumbie. Giving carnivlists and none carnivlists the opportunity to hone an existing skill or lean a newone.

• The Trust continues to support its partners, Mangrove Steelband, UKCA and Ebony Steelband not only with funding but also with office and practice space. For the 3rd year running Ebony won the UK Panorama Championships with Mangrove in second place.

• The Trust supports the wider carnival sector by offering up its spaces at a greatly reduced hire rate for band launches, exhibitions and photo shoots. Carnival Village Trust continued to deliver a rich mix in its programme of arts and culture work (performances, training, education and exhibition).

Financial review

a. Going concern

The Trust's core funding for the next four 4 years has been, as with all National Portfolio Organisations (“NPO’s”)under review from the Arts Council England (“ACE”). The Trust submitted the funding bid for 2018 – 2022 andwas successful in this bid where many other NPO’s in the carnival sector were not so fortunate.

ACE remains committed in its support of the Trust's work at Carnival Village, as does the Royal Borough ofKensington and Chelsea (RBKC) with its support of the Trust and the Tabernacle.

The Trustees were pleased to see that their focus on streamlining the operation of the trading subsidiary,Tabernacle TW11 Limited resulted in a profit for this company.

In October 2016, the Trust reviewed its structure and appointed external accountants, William Giles, to managethe Trust and TW11’s finances.

The group deficit on unrestricted funds for the year to 31st March 2017 totalled £335,936. TW11 made a profit of£13,407 before gifting this as a charitable donation to the Trust. The group net current liabilities as at 31st March2017 totalled £277,303.

The Trustees anticipate that regular reviews of its operational and strategic plans coupled with a strengthening ofthe senior management team and the implementation of increased cost control measures over the running andmaintenance of the Tabernacle and Yaa Centre buildings should allow it to turn its deficit position around in thenext financial year. Focus for 2017 onward will be maximising programming and also generating income at theYaa Centre.

The Trust monitors its cash flows very carefully and has prepared projections, which show that the Trust willcontinue to have sufficient resources to meet its liabilities as they fall due over the next twelve months. However,this is dependent upon its meeting its financial projections and to sustaining and increasing expected levels ofoperational income through hire, catering and other income streams from its buildings. The Trustees believe that having considered the matters above it is appropriate for the financial statements to beprepared on a going concern basis.

Page 3

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Trustees' report (continued)For the Year Ended 31 March 2017

Structure, governance and management

Carnival Village Trust (“the Trust”) is a company limited by guarantee and a registered charity. It is governed byits Memorandum and Articles of Association (“the Articles”).

The Trustees of the Trust who have indicated in writing their willingness to become a Member of the Trust shallbe the only Members of the Trust.

The following organisations (who are founding members) each have the right to appoint one Trustee known as aNominee Trustee: Association of Calypsonians UK (formally known as Association of British Calypsonians, ABC) Ebony Steelband Trust Mangrove Community Y2KYaa Asantewaa Arts and Community Centre

The minimum number of Trustees is four. Any person who is willing to act as a Trustee and is permitted by lawand the Articles to do so, may be appointed to be a Trustee by ordinary resolution or a decision of the majority ofTrustees.

Currently the Board comprises six Trustees.The Trustees have received legal and financial advice throughout the year that supports their statutory andaccountable responsibilities. The Board meets every third month in order to receive the management accountsand update from the Trust Director on current, past and future activities.

Trustees are not entitled to receive any payments of money or other material benefit from the Trust except inreasonable out-of-pocket expenses or any liabilities.

Trading subsidiaryThe Trust is the sole shareholder of TabernacleW11 Limited (“TW11”), a limited company set up by the Trust tomanage its trading activities. TW11 Limited continues to manage the Tabernacle, including the provision ofcatering, food and beverage services. All profits from TW11 are gift aided to the Trust to support its charitableobjects.

Location and activity The Trust holds two separate long-term leases; a twenty-year lease from the Royal Borough of Kensington andChelsea (RBKC) with waived rent on the Tabernacle and a thirty-year lease from the City of Westminster atpeppercorn rent on the Yaa Centre, formally known at the Yaa Asantewaa Community Arts Centre.

Risk The organisation reviews the risks it faces on a regular basis and takes steps to mitigate these as far as ispractical. The current risk is the result of fraud committed against the Trust and TW11 by a former employee. This hasresulted in under payments to HMRC of £216,417 at 31 March 2017 for which a payment plan with HMRC iscurrently being negotiated. The profitable trading of TW11 and the increase of income generation at the YaaCentre will enable any payment plan set by HMRC to be viable in the agreed time frame. The Trust has taken measures to migrate the risk of this occurring again by appointing new external accountantsand auditors thus separating responsibilities and enhancing financial monitoring.

Plans for future periods

In the forthcoming year, the Trust will pursue the following aims: • To promote, deliver and support excellence in Carnival Arts • Ensure strong governance, leadership and accountability• To engage with artists, artisans and organisations for the development of Carnival Arts • To operate and manage two vibrant, inclusive venues. The Tabernacle and the Yaa Centre. • To ensure financial stability and viability for the Trust.

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Trustees' report (continued)For the Year Ended 31 March 2017

Trustees' responsibilities statement

The Trustees (who are also directors of Carnival Village Trust for the purposes of company law) are responsiblefor preparing the Trustees' report and the financial statements in accordance with applicable law and UnitedKingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).

Company law requires the Trustees to prepare financial statements for each financial year. Under company lawthe Trustees must not approve the financial statements unless they are satisfied that they give a true and fairview of the state of affairs of the charitable company and the group and of the incoming resources andapplication of resources, including the income and expenditure, of the charitable group for that period. Inpreparing these financial statements, the Trustees are required to:! select suitable accounting policies and then apply them consistently;! observe the methods and principles in the Charities SORP;! make judgments and accounting estimates that are reasonable and prudent;! prepare the financial statements on the going concern basis unless it is inappropriate to presume that the

charitable group will continue in operation.

The Trustees are responsible for keeping adequate accounting records that are sufficient to show and explainthe charitable company and the group's transactions and disclose with reasonable accuracy at any time thefinancial position of the charitable group and enable them to ensure that the financial statements comply with theCompanies Act 2006. They are also responsible for safeguarding the assets of the charitable company and thegroup and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.

Disclosure of information to auditors

Each of the persons who are Trustees at the time when this Trustees' report is approved has confirmed that:! so far as that Trustee is aware, there is no relevant audit information of which the charitable group's

auditors are unaware, and! that Trustee has taken all the steps that ought to have been taken as a Trustee in order to be aware of

any relevant audit information and to establish that the charitable group's auditors are aware of thatinformation.

This report was approved by the Trustees, on and signed on their behalf by:

Mr I ComfortChair

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Independent auditors' report to the members of Carnival Village Trust

We have audited the financial statements of Carnival Village Trust for the year ended 31 March 2017 set out onpages 8 to 22. The financial reporting framework that has been applied in their preparation is applicable law andUnited Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).

This report is made solely to the charitable company's members, as a body, in accordance with Chapter 3 of Part16 of the Companies Act 2006, section 151 of the Charities Act 2011 and regulations made under section 154 ofthat Act. Our audit work has been undertaken so that we might state to the charitable company's members thosematters we are required to state to them in an Auditors' report and for no other purpose. To the fullest extentpermitted by law, we do not accept or assume responsibility to anyone other than the charitable company and itsmembers, as a body, for our audit work, for this report, or for the opinion we have formed.

Respective responsibilities of Trustees and auditors

As explained more fully in the Trustees' responsibilities statement, the Trustees (who are also the directors of thecharitable company for the purposes of company law) are responsible for the preparation of the financialstatements and for being satisfied that they give a true and fair view.

We have been appointed as auditors under the Companies Act 2006 and section 151 of the Charities Act 2011and report to you in accordance with those Acts. Our responsibility is to audit and express an opinion on thefinancial statements in accordance with applicable law and International Standards on Auditing (UK and Ireland).Those standards require us to comply with the Auditing Practices Board's Ethical Standards for Auditors.

Scope of the audit of the financial statements

An audit involves obtaining evidence about the amounts and disclosures in the financial statements sufficient togive reasonable assurance that the financial statements are free from material misstatement, whether caused byfraud or error. This includes an assessment of: whether the accounting policies are appropriate to the group'sand the parent company's circumstances and have been consistently applied and adequately disclosed; thereasonableness of significant accounting estimates made by the Trustees; and the overall presentation of thefinancial statements. In addition, we read all the financial and non-financial information in the Trustees' report toidentify material inconsistencies with the audited financial statements and to identify any information that isapparently materially incorrect based on, or materially inconsistent with, the knowledge acquired by us in thecourse of performing the audit. If we become aware of any apparent material misstatements or inconsistencieswe consider the implications for our report.

Opinion on financial statements

In our opinion the financial statements:! give a true and fair view of the state of the charitable company's affairs as at 31 March 2017 and of the

group's incoming resources and application of resources, including its income and expenditure, for theyear then ended;

! have been properly prepared in accordance with United Kingdom Generally Accepted AccountingPractice; and

! have been prepared in accordance with the requirements of the Companies Act 2006 and the CharitiesAct 2011.

Opinion on other matter prescribed by the Companies Act 2006

In our opinion, based on the work undertaken in the course of the audit, the information given in the Trustees'report for the financial year for which the financial statements are prepared is consistent with those financialstatements and such reports have been prepared in accordance with applicable legal requirements.

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DRAFT

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Independent auditors' report to the members of Carnival Village Trust

Matters on which we are required to report by exception

In the light of our knowledge and understanding of the group and the parent company and its environmentobtained in the course of the audit, we have not identified material misstatements in the Trustee's Report.

We have nothing to report in respect of the following matters where the Companies Act 2006 and the CharitiesAct 2011 requires us to report to you if, in our opinion: ! the parent charitable company has not kept adequate and sufficient accounting records, or returns

adequate for our audit have not been received from branches not visited by us; or ! the parent charitable company financial statements are not in agreement with the accounting records and

returns; or! certain disclosures of trustees' remuneration specified by law are not made; or ! we have not received all the information and explanations we require for our audit; or! the Trustees were not entitled to take advantage of the small companies' exemption.

Alyson Howard FCCA DChA CF (Senior statutory auditor) for and on behalf of Williams Giles Limited

Chartered AccountantsStatutory Auditor 12 Conqueror CourtSittingbourneKentME10 5BHDate: Williams Giles Limited are eligible to act as auditors in terms of section 1212 of the Companies Act 2006.

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Consolidated statement of financial activities incorporating income and expenditure accountFor the Year Ended 31 March 2017

Unrestrictedfunds

Totalfunds

Totalfunds

Note2017

£2017

£2016

£Income from:

Charitable activities 2 474,125 474,125 522,375Other trading activities 827,434 827,434 937,332Other income 19,190 19,190 11,167

Total income 1,320,749 1,320,749 1,470,874

Expenditure on: Raising funds 144,782 144,782 355,681Charitable activities 5 1,498,496 1,498,496 1,359,647

Total expenditure 6 1,643,278 1,643,278 1,715,328

Net expenditure before other recognised gains andlosses (322,529) (322,529) (244,454)Net movement in funds (322,529) (322,529) (244,454)

Reconciliation of funds: Total funds brought forward 3,192,322 3,192,322 3,436,776

Total funds carried forward2,869,793 2,869,793 3,192,322

The notes on pages 12 to 22 form part of these financial statements.

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Registered number: 06368610

Consolidated balance sheetAs at 31 March 2017

2017 2016Note £ £ £ £

Fixed assetsTangible assets 10 3,147,096 3,385,072

Current assetsStocks 11 12,150 12,150Debtors 12 67,595 126,889Cash at bank and in hand 47,949 15,592

127,694 154,631

Creditors: amounts falling due within oneyear 13 (404,997) (347,381)

Net current liabilities (277,303) (192,750)

Net assets 2,869,793 3,192,322

Charity FundsUnrestricted funds 14 2,869,793 3,192,322

Total funds 2,869,793 3,192,322

The company's financial statements have been prepared in accordance with the provisions applicable tocompanies subject to the small companies regime.

The financial statements were approved and authorised for issue by the Trustees on andsigned on their behalf, by:

The notes on pages 12 to 22 form part of these financial statements.

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Registered number: 06368610

Company balance sheetAs at 31 March 2017

2017 2016Note £ £ £ £

Fixed assetsTangible assets 10 3,135,950 3,383,263

Current assetsDebtors 12 42,171 78,117Cash at bank 208 4,026

42,379 82,143

Creditors: amounts falling due within oneyear 13 (364,860) (316,001)

Net current liabilities (322,481) (233,858)

Net assets 2,813,469 3,149,405

Charity FundsUnrestricted funds 2,813,469 3,149,405

Total funds 2,813,469 3,149,405

The company's financial statements have been prepared in accordance with the provisions applicable tocompanies subject to the small companies regime.

The financial statements were approved and authorised for issue by the Trustees on andsigned on their behalf, by:

The notes on pages 12 to 22 form part of these financial statements.

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Consolidated statement of cash flowsFor the Year Ended 31 March 2017

2017 2016Note £ £

Cash flows from operating activitiesNet cash provided by operating activities 16 45,409 3,365

Cash flows from investing activities:Purchase of tangible fixed assets (13,052) (193)

Net cash used in investing activities (13,052) (193)

Change in cash and cash equivalents in the year 32,357 3,172Cash and cash equivalents brought forward 15,592 12,420

Cash and cash equivalents carried forward 17 47,949 15,592

The notes on pages 12 to 22 form part of these financial statements.

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Notes to the financial statementsFor the Year Ended 31 March 2017

1. Accounting policies

1.1 Basis of preparation of financial statements

The financial statements have been prepared in accordance with Accounting and Reporting byCharities: Statement of Recommended Practice applicable to charities preparing their accounts inaccordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS102) (effective 1 January 2015) - (Charities SORP (FRS 102)), the Financial Reporting Standardapplicable in the UK and Republic of Ireland (FRS 102) and the Companies Act 2006.

The financial statements have been prepared to give a 'true and fair' view and have departed fromthe Charities (Accounts and Reports) Regulations 2008 only to the extent required to provide a 'trueand fair' view. This departure has involved following the Charities SORP (FRS 102) published on 16July 2014 rather than the Accounting and Reporting by Charities: Statement of RecommendedPractice effective from 1 April 2005 which has since been withdrawn.

Carnival Village Trust meets the definition of a public benefit entity under FRS 102. Assets andliabilities are initially recognised at historical cost or transaction value unless otherwise stated in therelevant accounting policy.

The Statement of financial activities (SOFA) and Balance sheet consolidate the financial statementsof the company and its subsidiary undertaking. The results of the subsidiary are consolidated on aline by line basis.

No separate SOFA has been presented for the company alone as permitted by section 408 of theCompanies Act 2006.

1.2 Reconciliation with previous Generally Accepted Accounting Practice

In preparing these accounts, the Trustees have considered whether in applying the accountingpolicies required by FRS 102 and the Charities SORP FRS 102 the restatement of comparativeitems was required.

No restatements were required.

1.3 Company status

The company is a company limited by guarantee. The members of the company are the Trusteesnamed on page 1. In the event of the company being wound up, the liability in respect of theguarantee is limited to £- per member of the company.

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Notes to the financial statementsFor the Year Ended 31 March 2017

1. Accounting policies (continued)

1.4 Income

All income is recognised once the company has entitlement to the income, it is probable that theincome will be received and the amount of income receivable can be measured reliably.

For legacies, entitlement is taken as the earlier of the date on which either: the company is awarethat probate has been granted, the estate has been finalised and notification has been made by theexecutor(s) to the Trust that a distribution will be made, or when a distribution is received from theestate. Receipt of a legacy, in whole or in part, is only considered probable when the amount can bemeasured reliably and the company has been notified of the executor's intention to make adistribution. Where legacies have been notified to the company, or the company is aware of thegranting of probate, and the criteria for income recognition have not been met, then the legacy istreated as a contingent asset and disclosed if material.

Donated services or facilities are recognised when the company has control over the item, anyconditions associated with the donated item have been met, the receipt of economic benefit from theuse of the company of the item is probable and that economic benefit can be measured reliably. Inaccordance with the Charities SORP (FRS 102), the general volunteer time of the Friends is notrecognised and refer to the Trustees' report for more information about their contribution.

On receipt, donated professional services and donated facilities are recognised on the basis of thevalue of the gift to the company which is the amount the company would have been willing to pay toobtain services or facilities of equivalent economic benefit on the open market; a correspondingamount is then recognised in expenditure in the period of receipt.

Income tax recoverable in relation to donations received under Gift Aid or deeds of covenant isrecognised at the time of the donation.

Income tax recoverable in relation to investment income is recognised at the time the investmentincome is receivable.

1.5 Expenditure

Expenditure is recognised once there is a legal or constructive obligation to transfer economicbenefit to a third party, it is probable that a transfer of economic benefits will be required insettlement and the amount of the obligation can be measured reliably. Expenditure is classified byactivity. The costs of each activity are made up of the total of direct costs and shared costs,including support costs involved in undertaking each activity. Direct costs attributable to a singleactivity are allocated directly to that activity. Shared costs which contribute to more than one activityand support costs which are not attributable to a single activity are apportioned between thoseactivities on a basis consistent with the use of resources. Central staff costs are allocated on thebasis of time spent, and depreciation charges allocated on the portion of the asset’s use.

Fundraising costs are those incurred in seeking voluntary contributions and do not include the costsof disseminating information in support of the charitable activities. Support costs are those costsincurred directly in support of expenditure on the objects of the company and include projectmanagement carried out at Headquarters. Governance costs are those incurred in connection withadministration of the company and compliance with constitutional and statutory requirements.

Costs of generating funds are costs incurred in attracting voluntary income, and those incurred intrading activities that raise funds.

Charitable activities and Governance costs are costs incurred on the company's educationaloperations, including support costs and costs relating to the governance of the company apportionedto charitable activities.

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Notes to the financial statementsFor the Year Ended 31 March 2017

1. Accounting policies (continued)

1.6 Basis of consolidation

The financial statements consolidate the accounts of Carnival Village Trust and all of its subsidiaryundertakings ('subsidiaries').

The company has taken advantage of the exemption contained within 408 of the Companies Act2006 not to present its own Income and expenditure account.

The income and expenditure account for the year dealt with in the accounts of the company was£NIL (2016 - £NIL).

1.7 Tangible fixed assets and depreciation

All assets costing more than £xxx are capitalised.

A review for impairment of a fixed asset is carried out if events or changes in circumstances indicatethat the carrying value of any fixed asset may not be recoverable. Shortfalls between the carryingvalue of fixed assets and their recoverable amounts are recognised as impairments. Impairmentlosses are recognised in the Statement of financial activities.

Tangible fixed assets are carried at cost, net of depreciation and any provision for impairment.Depreciation is provided at rates calculated to write off the cost of fixed assets, less their estimatedresidual value, over their expected useful lives on the following bases:

Long-term leasehold property - Over the lifetime of the leaseFixtures and fittings - 25% reducing balanceOffice equipment - 25% reducing balance

1.8 Interest receivable

Interest on funds held on deposit is included when receivable and the amount can be measuredreliably by the company; this is normally upon notification of the interest paid or payable by the Bank.

1.9 Stocks

Stocks are valued at the lower of cost and net realisable value after making due allowance forobsolete and slow-moving stocks. Cost includes all direct costs and an appropriate proportion offixed and variable overheads.

1.10 Debtors

Trade and other debtors are recognised at the settlement amount after any trade discount offered.Prepayments are valued at the amount prepaid net of any trade discounts due.

1.11 Cash at Bank and in hand

Cash at bank and in hand includes cash and short term highly liquid investments with a shortmaturity of three months or less from the date of acquisition or opening of the deposit or similaraccount.

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Notes to the financial statementsFor the Year Ended 31 March 2017

1. Accounting policies (continued)

1.12 Liabilities and provisions

Liabilities are recognised when there is an obligation at the Balance sheet date as a result of a pastevent, it is probable that a transfer of economic benefit will be required in settlement, and theamount of the settlement can be estimated reliably. Liabilities are recognised at the amount that thecompany anticipates it will pay to settle the debt or the amount it has received as advancedpayments for the goods or services it must provide. Provisions are measured at the best estimate ofthe amounts required to settle the obligation. Where the effect of the time value of money ismaterial, the provision is based on the present value of those amounts, discounted at the pre-taxdiscount rate that reflects the risks specific to the liability. The unwinding of the discount isrecognised within interest payable and similar charges.

1.13 Financial instruments

The company only has financial assets and financial liabilities of a kind that qualify as basic financialinstruments. Basic financial instruments are initially recognised at transaction value andsubsequently measured at their settlement value with the exception of bank loans which aresubsequently measured at amortised cost using the effective interest method.

1.14 Fund accounting

General funds are unrestricted funds which are available for use at the discretion of the Trustees infurtherance of the general objectives of the company and which have not been designated for otherpurposes.

2. Income from charitable activities

Unrestrictedfunds

Totalfunds

Totalfunds

2017£

2017£

2016£

Arts Programme 474,125 474,125 522,375

Total 2016 522,375 522,375

3. Direct costs

ArtsProgramme

Total2017

Total2016

£ £ £Grants payable 111,697 111,697 86,470

At 31 March 2016 86,470 86,470

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Notes to the financial statementsFor the Year Ended 31 March 2017

4. Support costs

ArtsProgramme

Total2017

Total2016

£ £ £Hire of Equipment 16,181 16,181 11,264Rates & Water 27,762 27,762 578Light & heat 86,641 86,641 58,166Repairs & maintenance 52,798 52,798 31,308Premises costs 38,856 38,856 16,138Sundry expenses 806 806 273Travel & subsistance 624 624 1,997Legal & professional 86,889 86,889 75,054Telephone 8,744 8,744 7,646Printing, postage & stationery 9,240 9,240 6,654Computer running costs 2,412 2,412 3,176Cleaning 39,815 39,815 31,526Advertising 5,281 5,281 -Fraudulent payments 99,019 99,019 45,619Audit fees 8,000 8,000 9,001Wages and salaries 40,230 40,230 74,965National insurance 2,473 2,473 2,921Pension cost 76 76 -Depreciation 247,313 247,313 254,810

773,160 773,160 631,096

At 31 March 2016 337,406 337,406

5. Governance costs

Unrestrictedfunds

Totalfunds

Totalfunds

2017£

2017£

2016£

Support costs - Governance - - 9,001

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Notes to the financial statementsFor the Year Ended 31 March 2017

6. Analysis of Expenditure by expenditure type

Staff costs Depreciation Other costs Total Total2017

£2017

£2017

£2017

£2016

£

Expenditure on fundraisingtrading - - 758,421 758,421 997,762

Costs of generating funds - - 758,421 758,421 997,762

Arts Programme 42,779 247,313 594,765 884,857 708,565- - - - 9,001

42,779 247,313 1,353,186 1,643,278 1,715,328

Total 2016 77,886 - 1,637,442 1,715,328

7. Net income/(expenditure)

This is stated after charging:

2017 2016 £ £

Depreciation of tangible fixed assets:- owned by the charitable group 251,028 255,413

During the year, no Trustees received any remuneration (2016 - £NIL).During the year, no Trustees received any benefits in kind (2016 - £NIL).During the year, no Trustees received any reimbursement of expenses (2016 - £NIL).

8. Auditors' remuneration

The Auditor's remuneration amounts to an Audit fee of £11,000 (2016 - £13,000), and other services of £15,954(2016 - £ -).

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Notes to the financial statementsFor the Year Ended 31 March 2017

9. Staff costs

Staff costs were as follows:

2017 2016 £ £

Wages and salaries 40,230 74,965Social security costs 2,473 2,921Other pension costs 76 -

42,779 77,886

The average number of persons employed by the company during the year was as follows:

2017 2016 No. No.

Administrative staff 0 3Support staff 0 21

0 24

No employee received remuneration amounting to more than £60,000 in either year.

10. Tangible fixed assets

Long-termleasehold

propertyFixtures and

fittingsOffice

equipment TotalGroup £ £ £ £Cost At 1 April 2016 4,496,351 185,647 130,173 4,812,171Additions - - 13,052 13,052

At 31 March 2017 4,496,351 185,647 143,225 4,825,223

DepreciationAt 1 April 2016 1,203,066 133,003 91,030 1,427,099Charge for the year 224,818 13,161 13,049 251,028

At 31 March 2017 1,427,884 146,164 104,079 1,678,127

Net book valueAt 31 March 2017 3,068,467 39,483 39,146 3,147,096

At 31 March 2016 3,293,285 52,644 39,143 3,385,072

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Notes to the financial statementsFor the Year Ended 31 March 2017

Long-termleasehold

propertyFixtures and

fittingsOffice

equipment TotalCompany £ £ £ £Cost

At 1 April 2016 and 31 March 2017 4,496,351 185,647 126,653 4,808,651

DepreciationAt 1 April 2016 1,203,066 133,003 89,319 1,425,388Charge for the year 224,818 13,161 9,334 247,313

At 31 March 2017 1,427,884 146,164 98,653 1,672,701

Net book valueAt 31 March 2017 3,068,467 39,483 28,000 3,135,950

At 31 March 2016 3,293,285 52,644 37,334 3,383,263

11. Stocks

Group Company

2017 2016 2017 2016£ £ £ £

Raw materials 12,150 12,150 - -

12. Debtors

Group Company

2017 2016 2017 2016£ £ £ £

Trade debtors 33,806 42,802 8,382 121Other debtors 33,789 84,087 33,789 77,996

67,595 126,889 42,171 78,117

13. Creditors: Amounts falling due within one year

Group Company

2017 2016 2017 2016£ £ £ £

Bank loans and overdrafts 39 - 39 -Trade creditors 86,440 57,312 52,174 13,039Amounts owed to group undertakings - - 295,424 248,225Other taxation and social security 305,518 239,136 7,223 11,171Other creditors - 19,716 - 19,716Accruals and deferred income 13,000 31,217 10,000 23,850

404,997 347,381 364,860 316,001

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Notes to the financial statementsFor the Year Ended 31 March 2017

14. Statement of funds

Statement of funds - current year

Balance at1 April 2016 Income Expenditure

Balance at31 March

2017£ £ £ £

Unrestricted fundsGeneral Fund 3,149,404 493,315 (829,251) 2,813,468Reserves 42,917 - - 42,917Other General funds 1 827,434 (814,027) 13,408

3,192,322 1,320,749 (1,643,278) 2,869,793

Statement of funds - prior year

Balance at 1April 2015 Income Expenditure

Gains/(Losses)

Balance at31 March

2016£ £ £ £ £

Unrestricted fundsGeneral Fund 3,436,776 1,470,873 (1,715,327) - 3,192,322

3,436,776 1,470,873 (1,715,327) - 3,192,322

Total of funds 3,436,776 1,470,873 (1,715,327) - 3,192,322

Summary of funds - current year

Balance at1 April 2016 Income Expenditure

Balance at31 March

2017£ £ £ £

General funds 3,192,322 1,320,749 (1,643,278) 2,869,793

Summary of funds - prior year

Balance at 1April 2015 Income Expenditure

Balance at31 March

2016£ £ £ £

General funds 3,436,776 1,470,873 (1,715,327) 3,192,322

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Notes to the financial statementsFor the Year Ended 31 March 2017

15. Analysis of net assets between funds

Analysis of net assets between funds - current year

Unrestrictedfunds

Totalfunds

2017£

2017£

Tangible fixed assets 3,147,096 3,147,096Current assets 127,694 127,694Creditors due within one year (404,997) (404,997)

2,869,793 2,869,793

Analysis of net assets between funds - prior year

Unrestrictedfunds

Totalfunds

2016£

2016£

Tangible fixed assets 3,385,072 3,385,072Current assets 154,631 154,631Creditors due within one year (347,381) (347,381)

3,192,322 3,192,322

16. Reconciliation of net movement in funds to net cash flow from operating activities

Group 2017 2016

£ £

Net expenditure for the year (as per Statement of Financial Activities) (322,529) (244,454)

Adjustment for:Depreciation charges 251,028 255,413Increase in stocks - (1,200)Decrease/(increase) in debtors 12,095 (24,519)Increase in creditors 104,815 15,124User text - 3,001

Net cash provided by operating activities 45,409 3,365

17. Analysis of cash and cash equivalents

Group 2017 2016

£ £Cash in hand 47,949 15,592

Total 47,949 15,592

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APPENDIX F- TIMELINE AND MILESTONES

1

Notting Hill Carnival 2018: Project timescales and milestones

Task Start Finish CommentsJAN FEB MAR APR MAY JUN JUL AUG SEP OCT NOV DEC

EXPRESSION OF INTERESTSubmission of Expression Of Interest (EOI) 19/01/2018 19/01/2018Evaluation of EOI 24/01/2018 24/01/2018Informal confirmation of funding 26/01/2018 26/01/2018

FUNDINGApplication to strategic partners for additional funding 29/01/2018 29/01/2018Confirmation of additional funding application 26/02/2018 26/02/2018

CONSULTATION AND COMMUNITY ENGAGEMENTCommunity engagement plan submitted to strategic partners

26/02/2018 26/02/2018

Consultation and community engagement exercise 29/01/2018 23/02/2018 With stakeholders including carnivalists, residents, non-carnivalists, local businesses and visitors.

On-going community engagement 29/01/2018 27/08/2018 Through meetings, social media and agency networks, including local resident meetings.

OPERATIONAL PLANNINGa. Preparation of plansDraft plans circulated to Operation and Safety Planning Group (OSPG)

09/02/2018 09/02/2018

Draft plans considered by OSPG 14/02/2018 14/02/2018Final plans submitted subject to table top contingency planning exercise

13/06/2018 13/06/2018

b. Contingency and emergency planningDevelopment of contingency and emergency plan in collaboration with strategic partners

05/02/2018 29/06/2018 To include an event stop procedure in the event of a major incident. This is a working document.

Development of crisis management plan 05/02/2018 29/06/2018Development of safety plan 05/02/2018 29/06/2018

c. Training and briefingsBECC trainingInduction and orientation of stewards (including health and safety briefings for stewards)

22/08/2018 23/08/2018 Safety briefings to take place at Tabernacle / Yaa Centre

Induction and orientation of Carnival champions 20/08/2018 21/08/2018

EVENT PLANNINGa. Risk assessments and risk management approachDevelopment of risk management approach 12/03/2018 29/06/2018 Including “on the day” structure and channels of liaison,

ELT representation, and lines of decision making Powis square event plan & risk assessment 04/06/2018 29/06/2018 In consultation with ACUK (ABC) & all individual

Calypsonians & Powis Square residents Panorama event plan & risk assessment 02/04/2018 29/06/2018 In consultation with BAS, participating Steelbands &

residents surrounding Hornimans PleasanceReview risk assessments of sound systems 14/05/2018 27/07/2018 In consultation with BASS & individual Sound systems &

residents Judging point event plan & risk assessment 07/05/2018 29/06/2018 In consultation with Mas Bands & Steelbands & local

residentsEvent child and vulnerable persons policy 07/05/2018 29/06/2018Accessibility plan 07/05/2018 29/06/2018 In consultation with Disability Rights UKExtreme weather plan 07/05/2018 29/06/2018

b. StewardingReview stewarding at sound systems and bands 05/02/2018 18/03/2018Review sound system locations 05/02/2018 27/04/2018Review procession route and access points (plan for diversion and contingency routes)

05/02/2018 27/04/2018

Produce stewarding plan including volunteering and training programme)

05/02/2018 30/05/2018

Submit plan to strategic partners for funding 26/02/2018

c. Event plansBands and route support pland. Applications to participateDeadline for applications to participate 30/03/2018 Send out application beginning of MarchVerifications of applications and approval 02/04/2018 27/04/2018 Applications in end of MarchParticipants notified of outcome 30/04/2018 Beginning of April Issue successful participants the full participation pack for completion

02/07/2018

Return of participation pack 20/07/2018Issue Vehicle Access Passes (VAPs) 22/08/2018 24/08/2018 Issue from the Tabernacle

COMMUNICATIONS AND MARKETINGa. Communications and marketing strategyDevelopment of communications strategy 05/02/2018 30/03/2018Development of social media and marketing strategy 05/02/2018 30/03/2018Submission of approved communication strategy to strategic partners

09/04/2018

Press launch 01/08/2018 01/08/2018Public relations and marketing activity 01/03/2018 On-going

b. SponsorshipDevelopment of sponsorship approach an plan 05/02/2018 28/02/2018Corporate sponsorship programme commences 01/03/2018 27/07/2018

CARNIVAL WEEKENDPanorama 25/08/2018 25/08/2018Sunday parade (Children's day) 26/08/2018 26/08/2018Monday parade 27/08/2018 27/08/2018

POST CARNIVALConsultation and feedback on carnival 28/08/2018 28/09/2018 Via RBKC, Community and Carnival Participates Detailed debrief statement submitted to advisory board for discussion

01/10/2018 01/10/2018 Detailed debrief statement post Carnival highlighting issues important to Carnival’s future success.

Meeting to discuss debrief statement 15/10/2018 19/10/2018Debrief statement made public 25/10/2018 Statement available on website and via social media

2018

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APPENDIX G - COMMUNITY ENGAGEMENT

Our model of community engagement is adapted from the work of the Scottish Government in the development of National Standards for Community Engagement.

The National Standards are clear principles that describe the main elements of effective community engagement. They provide detailed performance statements that everyone involved can use to achieve the highest quality results and the greatest impact.

CVT has adopted this model to act as a central benchmark and reference point for best practice.

At the earliest opportunity, we will identify and involve the people and organisations that have a stake in Carnival and are the focus of the engagement. We will proactively include minority and opposing

views as a valued part of the engagement process.

We will identify and overcome any barriers to participation. We will take measures to ensure that we are inclusive and put in place reasonable adjustments and support mechanisms to encourage engagement.

We will have a clear purpose for our engagement, based on a shared understanding of community needs and ambitions. Strategic Partners will be involved at the start of the process in identifying and defining the focus that the engagement will explore. A clear and agreed engagement plan will be in place with realistic and achievable timescales. We will secure and allocate sufficient resources to support an effective engagement process.

We will work effectively together with Strategic Partners, community groups and individuals to achieve the aims of the engagement. We will ensure that roles and responsibilities of everyone involved are agreed, clear and understood. We will ensure that methods of communication used during the engagement process meet the needs of all participants. Critically, we will strive to ensure that communication between all participants is

pg. 56

open, honest and clear and that community engagement process is based on trust and mutual respect.

We will use methods of engagement that are fit for purpose and have maximum impact. A variety of methods will be used throughout the engagement to make sure that a wide range of voices is heard. Full use will be made of creative methods which encourage maximum participation and effective dialogue. The methods used will be evaluated and adapted, if necessary, in response to feedback from participants and partners.

We will communicate clearly and regularly with the people, organisations and communities affected by the Carnival. Information on the community engagement process, and what has happened as a result, will be clear and easy to access and understand. Without breaking confidentiality, participants will have access to all information that is relevant to the engagement. We will ensure that systems are in place to make sure the views of the wider community continuously help to shape the engagement process.

We will assess the impact of the engagement and use what we have learned to improve our future community engagement and future Carnivals. We would cooperate with the Strategic Partners in their monitoring and reviewing of the quality of the engagement process and what has happened as a result. We will provide feedback to the wider community on how the engagement process has influenced decisions and what has changed as a result.

Our Plan

Our community engagement plan for Carnival in 2018 will be formulated with key stakeholders including carnivalists, residents, non-carnivalists, local businesses and visitors and agreed with Strategic Partners. Importantly, CVT wishes to continue to engage with children, young people and young adults, who are key to the future of Carnival. CVT benefits from the programmes that it already provides for children and young people and has consulted them in preparation for this expression of interest. CVT has also consulted with and has the support of EPIC CIC, which provides a range of integrated youth support services for children and young people on behalf of RBKC.

Once agreed it will be published on our website and kept under review. We anticipate that our Community Engagement Plan will incorporate the following:

For each stakeholder, there will be a bespoke targeted communications and engagement approach with each approach having the following core elements:

§ Assemblies/Meetings with dates agreed for the year

§ Continuous liaison and updating through a range of portals - digital, internet & social media

§ Dedicated & Bespoke pages on the CVT Website

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§ Minuting and recording of all decisions

§ Distribution in hard copy of all relevant information, guidance and advice

In addition to these core elements, CVT will consult with each stakeholder what specific features are required or relevant to their constituents.

At the core of any engagement will be two main Carnival Assemblies – Public & Carnivalists - independent of any meetings held by RBKC, to demonstrate the full and genuine accountability of CVT for Carnival. Meetings would be scheduled for both pre- and post-Carnival. Detailed de-briefings post Carnival that will feed into the public authorities own debriefs, will be given at a specially convened joint assembly.

The Public Assembly will target residents, community organisations, agency networks, educational institutions and local traders.

The Carnivalists Assembly will target participants, performers, artists, artisans and Carnival Arts Arenas.

During any Assembly, the public will be able to access and participate in discussions through texts and live feeds on Facebook and through our multimedia suite, Carnival radio and Carnival Village TV, an online multimedia Internet and digital presence.

CVT’s digital strategy is based around today’s multimedia hardware and software platforms incorporating the Internet, Instagram & Facebook as gateways to strengthen the exposure and marketing of Carnival.

In addition to these assemblies, each certified participant in Carnival will be matched and linked to a specific member of the Advisory Council and this contact will be used to ensure that regular internal communications are maintained, understood and acted upon. This relationship will be codified in a memorandum of understanding that will specify the nature of the relationship, the terms of the agreement and the process for managing any conflict.